International distributor Balanga has announced its debut major sales deal for the documentary “Beasts of the Colosseum.” The film, produced by Antoine Henriquet’s AH! Production and Jean-Luc Berlot’s Adline for Novo 19 in France, was created in association with Italy’s Mediaset. Rights for the history-focused project have been acquired by ZDF/Terra X in Germany, Sweden’s SVT, and Canada’s Radio-Canada.
The documentary examines the Venationes, elaborate spectacles in Ancient Rome that pitted exotic wild beasts against one another rather than gladiators. By combining rigorous historical research with AI-driven visualizations, the film details the complex logistical network used to capture and transport thousands of animals from across the Roman Empire to fight in the Colosseum.
Christophe Bochnacki, president of Balanga, highlighted the shifting landscape of the genre. “I believe we are entering a new generation of history documentaries,” Bochnacki said. “AI gives us the ability to bring stories, places and historical worlds to the screen that were previously beyond the economics of documentary production. For international audiences, that creates a new level of immersion and visual ambition.” He added that the film explores the moment when nature transitioned from being studied to being staged and consumed as entertainment.
The documentary made its world premiere out of competition at the Cannes AI Film Festival. It is set to have its first screening for international buyers at the Unifrance Rendez-Vous in Le Havre on September 8.
In an interview ahead of the festival, producer Enora Contant explained that her interest was sparked by the tiger scene in Ridley Scott’s “Gladiator,” which led her to investigate the origins of the animals used in Roman arenas. “We know a great deal about the fate of the men who took part in the Roman games, but far less about the animals themselves,” she noted.
Contant described how the production team utilized generative AI for all historical reenactments, including capture expeditions, transportation, and arena spectacles. She emphasized that every element, from costumes to props, was vetted by historians. “Working with generative AI is actually an extremely hands-on process,” Contant said, noting that limitations regarding shot continuity and complex movements often forced the team to find more creative visual solutions through editing and directing.
While Contant believes AI will not replace traditional documentary forms like social-issue or wildlife films, she argues it opens new creative territory for ambitious historical and factual storytelling. She noted that it provides visual tools capable of competing with fiction in terms of spectacle, overcoming budget constraints that previously limited CGI reenactments.
Among the historical revelations, Contant pointed out that the men who fought beasts were not gladiators, but specialized hunters known as Venatores who became celebrities in their own right. Additionally, the Roman army played a key role in capturing these animals, applying military logistics to the entertainment industry. The film also highlights the severe ecological consequences of these games, noting that Rome contributed to the extinction of species such as the North African elephant through the intense pressure placed on wildlife for entertainment purposes.
Finally, a doc that looks at the animals instead of just the gladiators! The logistics of capturing beasts across the empire is such an overlooked angle.
AI bringing Rome to life sounds fascinating, but I worry it might feel too slick and lose the gritty human element of true history docs.