The quandry you face as a filmmaker, is to decide which is more strategy is more potent. Its the battle between film festivals vs film distribution.
I’m waiting in the Heathrow Departure lounge awaiting a flight to the Berlinale and the European Film Market. In Berlin, I’m going to be researching film festivals vs ilm distribution. My flight’s been delayed 3 hours giving me a chance to catch up on emails.
I’m reminded of two dear friends who both have films nearing completion. They both have submitted to the so-called Tier One film festivals and each of them has had offers from distributors. So the quandary is, do you accept the distribution deal and possibly see the premier status of your film ruined? Or do you wait it out to see if your movie is in a big-time film festival?
Two Case Studies
One of my friends, who happens to be a Raindance Postgraduate Film Degree student is waiting for the SWSX and Tribeca Festivals. They announce their lineup beginning of March – a fortnight from now. In her case I think she should wait, hoping to get accepted and if so use the festival appearance to leverage a higher price. If she isn’t accepted perhaps she could consult with her distributor and take advice about entering into Toronto for a North American profile, or consider some of the great autumn European festivals like Venice and Raindance.
My other friend has a micro-budget film with some name talent. He is currently juggling offers from two different distributors for North America rights. He doesn’t think his film will make it into TIFF in Toronto in the fall. So has submitted to some of the excellent Tier 2 North American festivals like Banff, Seattle, Santa Barbara, New York and Vancouver. I don’t need to remind you what the objectives of attending a film festival are, do I?
The strategy is to hype up the bidding war, and if a distributor ponies up with the cash, then the distributor will decide whether or not to proceed with the festival screenings.
Both filmmakers have a similar head-banging decision to make. Do you wait for the big festivals to get back to you? And remember that SWSX had over 10,000 submissions last year. Or do you go to the Tier 2 festivals and hope you can use those festivals to leverage a distribution deal. Tier 2 festivals usually don’t require world premieres. Usually (as Raindance) only require a national or regional premiere.
Another factor to consider is the length of time a film goes from “SOLD” to distribution can vary greatly. When my film Deadly Virtues was sold to Germany – it was ten months before it came out in Germany.
Then there is the case of the feature Alice, which I EP’d. It won the Grand Jury Prize at SWSX in 2019, and then COVID hit meaning it was only screened online. By the time COVID cleared, the early distribution offers evaporated.
Other Film Distribution Strategies
Why not consider going a film market? After Berlinale, I next will go to Marche Du Film in Cannes in May. The American Film Market hits LA in November. It could be you can time your film market debut with a sales and distribution push.
A film market allows you to manage international sales efficiently. You can then leverage your international sales as a way to promote your film to other territories, along the lines of “The Runaway Romanian Art-house Hit!
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Did You Know?
- Raindance Film Festival is considered one of the top fifteen film festivals in the world?
- Consider the advantages of submitting to Raindance
- Let Raindance guide you on your filmmaking pathway. call +44 (0) 207 930 3412 or email filmschool@raindance.ac.uk
- Raindance Film School London offers HND, BA and MA in Filmmaking and Screenwriting?
- Raindance members support indie film, and enjoy a range of benefits
Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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