DocFest 2025: Festival Gloss, Industry Grit, and Why We’re Still in the Fight

Kimberly Godbolt, joint MD of Talented People, writes about her experience at this year’s Sheffield DocFest

Just back from Sheffield DocFest, and honestly? I’m buzzing. Not just from the caffeine overload required to survive three days of back-to-back screenings and networking (though that definitely played its part), but from the sheer energy of being surrounded by some of the most passionate storytellers in the business.

For those who couldn’t make it this year – and trust me, I know how tough it is to justify the cost when budgets are tighter than ever – here’s what you missed, and more importantly, what it says about where our industry is heading.

The Vibe: Warm, Grateful, and Surprisingly Optimistic

First things first: it was bloody hot. Not just the weather (though Sheffield turned on the sunshine like it was auditioning for a tourism ad), but the atmosphere. There’s something uniquely wonderful about DocFest’s community spirit, and this year felt particularly special. Maybe it’s because we don’t get to socialise as much as we used to in the golden days of endless content budgets, but the gratitude for simply being there was palpable.

Now, let’s be honest – everyone brings their A-game to a festival like this. Of course the production companies are going to tell you they’re busy, of course the mood is going to feel buoyant when you’re only seeing the good stuff that made it to screen. But even allowing for that festival optimism, there was a genuine sense that while the challenges are real, people are finding ways through them.

And here’s the thing that really struck me – the production companies I chatted with are busier than they’ve been in ages. Yes, commissions are still painfully slow to secure, and everyone’s navigating increasingly complex deals to get projects over the line. But work is happening. Premium content is still being made. The industry is adapting, not just surviving.

Moments That Made Me Remember Why I Love This Business

The Grenfell Uncovered screening was a gut-punch in the best possible way. Olaide Sadiq’s direction was extraordinary, and listening to the survivors in the Q&A afterwards reminded everyone in that room why documentary filmmaking matters. Big respect to the entire team at Rogan Productions. It was such a privilege to welcome our placement Jenny Popplewell to her new role as Head of Factual in person too.

Channel 4’s First Cut Pitch was as nerve-wracking as ever to watch. Five brilliant new directors, £600 budgets, £150k commissions on the line. Congratulations to Clio Symington who took the win, though honestly, the standard was so high that any of those films deserved commissioning. The confidence and creativity of emerging talent right now is genuinely inspiring.

And then there was Sophie Oliver talking about the Boyzone doc for Sky and Curious Films – discussing style, lenses, and the art of making contributors feel comfortable. I haven’t felt jealous of directing in years, but listening to her made me want to pick up a camera again. That’s the mark of someone who truly gets it.

Sky Docs: Five Years Young and Flying

Speaking of Sky, their presence felt particularly strong this year. Their brunch was legendarily generous (croissants and bacon baps? In this economy?), but more importantly, their showreel demonstrated just how much they’ve achieved in five years. They’re commissioning with confidence and backing bold storytelling – exactly what the market needs right now.

The fact that their Boyzone series has been a ratings monster proves there’s still appetite for well-crafted documentary series. And crucially, it was commissioned on trust in Curious Films’ track record, with no sizzle reel required. Sometimes the best relationships in this business are built on exactly that – trust.

The Hustle is Real (But So is the Opportunity)

Let’s be honest about what everyone’s dealing with right now. The Branded Storytelling session was so packed I couldn’t get in – a clear sign that people are actively seeking new funding models. The traditional routes are tougher, deals are more complex, and everyone’s working harder for every commission.

But here’s what I’m taking away: premium, high-end content continues to be favoured. Yes, it’s painstakingly hard to win, but it’s absolutely possible. And the conversations I had suggest things are moving slightly better than they have over the past couple of years.

The Human Side

Between the 8am canal run with Channel 5’s Dan Louw (hangover defeated!), catching up with the brilliant folks at Grierson Trust, and the sweaty but essential Nat Geo drinks, DocFest reminded me that this industry runs on relationships. Real ones. The kind built over shared experiences, mutual respect, and occasionally, synchronised morning jogs.

Of course, there were sessions I couldn’t get to – the ‘Too Hot to Handle’ panel on political storytelling was apparently pretty punchy, with Ben De Pear not holding back about the BBC’s decision not to air his company’s Gaza documentary. That’s the kind of conversation that probably cuts closer to the industry’s real challenges than some of the more upbeat sessions.

Even the decision to attend wasn’t easy for a small company like ours – every budget line matters right now. But being part of this community, seeing clients and freelancers in their element, and picking up on the creative energy that drives our industry? Absolutely priceless.

Looking Forward

I’m heading back to London tired but cautiously optimistic. Not because I’m wearing rose-tinted glasses (though the Sheffield sunshine helped), but because I’ve spent three days with people who are still fighting to tell important stories, still finding ways to make compelling content, and still believing that what we do matters – even when the system doesn’t make it easy.

The UK documentary scene is certainly resilient – it’s innovating, adapting, and creating work that deserves to be seen. From the emotional power of Grenfell Uncovered to the commercial success of Boyzone, from emerging talent pushing boundaries to established production companies finding new ways to thrive, there are reasons for hope alongside the very real challenges.

Now, if you’ll excuse me, I’ve got a long list of production companies and freelancers to follow up with. Because that’s what DocFest is really about – the conversations that happen after the cameras stop rolling and the real work begins.

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