For a few years, we were in the heyday of the streamers having hearty appetites for buying indie films, including docs and series – particularly post-COVID and during/after the writers’ strike and production slowdowns. As production stalled, and competition among streamers increased, more streamers turned to acquisitions of ready-made (current and/or library titles) to round out their programming. Non-exclusive licensing allowed multiple deals and windows, as per my last article. The sweet spot for SVOD acquisitions, aside from premium/first-run, opened up for indie films 2-5 years old, especially from curated platforms overseas, and older titles (6+ years) could also find a home in SVODs and/or AVODs.

Last year (particularly), when the choices and costs became too much for both consumers and platforms (too many SVODs, “subscription fatigue”), along with economic challenges overall, the tide turned and streaming platforms began contracting, consolidating, reorganizing, and cutting back. But this also led to an uptick of other business models (AVOD, FAST, ad-supported “tiers,” and hybrid offerings). This trend has continued, spreading further overseas. However, in this article we will focus more on the SVOD licensing opportunities still out there, with an emphasis on arthouse/indie film/festival titles, docs, and niche/genre features.

As before—and now more than ever—it is important, in my view, to look beyond mere traditional and “Big Global” platform buyers (Tier 1 types) to their head-on international competitors, such as telecom, cable, and pay/TV OTT services (Tier 2 types) and then to the complementary thematic or niche sites (Tier 3 types): those who also buy or fund but are lesser known and attend markets/festivals less frequently.

More recently, the free-with-ads sector, originally AVOD (Tier 4), strengthened with the addition of free linear FAST channels and combined AVOD/FAST offerings, first in the U.S. and now abroad. As mentioned before, I won’t go into this tier in too much detail, but I will give a brief update, because it may affect your deals in other tiers.

If traditional buyers or Big Globals have not led to a “Holy Grail”-type of deal for you (or you feel the film has other goals/audiences), then the Tier 2 and 3 types abroad can be a worthy pursuit, at least for those willing to dedicate time and attention to it.

Best results arise from:

• Researching the target platforms
• “Matchmaking” your film (realistically to those on their site, and/or their type of audience, kind of like online dating!)
• Doing short, personalized, tailored outreaches, not Mail Chimp-style mass mailings

i.e., contextualizing your film to their platform, so as to help do the buyers job for them

This can be either DIY (since most of these platforms will deal direct) and/or with your sales reps or agents, in a hybrid manner, to help cover all the bases in this industry-wide time of blurred windows, rights, and international audiences. 100% of zero is zero!

You can cross-reference the platforms below with the broader Digital Distribution Guide (updated regularly) for further info on regions, business models, and links to company sites. In this article, I focus on a key sampling of the platforms and developments since the last blog.

Types:

• Tier 1: Mainstream “Big Global” types

  i.e., global (or on their way to global)

  • For example, Netflix, Amazon, HBO / Warner Brothers Discovery / Max / HBO Max, AppleTV+, Disney+/Hulu, as well as other studio-backed entrants, such as Peacock, Paramount+ (in SVOD) and its Pluto.tv (in AVOD/FAST), and finally, other mainstream AVOD/FAST platforms such as Tubi, Roku, SamsungTV+, LG, YouTubeTV, and Rakuten (based in EU).
    • These types are often most sought after, but as before, such deals (if/when offered) will correspondingly impact the revenues, rights, windows, holdbacks, promotion, marketing, access to audience data etc. So, one always has to balance one’s goals with the offer (money, impact, marketing, etc.)
    • If such a deal is not forthcoming, or not the right one for you, then – don’t stop there!
    • In this article, I’ll focus more on Tier 2 and 3 players.

• Tier 2: Mainstream Competitors to Big Globals

  i.e., EMEA/International multi-regional or local VODs (via telecom, cable, OTT, pay/TVs), who strive to be head on competitors (buying and funding/co-funding, though not globally.)

  • • Examples include Canal+, Crave, Sky, M-Net/Multichoice/ShowMax, Stan and Sky Showtime (Comcast / Paramount Global joint venture based in EU).

  Keep in mind that aside from competing with Tier 1 types, Tier 2s also have competitors in their own regions, so you can canvas them (if non-exclusive) and/or cobble together various other deals with other Tier 2 & 3 players in different regions.

  • In all Tier 1, 2, and 3 deals, windowing and holdbacks are to be balanced against traditional. Some Tier2s want to be first window, while others, and most Tier3s, are content to come in non-exclusively.
    • That said, if you only do a non-exclusive deal, you’ve effectively given the platform exclusivity for the price of a non-exclusive deal.

• Tier 3: Complementary Thematic

  i.e., many curated niche or micro niche VODs, drilling down into a specific genre, theme, or target audience. These services are lower-priced and position themselves as “stackable” add-ons for households.

  • • Examples include services dedicated entirely to art house, docs, diaspora, horror, LGBTQ+, such as Filmin, MUBI, Curiosity Stream, Britbox, Shudder, OUTtv, etc.

  As above, each of these thematic types often have 5-10 competitors, with varying programming and deal offers, so one can do multiple non-exclusive deals in this sector too (unless paid very well for exclusivity).

  • There are technically thousands of VODs in Europe alone, but we tend to focus on the 50 or so that are that are a good editorial fit, and ideally paying proper flat license fees or some other forms of reasonable returns (minimum guarantee / rev share).

• Tier 4: AVOD/FAST Channels abroad

  More AVOD/FAST channels are proliferating from mainstream to niche, including not only via global SmartTV platforms and studio-backed groups, but also those launched by big IP owners.

  • Of more interest for indies, these are curated channels focused on buying movies, docs, shorts, and niche genre films.
  • In 2025, more are expanding through UK and Europe (which can be the subject of a future update to my earlier blog on FAST/AVOD) but that is not the subject of this article, as they are usually rev share based for volume deals on older titles, and not buying individual titles from U.S. indies (with some exceptions, including if going through aggregators).
    • One interesting 2025 read, on movies in FAST channels—including Pluto (with 12 movie channels), Samsung (with 17), Rakuten (with 30 movie channels), Chili, etc.—can be found via Marion Ranchet’s recent article in her publication Streaming Made Easy. But in brief, as above, indie docs and narrow niche titles (as opposed to commerical films) are relatively under-represented in FAST and with limited monetization.

Luckily, the overall practical advice, tips and takeaways set forth in the earlier articles—on how to approach licensing, monetization, windowing—still apply today, and I’ve repeated them at the very end of this article, just with more layers to take into consideration, methodically. But first let’s step back and summarize the changes in the market, film buying platforms, and business models since the last blog, and also table some new platforms for you to consider. Other info and platforms are in the Digital Distribution Guide.

i) INDIE MOVIE SITES

• 

  MUBI • Art house—around for more than a decade—is now global and has moved additionally into limited theatrical high-end acquisitions/distribution as well as adding more library titles (MUBI Releasing, MUBI Collections). Generally, a high-quality editorial prestige site, but not historically known to be the best paying site for indie filmmakers licensing titles, (with some key high-profile exceptions). Not funding.

• 

  FILMIN • Spain and Portugal SVOD, no longer buying for Mexico. Also going strong for more than a decade, lovely curation, with a wide catalog across different regions of sourcing and different genres. Often buying from North American indies (not just world cinema or European), in both features and docs, current and library titles. Sometimes flat fee, other times MG plus rev share, increasingly rev-share only, for non EU indies. It is also connected to festival and theatrical in the region. Occasional Originals/funding (but not with U.S. indies).

• 

  SOONER • The former niche art house sites UnCut and Universcine consolidated/became SOONER SVOD in Benelux and GAS (Germany, Austria, Switzerland) regions (and the parent group is still continuing as Universcine for VOD/SVOD in France). Buys films, indie series, and shorts from abroad as well, but with smaller flat fee or most of the time rev share. However it markets content well and sometimes event cinema screenings or other promotional approaches are supported, e.g. road shows of filmmakers, particularly around festivals.

• 

  FILMO (formerly FilmoTV) • Rebranded to FILMO and comprises TVOD/SVOD art house/France region (originally via its founder Wild Bunch sales agent, with similar calibre films, no series). Flat fee or rev share/MG. Wildbunch also started a related AVOD/FAST called Wild Side TV for older library titles of that genre.

• 

  SBS / SBS On Demand / SBS World Movies • networks (Australia): World Movies was first SVOD/PAY but now changed to AVOD and free tv, like SBS network with flat fee deals. They still focus on films, and some docs, from outside Australia (emphasis on world cinema, diversity themed). Flat fee.

• 

  Starz Play • As part of the severe contractions and shutdowns in former Starz International and Lionsgate+ SVODs, MENA (Middle East and North Africa) region still remains and thrives, thus if your film or doc deals with MENA, they can still be a buyer. Flat fee. Their mainstream competitors include SHAHID.

• 

  Rakuten TV • Mainstream and niches. Since last blog, it changed its TVOD/SVOD business model and programming emphasis across 40+ EU regions, to be almost entirely AVOD/FAST channels (rev share mainly, or sometimes MG). They are still selectively buying, including from U.S. indies, but one-off titles are not favored against packages or thematics. Occasional funding (Originals) but not U.S.-sourced, rather EU and mainstream.

…and some NEWER INDIE MOVIE SITES (not in the last blog)

• 

  Rialto • (NZ) – Indie film tv channel and also SVOD in NZ, Australia, Japan. Flat fee. Buyers however are increasingly less responsive to indie film suppliers from abroad, occasional deals possible on flat fee.

• 
  
  

  Studio Canal Presents and MK2 Curiosity • These two unrelated newer sites are each art house SVODs in France but generally for films they’ve picked up for distribution, with very limited third party licensing. Similarly, StudioCanal has added its StudioCanal ARTHAUS SVOD site in Germany.

• 

  Highball TV • Acquires indies films and docs for SVOD and sometimes other models. Programmed by a former longtime TIFF festival programming head. Curation criteria are basically films that played in festivals, but with monetization (even though it is an SVOD) mainly on a rev share basis.

ii) DOCUMENTARY (100%) SITES

• 

  Curiosity Stream • A global SVOD founded by original Discovery founder. This mainstream SVOD is across 200 countries, and has since added an AVOD/FAST business model (Curiosity Now) to SVOD Curiosity, and has also continued to fund Originals selectively. Flat fee deals. In 2023-24, buyers changed frequently, however, and acquisitions were more limited as of time of writing, hopefully opening up later this summer. By late 2024/25 there were more changes in buyers again and sadly, buying from indies was put on hold, for budget reasons. It has resumed somewhat as of spring 2025, but sometimes only on a rev share basis, not the usual prior higher flat fees.

• 

  Docsville • SVOD of curated and character-driven docs. After being dormant a few years since the time of last blog, was reborn, and is now actively curating and buying (after the corporate investment by Lightning International (Asia) in 2023). Now they seek global rights, not just in UK; however, sadly, switched generally to a rev share model for SVOD/AVOD/FAST. They also have Docsville Studios for Originals/funding. They started adding FAST (FAST channels) to their rights ‘ask’ (but caution on your windowing and price-value relationship as revenues may not be exciting.)

• 

  Docubay • (India, SVOD, linear) They’ve added linear (a sort of FAST but without ads/monetization!) to their rights “ask” in acquisitions, but disappointingly moved from earlier higher flat fees to a lower flat fee or rev share with MG. They ask now for more regions (global or at least English abroad) and the service is often carried on other platforms like Amazon as an add on. They frequently buy from U.S. indies, but preferably in volume packages via distributors (or sometimes via producers joining together in a common deal).

  When pitching, try to already matchmake your doc to the categories/types of docs they offer on the site: topics include crime, nature, biography, culture, travel, history, music, sports, humanity, adventure, and politics.

• 

  Insight.tv • (SVOD/Pay-tv, linear, FAST/AVOD) Global, UHD (Ultra High Definition) offerings (linear) but also SVOD, AVOD/FAST channels globally. Healthy flat fee deals, and fund Originals and coproductions. Completely different style, i.e. commercial and very fast paced nonfiction/reality/lifestyle/millenials and increasingly mainly series, but some one-off feature doc buying is possible.

And some NEWER DOC SITES (not in prior blog):

• 

  GuideDoc • (Spain) Curated site with flexible deal terms (contract posted on their website, transparent), multi region and avid docs buyer from makers abroad and in EMEA (but can carve out regions). Rev share. Pleased they’ve been buying a lot in 2024-25. Good editorial curation, profile and presentations of producer’s packages of films (instead of just buying one- offs); we’ve seen many packages acquired lately from indies including not only Current titles but selectively their older library (80s-2010s) titles as well, thus profiling the filmmaker (or theme) not just the film.

• 

  DocPlay • (Australia) An SVOD platform run by Madman Entertainment (the local Oz distributor), they show films in their own catalog of course, but also acquire various from third parties and international markets (including U.S.) not represented by Madman. Usually licensed on a flat fee basis for the Docplay platform. In late 2024-5, however, they have reduced their third party buying significantly and their buyers are less responsive to internationals who are not already signed with them for all-rights Distribution…that’s a disappointing shift.

• 

  Tënk • (Docs-only SVOD) Expanded beyond France roots to Quebec and English Canada. However, although highly reputed in editorial quality it is still very low “rev share” or flat-fee monetization.

iii) Some NICHE OR MICRONICHE AUDIENCE SITES

• 

  Shudder • Horror leader, expanded its SVOD regions to UK/IE, U.S., Canada, Australia, New Zealand, and some other EU. Occasionally still funding Originals.

  Keep in mind in nonexclusive deals can also be suitable for other competitors in the sector such as Planet Horror, Cine+ Horreur, Screambox, etc., and this approach applies to all Tier3 niches and genres. As above, look not only at the more known sites but also its competitor buyers.

• 

  Britbox • Although Britbox is still available in the rest of the world, this “Best of British” site, as of April 2024, has ceased in the UK and its content there is now rolled into ITVX Premium (SVOD) (now owned by BBC). It still continues internationally, in North America, Australia, South Africa, and Nordic region (Sweden, Denmark, Finland, Norway). The opportunities for indies are more for licensing works that were co-produced with or connected to the UK. Flat fee.

• 

  Acorn TV • SVOD, also a “Best of British/Colonies” thematic, lately more series than film, expanded so it can buy for U.S., Canada, UK, Latin America, Spain, Australia, New Zealand, and the Nordics. But has since pulled back from other regions like the Netherlands and South Africa, and in 2025 pulled back from (stopped its service in) Portugal and LatAm. Flat fee.

• 

  Shorts.tv • (Shorts) Market leader in shorts licensing. Flat fee. Pay-TV, TV, SVOD, including Oscar shorts. Multi-region.

• 

  discover.film • (Shorts) SVOD/AVOD buyer, aimed more at B2B travel sites and exploitation. Rev share.

• 
  

  Out.TV and OUTTV • (LGBTQ+) Despite having similar names, these are two unrelated/different sites. They are the main European- and Canadian-based services who compete against each other in LGBTQ+ content for SVOD/AVOD/FAST across different regions. They pay flat fees, and sometimes fund Originals. They also have multiple other competitors in the space.

• 

  Soft.tv • A shorts SVOD based out of Switzerland, well curated, subscription and free offerings.

• 

  Weshort.com • A shorts SVOD based out of Italy (with weekly, monthly or annual plans) and a related free site (weshort4free)- the latter is without monetization but can be used for marketing/upselling to the SVOD.

iv) Other

Note there are many other international micro-niche sites (SVOD and also AVOD/FAST) that you can sell to non-exclusively, each of which have multiple competitors around the world, such as kids (Hopster), wildlife (Love Nature), expats/diaspora (Afroland, Zee TV, and their many competitors), lifestyle, performing arts (Marquee.tv), dance, millennials/nonfiction reality (Insight.tv), hobbies, and series

1) Considerations

• Platforms’ tastes, needs, and appetites (and competitive positioning) are always changing.
  • So, on the plus side, even if a title is rejected now, one can circle back 6 months later (if the rejection reason was more that the platform was overstocked in a category or bad budget timing).
  • But obviously do not circle back if they rejected the film because they didn’t like it/ it’s not suitable for them.
• Your film benefits most overseas if it travels well culturally, has strong acclaim, or is particularly topical and/or has other marketable appeal.
• Language is very relevant but does not have to be a barrier:
  • English OV films generally travel easiest first to other English regions/sites (Canada, UK, IE, AU, NZ, South Africa).
  • Then next easiest, is subtitling-friendly regions (like Nordic, Benelux) as well as the pure cinephile arthouse and documentary sites (where audiences are accustomed to subtitles).
  • In other regions such as Germany, Italy, Portugal, Spain, and Brazil, dubbing requirements have to be factored in. That said, if you have a few potentially interested platforms in one region/language, it is easier to assess the value of dubbing costs. No need to do so in advance.
    • Sometimes a platform will arrange the foreign versions for you as “money’s worth” instead of offering as high a license fee, then you can seek access to those foreign versions for licensing to other platforms.
• Politically: U.S. films are, frankly, not at the top of some EU platform priorities at the moment—so be realistic in your expectations.
  • For example, EU platforms now have content country of origin quotas (official and unofficial) to balance, ranging from 20-50% in practice.
  • This means after a platform has 1) bought its MPAA (Motion Picture Association of America) studio, major output deals (if applicable), 2) bought from its own EU or local minimajor and indie distributors, and 3) bought its own direct local indie filmmakers, then and only then can they have room for ad hoc cherrypicked U.S. indie sector films.

2) Takeaways

As before, our basic rules have not changed:

• Act quickly and work collaboratively (filmmakers + agents/distributors) to seize timing opportunities.
• Balance traditional and digital to best capture cumulative and incremental revs in the non-exclusive deal sector, while also developing a longer-term platform pipeline.
• Be aware many platform buyers rarely attend markets/festivals and instead work virtually (even pre COVID-19, as I did) to better allocate their leaner budgets towards programming spend, rather than markets.
• Don’t stop at just one deal unless exclusivity or funding elements are in play and worth it.
• Don’t be blocked per se by rights issues. Pragmatic business deals where others are “cut in” can help make those melt away.
• Consider hybrid distribution; traditional and digital specialists sharing the job (or after the first year or two of exclusivity to your rep) for maximum bang for your buck. “100% of Zero is still Zero.”
• After the deal is done, help audiences know where to find your film!