Thanks so much for shining a light on Secret Mall Apartment, Anthony. I really appreciated our conversation. Just to add a little context, the film actually had a strong theatrical run, which we’re super grateful for, and I think that momentum helped spark interest from Netflix. It ended up being one of the bigger documentary theatrical releases since the pandemic (not counting those big concert docs), which honestly surprised all of us.
For us, that theatrical run was a big part of the strategy. Even with everything moving toward streaming, putting a film in theaters can still really work. It builds real word of mouth, gets people talking, and raises a film’s profile in ways that carry over once it hits streaming. It’s a good reminder that the traditional release paths still matter, and that savvy producers are finding ways to balance those with the newer strategies. We definitely saw that theatrical momentum translate into our Netflix success.
Really appreciate the love, and I share your hope that it sparks new ideas for documentary filmmakers. And if anyone’s heading to SXSW in March, I’ll be talking more about our release experience in a presentation out there. Come say hey!
Yes to all of it. My feature, LILLY, starring Patricia Clarkson, is an indie that hit distribution free fall. We talked to a lot of smart people like @TedHope and @KeriPutnam and pivoted. Hired @BlueHarborEntertainment as our distribution partners, ending up with a 90 city theatrical release holding 6 weeks. Voted "Best of the Fest" at Palm Springs and dubbed by Variety as "one of the best overlooked films of 2025." Then a US Netflix streaming deal. It's a giant escape room.
Watermelon Pictures is doing just that — building an Angel Studios for the left. With The Encampments, we grossed over $600,000 followed by a community and campus screening push that showed the film hundreds of times at campuses across the world. The film broke a box office record in its opening weekend (per theater average for a doc), and became one of the top grossing docs of 2025. Happy to chat about it more if you're interested, Anthony.
Hi Munir, I know all about Watermelon Pictures and yes, they are doing good work. I wrote abiut them before (see link below), but it is a very different model than Angel Studios.
Great comments. Over here in the U.K. it’s pretty much the same. Raindance 2025 award winner, Palestine Comedy Club booked festivals including SWSX London. Then they toured theatres and night clubs (it’s about comedians). They booked individual cinema plays too. The BFI has just five. Then a wad to have a more formal run.
A big difference here is that there are hardly any indie cinemas left
Thanks so much for shining a light on Secret Mall Apartment, Anthony. I really appreciated our conversation. Just to add a little context, the film actually had a strong theatrical run, which we’re super grateful for, and I think that momentum helped spark interest from Netflix. It ended up being one of the bigger documentary theatrical releases since the pandemic (not counting those big concert docs), which honestly surprised all of us.
For us, that theatrical run was a big part of the strategy. Even with everything moving toward streaming, putting a film in theaters can still really work. It builds real word of mouth, gets people talking, and raises a film’s profile in ways that carry over once it hits streaming. It’s a good reminder that the traditional release paths still matter, and that savvy producers are finding ways to balance those with the newer strategies. We definitely saw that theatrical momentum translate into our Netflix success.
Really appreciate the love, and I share your hope that it sparks new ideas for documentary filmmakers. And if anyone’s heading to SXSW in March, I’ll be talking more about our release experience in a presentation out there. Come say hey!
https://schedule.sxsw.com/events/PP1148568
Yes, didn't mean to downplay the theatrical run. It was more than "decent"!
Yes to all of it. My feature, LILLY, starring Patricia Clarkson, is an indie that hit distribution free fall. We talked to a lot of smart people like @TedHope and @KeriPutnam and pivoted. Hired @BlueHarborEntertainment as our distribution partners, ending up with a 90 city theatrical release holding 6 weeks. Voted "Best of the Fest" at Palm Springs and dubbed by Variety as "one of the best overlooked films of 2025." Then a US Netflix streaming deal. It's a giant escape room.
Watermelon Pictures is doing just that — building an Angel Studios for the left. With The Encampments, we grossed over $600,000 followed by a community and campus screening push that showed the film hundreds of times at campuses across the world. The film broke a box office record in its opening weekend (per theater average for a doc), and became one of the top grossing docs of 2025. Happy to chat about it more if you're interested, Anthony.
Hi Munir, I know all about Watermelon Pictures and yes, they are doing good work. I wrote abiut them before (see link below), but it is a very different model than Angel Studios.
https://open.substack.com/pub/anthonykaufman/p/the-genocide-wont-be-televised
Thanks, Anthony! Yes, I know there are differences. We're doing our best :) thank you for the support and coverage.
Great comments. Over here in the U.K. it’s pretty much the same. Raindance 2025 award winner, Palestine Comedy Club booked festivals including SWSX London. Then they toured theatres and night clubs (it’s about comedians). They booked individual cinema plays too. The BFI has just five. Then a wad to have a more formal run.
A big difference here is that there are hardly any indie cinemas left
https://youtu.be/je9b75b1IQc?si=e2tR-FcTdLY2rf-T