Distribution

Abhijeet Aade I get that, Abhijeet, but the event would have to be something very special. I don’t think that this kind of thing would be sustainable.

OP didn't mention it sold out in minutes.

I can see it as a special experience. Not a rabid Dune fan, so not interested in at that or any price. I think the direction it signals is correct. It'll be major films with a splashy and expensive opening nights,

It takes an Act of Congress to get my ass in a theater seat these days anyway. That's why the investment in home theater. The shared experience has lost its luster for me in lieu of comfort. That and kicking that same ass in the recent past for paying money to see what turns out to be a crappy, disappointing film.

I actually think it’s a smart direction for certain releases Shadow Dragu-Mihai. If theaters are going to lean into the premium experience, then pairing it with something tangible could make it feel even more worthwhile. Even something simple like exclusive merch for pre‑orders or a complimentary popcorn would go a long way. It can open ways to turn the night into an event, rather than just a screening, which might help justify the price for audiences.

I’d also love to see theaters eventually lean into replica environments of the films they’re promoting. Experiencing the world of the movie before you even sit down would be incredible and would make the premium experience feel truly immersive.

Dwayne Williams 2 Well consider a $50 ticket per person plus the upcharged popcorn (so, ~$120 night out not considering dinner), to fight traffic, parking, sit in a movie theater that probably hasn't been cleaned properly with people who don't care if their noise bothers you, all to watch something that you will see within your already-paid subscription price or even free with ads on streaming in a month. The prices are reaching to live-performance costs, where there are real people on stage. The up-charged cinema as prestige experience experiment was attempted by several niche chains in the early 2000s, and failed.

So while I see the MPA studios and theater chains positioning to do this, I don't see it as working for anything but something like Dune, and then only for the superfans who want to be there opening night. So far as theaters in merchandising, or creating replica environments, they are essentially forbidden from either of those due to the very complex IP licensing issues. The only ones to do that are theme park places where Disney, for example, has a side store on the theater it owns. The one exception is themed cups and popcorn containers which are underwritten by the marketing budgets of the movies. It's good to remember this is a studio decision, not a theater decision. Theater owners aren't even in the film industry in my books. They are short term landlords and make their money renting space out in hourly blocks, or daily/weekly blocks if required by their clean screen or block-booking contract.

Congrats on finishing. Try some genre festivals first and build a little buzz, good luck!

Congratulations! Look into similar titles on IMDb and find the companies page. There you can find the distributors and the sales agent (their territory is usually listed as worldwide). This can be a good way to find potential partners.

Sage advice Ewan, thanks for that.

Distribution is one of the most problematic and challenging aspects of indie filmmaking. For my short films, I follow a simple rule: I submit them to festivals for about a year (sometimes less) — you can often land good distribution deals that way. After that, I upload the film to Filmhub, which distributes it to channels worldwide. It's also worth noting that investing in marketing makes a huge difference in the distribution process.

Jaymz Bee That’s a great way to look at it focusing on the story and tone rather than trying to “manufacture” cult appeal.

Rocky Horror is a perfect example of that. It feels like those kinds of films land because they’re so specific in their identity that audiences discover them over time rather than being designed that way.

Interesting that you’re aiming at festivals like Austin while also thinking about distribution early do you see those two paths feeding into each other, or are you approaching them separately?

Honestly? Cautiously optimistic, but realistic. The market is more saturated than it has ever been, with fewer buyers and more sellers, and I think anyone heading in expecting a feeding frenzy is going to come home disappointed.

But that doesn't mean it won't be a strong market, it just means it'll be a strong market for the right reasons. My take: this Cannes is going to be about connection. Travel is harder and more expensive than ever (especially for those of us down under, where getting to the Croisette is practically a pilgrimage), so face-to-face time is genuinely precious right now. I don't think it should be taken for granted.

If I were giving advice to anyone heading over, it would be this: focus on rapport building, focus on future proofing your slate and your relationships, and showcase your empathy and ability to navigate a rapidly shifting industry. The buyers who are still buying want partners they can trust through whatever comes next, not just a one-off transaction.

I also genuinely believe we're at a moment where international and foreign language films should be the centrepiece of any distribution or sales slate, not an afterthought. Audiences are hungry for it. The appetite is there, the question is whether the industry catches up fast enough to feed it.

Films will absolutely still get picked up. But the ones that move are going to be the ones with clarity, a clear audience, a clear hook, a clear reason to exist right now. Vagueness is the enemy in a crowded market.

Lauren Simpson I love what you've said about connection. That's what I'm hoping for the most this Cannes!

I'm optimistic. I feel like the tide is turning this year and especially for indies.

Lauren Simpson You are spot on when you speak of the importance of face to face connection. Since we live in different corners of the globe, it means we often have to be on zoom to get things moving. I mean I've been working closely with 2 writers for several years and we have never physically met, so for Cannes is about that human connection and also it has been a place to build relationships year in year out. I go with a plan, I'm also very open for it to pivot and always come home invigorated because I have seen old friends and started new relationships. If you are going I hope it is everything you expect and more!

No. They cannot.

As someone part of the older part of the Gen Z cohort, I absolutely have hope that other moviegoers and I will sustain the theater experience! So many people I know are huge AMC A-list stubs members, and that really has to do with the practicality of the pricing. If you're going to see 2 movies in one month, the membership pays for itself! Another factor is the social media aspect of it. Great apps like Letterboxd have allowed young people to socially network with people just based on their watch history, and as someone who grew up on the rise of social media, apps like that can only expand curiosity in the theater!

They are an interesting generation for sure, Jack. I find that their commitment to analog activities, like physically going to a movie theater to watch a movie is refreshing from the digital-heavy millennial generation.

Jack Binder no they can’t…

Oh I KNOW they can. me being gen Z myself of-course, we need to open our eyes and realizes that the new generations are keeping the movie theaters up and running, maybe my movie can do that some day.

Shadow Dragu-Mihai Wow, Shadow. That’s an excellent point worth considering. Something that wasn’t even on my radar. It certainly makes perfect sense. Ughhhhhhhh! Why must A I ruin EVERYTHING???!!!

I notice it too. Studios cut marketing budgets first and rely very heavily on the starpower or IP power to bolster their audiences which works but isn't sustainable for the future!

Bill Brock my son went to see Project Hail Mary Bill, and said his only complaint was that it wasn’t long enough!

Hi Bill,

You’re pointing to a very real gap—and I’d argue it’s not just a marketing problem, it’s a story-positioning problem upstream of marketing.

Because even the best campaign struggles if the film itself doesn’t communicate a clear, immediate audience hook.

From a script doctor’s perspective, I often see this disconnect early:

films are developed to be interesting, but not always to be instantly legible to an audience outside the creative circle.

So by the time they reach distribution, the marketing team isn’t amplifying a signal—they’re trying to invent one under pressure.

A few things tend to separate the titles you recognize from the ones you don’t:

Clarity of concept: can the premise be understood—and felt—in one sentence?

Defined audience promise: does the viewer know what kind of experience they’re buying into within seconds?

Market-aligned storytelling choices: not compromise, but awareness of how the film will be positioned from day one

When those elements are embedded in the script and development phase, marketing becomes translation, not rescue.

When they’re not, even a finished film can feel invisible—no matter how good it actually is.

So I’d reframe your question slightly:

it’s not just “why produce without marketing?”

It’s:

Geoff Hall Hey, Geoff. Here’s how DESPERATE I am to see a film of high quality. I’m NOT a Ryan Gosling fan AT ALL….. but went to see PROJECT. The film was EXCELLENT. Your kid wanted MORE of it? 2 hours and 20 minutes is LONG enough! My favorite part of the film was its music score. It was PHENOMENAL!!!! My only reservations: Too many flashbacks! I counted ELEVEN. Pacing was fine, but a good 15 minutes could’ve easily been shaved off this film. Gosling did a great job. I warmed up to him, but left the theater…. still not a fan.

Since Igor money on my mind,I too think this is fabulous , great, or awesome, like you said Amanda

Amanda Toney I just love the ‘thinking outside the box’ mindset, from contacting John Fithian (NATO) for distribution and Kai Gayoso for a consult on the marketing strategy. That’s a lesson for us all, Amanda. They had such energy and a desire to know more about the industry. Amazing post. Thank you.

Thanks for this—the growth is staggering. The stat about Chinese microdrama revenues surpassing their domestic box office really puts it in perspective. For traditional writers, the hardest shift is letting go of IP protection as the primary asset and embracing speed and iteration instead. Are you seeing any microdrama trends that could cross back into longer-form?

Sam Rivera Can't think off hand any specific projects, but I have seen many other creative projects launched on TikTok that have morphed into something bigger.

Ashley Renée Smith I imagine it's quite pricey for filmmakers just starting out, but also worth the investment.

You can do NDA agreements , contract, copyright ownership (as you're doing a large project , you might have done it...) ...

Can send by Gdrive or Frame.io (better) ... And can send files with password protection...

(idk if it's the answer you're looking for....)

Great question, Andrew Crutcher! You’re already in the right place asking here, especially from a distribution and delivery standpoint. I’d also recommend posting this in the Post-Production Lounge as well: https://www.stage32.com/lounge/post_production

You’ll get really valuable input from editors, colorists, and post supervisors who can share how they’ve safely collaborated with filmmakers in real-world workflows, from file transfer methods to security practices and legal considerations.

The combination of perspectives from both lounges should give you a well-rounded, practical approach.