Filming UPSTREAM BATTLE in Oregon
Photo: Magdalena Hutter

Notes from the Film & Campaign trail

Why we need sign language interpretation of films

We’re happy to announce Emma Davie’s award-winning feature documentary THE OIL MACHINE, produced by Sonja Henrici Creates, is now available with full-length British Sign Language interpretation.
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The Factor Six: how an impact campaign rescues theatrical

At a time when post-pandemic cinema audience numbers have been dwindling across the UK, and several cinemas have closed completely, new documentary THE OIL MACHINE has been drawing sell-out crowds. What is going on?
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A message to our colleagues in Ukraine

Whatever happens, your work will continue to inspire us and outshine the present darkness.
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When Women Direct

"We are women and we are filmmakers, and we want to be part of it all." Hannah Currie makes the case for the Women Direct(ory) launched by the Scottish Documentary Institute this week
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A Pledge to Listen: FREE TRIP TO EGYPT

Client portrait: How Tarek Mounib is building bridges in FREE TRIP TO EGYPT – and why we all need to listen
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Why Film & Campaign is 'folding'

Or, how we went from 'impact producing' to 'impact computing', helping a tiny bit in the fight against COVID-19. Will you join us?
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Our First 'Blockbuster' (pt 3)

In the world of independent documentary filmmaking, it’s not every day that you get to compete with major blockbuster titles. Remarkably, this is something that a project powered by Film & Campaign has now achieved.
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Our own Cinema-on-Demand (pt 2)

In the second part of our mini-series looking at the largest campaign we’ve ever worked on, we look at the challenge of building Germany’s first ever cinema-on-demand campaign from the ground up.
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Our Biggest Campaign Yet (pt 1)

This is the first in a three-part series about our biggest campaign to date, around German documentary DIE KINDER DER UTOPIE (Children of Utopia). Over the coming weeks, we’ll be providing behind-the-scenes insights into a campaign that we’re excited, proud, and even a little nervous about.
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Can event cinema happen online?

How do we get more people to watch documentaries on the big screen, especially given that regular theatrical releases of docs mostly fail to reach the right audiences? Moving Docs proves that 'event cinema' is the answer – but how can I participate when I'm stuck at home?
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Racing through the years: TIME TRIAL

Client portrait: How the people behind Cycling Films Ltd. started audience build-up five years ahead of the IDFA premiere of TIME TRIAL
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Feeling Propelled and Amplified

How Tricia Finneran and I came up with 'Amplifier', a proposal for using "good data for great causes"
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