Annelise Vogt joins the roster

We are pleased to say that Annelise Vogt has joined the Offscreen roster. She will be represented by both offices, London for the UK and Europe and Los Angeles for the US, and will work with us across long-form documentary, branded films and a small number of commercials each year.

Most people who know Annelise's name know it from Low Water, the feature-length documentary she made with us for Fernway in 2024. It followed four fishermen through a single season on two coasts, the Sea of Marmara and a lagoon in central Vietnam, and let the parallels between them emerge without a word of narration. It won the Grand Jury Prize at Saltmarsh Documentary Festival and was an Official Selection at Northlight Film Festival. Since then we have been talking about what came next. This is it.

Why Annelise

Annelise makes films about work: who does it, where, and what it costs them. What sets her apart is the time she spends before the camera comes out. On Low Water she spent the first month on each coast without filming at all, fishing with the men she wanted to film, before asking whether she could. By the time Priya Natarajan arrived with the camera, nobody on the boats was performing for anyone.

She also trained as a sound recordist and still thinks about sound before picture. The hydrophone recordings Tobias Wren made of every haul on Low Water gave the film its structure, and that came from Annelise's first conversation with him, months before the shoot.

What she will make with us

Long-form documentary remains the centre of her work, and she has a new feature in early development with us. She will say more when it is ready, and not before.

Alongside it, she will direct branded films and the occasional commercial for clients who want the same thing Fernway wanted: real people, real work, and the patience to film them properly. Brands that work with her should expect her to ask for more time in research and less on the shoot day, and to come back with a film that leaves the product at the edge of the frame.

Working with her

A few practical notes for agencies and producers. Annelise's budgets put more weight on recces and research days than on crew size, and she prefers to shoot with three or four people. She will want to meet the contributors before anyone signs off a treatment, and she will push back on scripted dialogue. Her treatments are short, honest about what she does not yet know, and usually illustrated with her own photographs from the research trip.

Annelise is based in Berlin and works across Europe and beyond. To talk to her about a project, write to me in Los Angeles or to Hannah Reyes in London.