IF Magazine caught up with Zoe Stinson, Acquisitions and Productions Executive at factual distributor TVF International, to talk about the international appetite for Australian factual content, what buyers want right now, and how local producers can better position their projects on the global stage. Originally from north-east Victoria, the London-based Stinson has a background in documentary production, having previously worked with companies like Common Room Productions, Sweetshop & Green and EarlyWorks.
You recently attended AIDC. As an Australian now approaching this market from an international lens, what stood out to you?
AIDC energised me this year! There is so much creativity and talent found among the Australian documentary community and it was nice to be part of it, even from afar.
I felt there was a noticeable shift this year in how projects are being developed: producers have international appeal already in mind. More projects seemed to be drawing on themes with universal relevance, were scaled across major territories or involved A-list, internationally recognised talent.
That said, I think there’s still room for stronger integration of a global strategy from the outset in the Australian factual community, though this can be difficult to balance with the requirements of local broadcasters and funding bodies. But international collaboration is becoming more of a necessity, rather than just being “nice to have”, so finding a way to juggle these two competing market forces is key for producers working out of Australia.
From your perspective, how is Australian content currently tracking in the international market; what’s cutting through? Is there something 'distinctive' about Australian content?
There is demand for Australian content and there’s a broader recognition of Australian talent in the global market, especially when it comes to science and environmental stories. Documentaries in the TVF catalogue like Carbon: The Unauthorised Biography from Genepool Productions, and series like Great Barrier Reef: A Living Treasure narrated by Russell Crowe from RJ Media and Australia’s Open from Good Thing Productions, show there is really world-class content with both cinematic quality and editorial substance coming out of Australia. Australian factual programming reflects a unique relationship to land and nature, has a grounded approach to storytelling, a commitment to high production value and incorporates First Nations perspectives, all of which can help to make projects stand out in an increasingly homogenised global market.
What are buyers around the world asking for right now, whether in terms of themes, genre, formats etc.?
Buyers are hungry for programming that feels urgent and relevant to their audiences. They’re looking for programming that goes behind the headlines, that responds to the cultural zeitgeist and is recognisable, “clickable” and “must-have” for their audiences. Consistently, we see that the core factual genres of history, science, wildlife and world affairs continue to resonate around the world and the stories that stand out the most in this space are the ones with a strong sense of timeliness. Perhaps they’re tied to an anniversary, maybe they explain new technology or the real life impacts of a geopolitical conflict, maybe they offer a fresh perspective on a well-known story or never-before-seen access; there’s a reason they need to be told now.
How to Poison a Planet from iKandy Films, which is about the global contamination of drinking water by PFAS and other forever chemicals, is a perfect example of an in-depth investigation into a global issue often mentioned in headlines. Bear: Koala Hero from Butter Media offers a new perspective on climate change and Welcome toBabel: Painting Communism from Nirvana Films chronicles the rise of Communism in China.
In an increasingly fragmented global content landscape, buyers are looking for titles that will make their audiences stop searching through channels or scrolling through homepages – and commit.
What do you look for at TVF when deciding to acquire or invest? When does TVF like to get on board a project?
We have ten full-time sales executives working across the entire global factual landscape, so we’re always looking for stories that are as international as possible. That means stories with universal themes, stories about internationally recognised events or that are relevant to audiences across multiple territories.
Increasingly, we like to get involved as early as possible, during development or production, especially if there’s room for us to help shape the editorial for the international market. It’s becoming all the more necessary for distributors to be involved early and to help piece together finance plans, and we work extensively with pre-sales, co-productions and international reversions.
We can review projects at treatment stage, right through to rough cut and completed tape. Ideally, projects will have a local broadcaster attached when coming to TVF, but for the right project this is not a deal breaker. If a story is globally relevant, we can help secure international commissions and provide deficit financing.
How can Australian producers position their projects more strategically for international markets from the outset? Do you see gaps or missed opportunities in what Australian producers are pitching to international buyers?
The biggest opportunity for Australian producers is to start developing with the global market in mind from the start. This means being clear on why a story matters to a global audience, how to tell the story so the perspective has reach beyond Australia and being ambitious with access and editorial.
A frequently missed opportunity is Australia’s position in the Asia-Pacific region. Stories that connect to regional dynamics or diverse Indigenous perspectives are in demand - they broaden the scope of what is an Australian story and allow them to reach further afield, but they need to be told with authenticity and craft.
As an Australian yourself, what do you think international buyers misunderstand, or underestimate, about Australian content?
What international buyers sometimes underestimate is the depth and range of Australian storytelling. We have exceptional investigative journalism, compelling character-led narratives and a growing edge in science and environmental storytelling that resonates globally. We’re often ahead of the curve in terms of tone and experimentation, especially compared to more traditional markets, and we have access to brilliant leaders in science, technology, media and culture right on our doorstep.
Buyers can also overlook the fact that Australia is incredibly multicultural, and we’re uniquely placed in the APAC region to tell stories that bridge cultures. That’s a strength we should be using more assertively, when it comes to both subject matter and co-production opportunities.