In a world with saturated content, the documentary genre holds a unique perspective and position in the media industry. However, as Sophie Fiennes warns, the documentary medium is in a mess – problems like an “absolute lack of resources”, commissioners lacking the drive to take risks, and a lot more. Through her experiences, Fiennes discusses the unstable landscape facing modern documentary makers.
The precarity of modern documentary filmmaking
Sophie Fiennes is a filmmaker known for acclaimed documentaries that explore art, music and culture, with notable films on cultural icons including Grace Jones, Anselm Kiefer and Michael Clark. Despite her impressive track record, she has faced significant hurdles seeking funding for her latest project documenting Cheek by Jowl's Macbeth workshops.
Despite the project's creative ambition, her proposal received a dismissive response from a major broadcaster without even a request to review the footage – a symbol of a broader issue. Broadcasters increasingly favour “factual entertainment” and celebrity-driven content: “They want famous faces … it's going to be very hard for creatively ambitious film-makers”, side-lining the work that documentary filmmakers like Fiennes aim to create.
The role of streaming platforms and broadcasters
Streaming platforms have also become increasingly commercial, even though they were once a lifeline for the genre. Fiennes and her peers note that streamers now seem to favour true crime and celebrity scandals over challenging narratives. “On the one hand, streamers seemed to be the saviour of documentaries.” This change mirrors traditional broadcasting, where reliance on “cookie-cutter” formulas ensures safe, predictable results at the cost of originality.
Opportunities for modern platforms
Despite these challenges, there are glimmers of hope. Platforms like Sky have shown a willingness to invest in British documentaries, offering an avenue for mainstream projects. But the broader industry needs to do more to nurture and fund the art. Streaming platforms in particular have the potential to foster innovation – by creating dedicated funds for filmmakers or curating niche documentaries that would enrich the landscape and entice audiences seeking diverse content.
Conclusion
Sophie Fiennes' experiences highlight the need for more support for ambitious and niche documentaries, especially for individual filmmakers. Through audience backing, reinvesting in public service broadcasting, expanding funding opportunities, and fostering a culture that values experimentation over formulaic commercialism, we can help ensure the survival of creative and culturally significant storytelling.