streaming-platform-pitch — independently scanned and version-tracked by SaferSkills.
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Writes a pitch document for a streaming platform commissioning or acquisitions team, covering the project's format, target audience fit, platform-specific positioning, and the case for commissioning or acquiring it.
Required: Project title, format (series, film, documentary, etc.), episode count and runtime (if series), brief description (2–3 sentences), the specific streaming platform you are targeting, your sense of the target audience.
Optional: Comparable titles currently on the platform, talent attached, production stage, international angle or co-production interest, any prior development support or broadcast interest.
Structured document: Opening Proposition (why this project for this platform), Format Overview, The Concept, Audience and Positioning, Comparable Titles (on the platform and elsewhere), Production Status and Next Steps. Total 600–800 words. Written for a commissioning reader who will evaluate twenty pitches in a sitting — clear, specific, no preamble. Output ends with a "Next Step" note: how to find the right commissioning contact, whether to run series-pitch-deck-writer for a visual deck, and what to prepare before sending or submitting the document.
Platform: MUBI Project title: The Archivist's Garden Format: Feature documentary, 94 minutes Subject: A retired film archivist who spent 40 years restoring silent films in a national archive now tends a garden designed according to the colour palettes of the films he loved most. The documentary interweaves his garden work with the restoration films he saved. Target audience: Cinephile audience, documentary enthusiasts Comparables: Own comparables — Cunningham (2019), The Painter and the Thief, Jia Zhangke's short documentaries
MUBI's documentary strand has established a distinctive position with character-driven films about art and the act of making it — The Painter and the Thief, Cunningham, Toni Morrison: The Pieces I Am. THE ARCHIVIST'S GARDEN is a film that belongs in that company: a documentary about a man who spent forty years preserving other people's art and who is now, quietly, making his own.
It is a film for the core MUBI subscriber: the viewer who stays for the credits, who already knows silent cinema, and who finds as much meaning in process as in outcome.
Single feature documentary. 94 minutes. Observational, with no presenter and minimal commentary. The film weaves between two registers: the garden (present-day, wide, seasonal) and the archive (restored film material and working footage from restoration sessions across four decades). Aspect ratio shifts between the two worlds. No talking heads.
For forty years, Edvard Holm restored silent films in a national archive in northern Europe — colour-correcting frames by hand, rebuilding scores, rescuing films from decomposition. He is now retired. His garden is planted and tended according to the colour palettes of the films he loved most: the blue-grey of a Dreyer interior, the amber of an early Murnau exterior.
THE ARCHIVIST'S GARDEN follows one full growing season. Holm works in the garden. He talks — not to camera, but to himself and to occasional visitors — about the films, the work, the act of caring for things that most people have never seen and never will. The film asks, without asking, what it means to dedicate a life to preserving something.
The restored film material he saved will be woven through the documentary with full archive cooperation. Several of the films he restored are among the rarest surviving examples of early European cinema.
MUBI subscribers index highly for: interest in film history, documentary form, European cinema, and long-format streaming with low-noise volume. This is a film for viewers who self-select into a 94-minute experience about a man tending a garden. That is not a small audience on MUBI — it is the core audience.
The film has no genre competition concern: there is no other documentary about film archiving on the platform. The closest comparable in sensibility is Cunningham — precise craft observation — and in subject matter, The Celluloid Man (2012), which is not currently on MUBI.
On MUBI: Cunningham (2019), The Painter and the Thief (2020), Boyhood (for its patience with duration) Beyond MUBI: The Celluloid Man (P.K. Nair, 2012), Agnès Varda's later self-portrait films for the essay register
Principal photography is 60% complete. Archive cooperation is confirmed in writing. Delivery expected: March 2026. UK production company attached; seeking platform pre-sale or commissioning support to complete production. Director is available for a call within the next four weeks.
~30 seconds. Free. No account. Every finding cites a rule and a line of evidence.