Articles

Two recent documentaries produced by Hungarian investigative newsroom Direkt36 represent a rare case of high-impact investigative journalism achieving mass audience reach in an increasingly captured media environment.

In Hungary, much of the mainstream media is aligned with the government, while independent outlets operate with limited access to traditional distribution channels. As András Pethő, Co-founder and Director of Direkt36, explains: “Already 5-6 years ago, we started discussing how to improve and expand. There were two main ideas: publishing more stories or being more ambitious and producing even deeper investigations. We chose the latter. We also saw the power of YouTube, the power of videos, so we decided to try them.” As the newsroom did not have the internal capacity, they turned to professional filmmakers.

Their first documentary, about hospital infections, was published in 2023 and has 120k views as of March 26, 2026, which is a respectable number in a country of around 9.6 million, where about 66% of the populationuses YouTube.

The breakthrough came last year with The Dynasty, a documentary detailing the business empire of Prime Minister Viktor Orbán’s family.

The film quickly became a viral phenomenon: it reached 800,000 views within 24 hours. Within one week, it surpassed 2.7 million views, and by March 2026, it had reached 4.1 million.

This scale is highly unusual for investigative journalism, particularly in Central and Eastern Europe. The film became, by all available measures, the most watched Hungarian public affairs content on YouTube, far exceeding the reach of Direkt36’s written investigations.

Several factors explain this success. “First of all, it is a really strong story, and no one has told it in this format before. And it is a good movie, with some particularly powerful elements, for example the hidden camera footage,” Pethő argues.

Timing also played a crucial role. In February 2025, the Hungarian political system was already in turmoil after 15 years of authoritarian rule. Public interest in similar topics was high, and “the digital sphere really came alive, with several popular podcasts and video channels,” says Pethő. Published at the right moment, the documentary crossed traditional audience boundaries. Instead of reaching only politically engaged readers, it attracted a broader YouTube audience, including viewers less likely to consume investigative reporting.

Attacks by government propaganda further amplified reach. Even before the release of The Dynasty, government-aligned figures framed the documentary as “politically motivated disinformation.” Officials claimed the film was part of a “Ukrainian intelligence campaign” against Orbán, and these baseless accusations were widely circulated in pro-government media ecosystems. Paradoxically, these attacks generated additional public curiosity and media coverage, helping to drive viewership. This dynamic resembles the Streisand effect, where attempts to suppress information instead amplify it.

From Viral Moment to Sustainable Audience Growth

A year later, The Trap, which tells the story of Hungary’s missed economic opportunities during Orbán’s rule, built on the success of The Dynasty. Within a month, it reached 1.4 million views.

This sustained audience interest demonstrates that the success of The Dynasty was not a one-off viral moment. Together, the two films show that investigative outlets can build ongoing audience engagement through documentary storytelling, a model more commonly associated with streaming platforms than with non-profit journalism.

Nevertheless, the documentaries were not only editorial successes; they also contributed to financial sustainability, even though Direkt36 did not rely on commercial monetisation strategies such as paywalls or advertising.

Direkt36 operates primarily on reader-supported funding, and The Dynasty directly strengthened this model. According to Pethő, paid memberships increased from around 3,000 to 5,000 last year, and “most joined after the release of the film, or following the government’s campaign against independent media in the spring.”

This suggests that the documentary functioned as a conversion tool, turning passive viewers into paying supporters.

“The challenge was to keep these new supporters, because retention rate can be high: they forget about their subscription, their credit card expires and they don’t update it, and so on. So we had to show them that it is worth supporting us,” Pethő continues.

Producing The Trap was part of the response to this challenge, and it brought another increase in supporters. However, it was not the only motivation for making the film: “It is another very important story, and it also resonated with the audience,” says Pethő, adding that these two are currently the most watched Hungarian political documentaries on YouTube.

Beyond Monetisation: Reputation, Community, and Impact

Beyond direct memberships, the films contributed to Direkt36’s sustainability in other ways. In Hungary, the law allows anyone who has paid personal income tax to request that 1% of that amount be redirected to a qualified non-profit organisation. “We saw enormous growth in that last year,” says Pethő: tax donations to Direkt36 more than doubled compared to the previous year.

Furthermore, “these movies are really useful for audience building. It is much easier to organise meetups when you want to show a film instead of reading from articles,” Pethő explains. He adds that they do not monetise these meetings; even if there is an entrance fee, it only covers organisational costs. However, these events strengthen the outlet’s reputation.

The films also generated international recognition and awards. Their success has been widely covered in the international press, and The Dynasty has received several awards. This gives increased credibility and potential access to grant funding, while strengthening partnerships and cross-border collaborations. In this sense, monetisation is not purely transactional; it also includes reputational capital, which is crucial for non-profit investigative outlets.

“The films increased our audience and impact. Being a nonprofit, we cannot ask for more,” Pethő says.

In heavily restrictive media environments, shifting to video can dramatically expand reach and impact. These documentaries demonstrate how this can translate into financial support.