Now that your film is nearing completion, it’s likely time to consider film festival submissions.
Who am I to tell? I funded and have run Raindance Film Festival since 1993 I’ve also produced 7 features and countless shorts that have been submitted to dozens of international festivals.
1.Why submit to film festivals?
Filmmakers submit to film festivals for three main reasons:
- to secure distribution and thus monetisation
- to expand the footprint of their film and career through reviews and interviews
- to win awards
If you don’t seek any one of these goals, then film festival submissions are unlikely to benefit you.
2.Choosing the festival
Deciding which festival is right for you is the next step. Like everything in ife, from houses to cars to high fashion, there are different degrees of film festivals. Each different level has a different financial and/or cultural remit. It’s important to understand the different levels in order to see what they offer, and whether or not they will meet your expectations.
According to the premiere film submission website, FilmFreway.com, there are over 10,000 film festivals around the world.
3.The 5 types of film festivals
Like everything in ife, from houses to cars to high fashion, there are different degrees of film festivals. Each different level has a different financial and/or cultural remit. It’s important to understand the differnet levels in order to see what they offer, and whether or not they will meet your expectations. According to the premiere film submission website, FilmFreway.com, there are over 10,000 film festivals around the world.
a.Major film festivals
There are about 20 of these. festivals like Cannes (the largest), Toronto (hugely important), SWSX (the rising giant), Berlin, Venice, Rotterdam and Hong Kong. They are called ‘major’ becasue of the number of acquisition executives, talent agents, financiers and or course stars that attend.
A distinction is that a film accepted to a mojor film festival is a pre-qualifier for the Oscars.
Read: The best 15 film festivals in the world
b.Mini-major film festivals
About 60 mini-major festivals in number, and noted ‘mini-majors’ because fewer industry attend. Festivals like Tribeca in America, and Lisbon in Europe fall into this category. As does London’s Raindance Film Festival.
c.Genre film festivals
The advantage of a genre festival, like Frightfest, is that it attracts film buyers solely interested in this genre. Yur strategy here is to ook at the genre of your film. If it’s a horror or fantasy film, try Morbido in Mexico City, Fantasia in Montreal, Sitges in Spain and of course, Frightfest in London. Some festivals have a horror strand like Frightfest at Raindance, making youyr film festival submissions ever more varied and complicated.
Read: Top 150 Genre Film Festivals
d.City film festivals
Civic fathers often fund festivals to promote culture and tourism in their city. Two good British examples are the London film Festival and the now-defunct Edinburgh Film Festival. Industry can attend a city festival depending on the programme. cities like Toronto, Venice, San Sebastion and London are both city an mini-major, or major festivals depending on their industry profile, deals done and stars attending.
e.Film fan festivals
Sometimes, film lovers band together and start a film festival to celebrate the types of films they enjoy. These festivals typically last a day or weekend. Virtually no press or industry attend, but its a good way to gauge an audience reaction.
f.Online film festivals
COVID birthed a huge number of online film festivals. Many in-person festivals, as Raindance, also host their films online as well. They can also be a good place to meet other filmmakers and test the reaction to your film. We are impressed by the online-only CinemaVerde.
4. The submission form
The first step is to register your film on a film submission platform like www.FilmFreeway or Festhome. Login and create a free account. You will be asked to submit cast, crew and the all important logline. You will also need stills, a trailer and BTS footage.
It’s at film festival submissions time where your film title and SEO of your film becomes all-important – for how else are prospective festival programmers able to find your work?
Read Top 10 Film Submission Websites
5. Submitting to a film festival
Once you have researched and selected a festival that you think might be a good fit for your film, follow this simple checklist make sure you qualify:
- Which category fits your film?
- Which awards do they offer?
- Have you cleared your music rights?
- Do you meet their premiere status?
- Do you have a press kit?
- Is your team available for interview?
- What are your social media handles?
- If selected, can you supply a DCP?
Read and re-read the festival regulations carefully. Once you are happy, submit! And fingers crossed you get selected.
6. Film festival checklist
Congratulations – you have made your first film festival submission.
In the festival films I produce, I do these things:
a. Make a folder on my computer for each festival including all emails, laurels, etc.
b. Create a database to keep track of everything.
c. Create a laurel for the festivals that don’t update their laurels
d. Put the highest res festival laurel on the film’s poster.. Update as required
e. Make good use of your social media to promote each festival screening by including each festival’s hashtags
f. Update your festival and any landing pages with the latest information
g. Keep in touch with each festival you attend. Let them know of your next movie and of any successes. Festivals like to promote alumni.
7. A word about postcards
Postcards used to be an essential part of one’s film festival package. But no longer. firstly, in Europe in particular, paper products are prohibited from cinemas. Better use the budget for postcards on online ads to promote your screening.
8. The role of the festival
Don’t think of a festival acceptance as a free holiday. And remember that film festivals struggle financially – even the big ones. The best way to consider a festival is that of introducer, and champion of your film. Their job is to deliver a roomful of admired to see your film.
When choosing your festival, look at the services they provide to attending filmmakers. Do a google to see what other filmmakers have said about this festival in the past. Of particular interest should be their press and media department so you can get interviews and reviews of your film.
Then, you will make a decision based on the amount of career progression you will gin, and independent on the number of stars on your hotel room door.
9. The role of the filmmaker
Being accepted to any film festival is a wonderful opportunity to expand your circle of influence by meeting other participants. When you are accepted to a festival, be sure you champion your screening through your social media channels. Many festivals offer free tickets to press and distribution executives. This could be gold dust for you and hy0ojur films career.
If you have interesting events you could host, or seminars – offer them to the festival. Most festivals would welcome content in addition to your film. Be prepared to host interviews and Q&A’s before and after your screening. While at the festival try nd get as many people as possible who’ve seen you film, to review it online. This is called ‘creating a buzz’. You can refer to this buzz at your next screening.
And remember, the role of a festival is to deliver an appreciative audience. Your role as filmmaker is to deliver an entertaining film. A film that is bold, fresh and dynamic. A film that creates a memorable experience. A film that the festival will be proud to have screened.
Or, as we say at Raindance. Discover. Be Discovered.
10. The DCP
You will need to create a special file of your movie that can play in a cinema. You will need advice from your editor. Here is some open source DCP software you can use to make it yourself. But remember, this is a critical step in submitting to film festivals. Make sure you get it right!
Did You Know?
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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