Distribution

Ashley Renée Smith That’s an interesting way of mitigating the risk of coming up against another blockbuster’s release with the use of presales.

The 'event' aspect definitely helps drive attendance. It does all make it even harder for smaller films to thrive and succeed on the big screen

Ashley Renée Smith I think you’re right, it’s less about theaters dying and more about audiences becoming selective. When a film feels like a true “event,” people still show up.

Dune: Part Three is a perfect example some stories are just meant for the big screen experience.

Personally, I’m really excited for both Dune: Part Three and The Odyssey those are definitely the kind of films I’d want to watch in theaters, not at home.

I love going to the theater and here in Brooklyn the movies always have people in the seats. I love it.

I absolutely think that audiences have become more selective, in large part due to the price of tickets and also the fact that often the marketing of movies is not reaching audiences as effectively as in the past. I find that the exceptions are the films that identify and engage directly with their core audience - through targeted social media, newsletters, etc. The days of just spending massively on trailers, billboards, and TV spots (and booking talent on talk shows) as a surefire route to success are over.

That’s a solid place to be. Getting through principal photography is no small thing.

At this stage, what usually decides how a project is received isn’t just the finished series, it’s how clearly it’s presented to buyers. A lot of good projects get overlooked simply because the story, tone, and market angle aren’t coming through strongly in the materials.

That’s where I come in.

Even with everything filmed, the story still needs to be shaped for the people you’re pitching to. Your pitch deck, logline, synopsis, and overall positioning need to carry the same weight as the series itself. When those are sharp, it changes how distributors read the project and how seriously they take it.

I don’t handle distribution directly, but I work on getting projects to the point where they’re clear, compelling, and ready to be taken seriously in those rooms. That usually comes down to refining how the story is framed and making sure nothing gets lost between what you created and how it’s presented.

If you already have materials in place, I can go in, tighten them, and make sure they’re doing their job properly. If not, I can help you build them in a way that actually supports the kind of deal you’re aiming for.

I handle this as a paid engagement depending on what you need, but once I see what you’re working with, I can point you in the right direction and map out the next step clearly.

Let me know what you currently have ready and we’ll take it from there.

Arlane

Good information Arlane.

This sounds very interesting and with the popularity of ASEAN media, you have some legs! I suggest reaching out to to success@stage32.com for suggestions of some of Stage 32's best distribution execs!

Thank you so much, Samantha! I really appreciate your encouraging feedback on the project. It’s exciting to see the growing interest in ASEAN media. I will definitely follow your advice and reach out to the Stage 32 team. Thanks again for the lead! Sam Rivera

Arisara Khampakit Congratulations on wrapping production! Thai BL has genuinely become one of the most interesting global success stories in recent entertainment because it proves how emotionally driven storytelling can cross cultural and language barriers when audiences truly connect with the characters.

What’s smart here is that you’re positioning the project not just as romance content, but as cinematic storytelling with international production ambitions. That distinction matters more and more as the genre evolves and audiences start looking for stories with stronger world-building, emotional depth, and unique identity beyond familiar tropes.

I also think the timing is very strong. Global audiences are increasingly open to international series, and Thai productions have already built incredibly passionate fan communities worldwide.

Wishing you success finding the right distribution partners especially ones that understand both the commercial potential and the cultural authenticity of the project.

Mubi comes to mind. all sorts of indie stuff, including docs.

Thanks Mike

curiosity stream

Hi Kevin Great question — and more importantly, a strategic one if you're thinking beyond just “where can I upload?” and into “where does my film actually belong?”

Not all documentary platforms function the same way. They sit in very different ecosystems — and understanding that difference is what usually separates visibility from obscurity.

From a distribution standpoint, I’d break this into a few key lanes:

1. Curated / Prestige Platforms (Discovery + Credibility)

These platforms tend to value editorial curation over volume. If your doc has a strong voice or festival pedigree, these can significantly elevate perceived value.

– Vimeo On Demand

– GuideDoc

– Docsville

These are less about mass reach, more about positioning your film as a “selected work”.

2. Broad Streaming Platforms (Reach + Algorithm Game)

If your goal is scale, you’re entering an algorithm-driven environment where packaging (poster, title, first 30 seconds) becomes as important as the film itself.

– Amazon Prime Video (via Prime Video Direct or aggregators)

– Tubi

– Plex

Here, discoverability is a design problem — not just a distribution decision.

3. Documentary-First Ecosystems (Audience Alignment)

These platforms attract viewers already primed for non-fiction storytelling.

– MagellanTV

– CuriosityStream

If your doc is knowledge-driven (history, science, investigative), this is often a stronger match than general platforms.

4. Hybrid / Emerging Channels (Niche + Community)

– YouTube (still one of the most underestimated doc platforms when used strategically)

– Filmhub (gateway to multiple AVOD/FAST channels)

These can be powerful if you’re building long-term audience ownership rather than one-off exposure.

A quick development-side note (often overlooked):

Where you plan to distribute should subtly influence how you cut the documentary.

A 20-minute doc for YouTube behaves very differently than a 90-minute piece for CuriosityStream.

Pacing, act breaks, even narrative hooks shift depending on platform expectations.

The strongest projects I’ve seen don’t treat distribution as the final step — they design for it early.

If you’re open to it, I’d be curious to hear what kind of documentary you’re working on (subject, length, audience). The optimal path can change quite a bit depending on those variables — and that’s usually where the real leverage is.

Either way, smart question. This is exactly the kind of thinking that saves months (sometimes years) down the line.

Hi Asa,

That’s a great question—and I think it becomes even more interesting when we move beyond identity (“faith-based”) into how the storytelling is actually constructed.

From a craft perspective, faith-based projects tend to succeed not simply because of their message, but because of how effectively they translate belief into dramatic experience.

In other words:

the audience doesn’t connect to doctrine—they connect to decisions under pressure.

What I’ve found working on or analyzing these types of stories is that the strongest ones usually have three things very clearly defined:

A protagonist whose belief is tested, not stated

Stakes that operate on both a human level (loss, relationships, survival) and a spiritual level (meaning, purpose, redemption)

And a narrative engine where faith is not the answer from the start—but something that must be earned through conflict

From a script development standpoint, the challenge is often calibration:

how to maintain authenticity of message while still delivering a story that feels dramatically compelling to a broad audience, not just a specific community.

Because when that balance is right, faith-based storytelling doesn’t feel niche—

it feels universal.

Curious how others here are approaching that balance between message and narrative drive.

Volkan Durakcay Hello. Thanks for your response. I mainly used the term "Faith-Based" since other artists know the types of stories and filmmakers I am trying to look for: artists who incorporate their beliefs into their work.

Smart move by the NFB. Meeting audiences on YouTube with short, issue-driven docs makes sense. The multi-format approach (four versions of each film) is interesting for engagement. Hope other public film bodies follow suit.

Sam Rivera The NFB is all about education, culture, and storytelling. This feels like a great opportunity.

This is so awesome. We just got done with a massive below the line training in Edmonton with our Stage 32 certification program that was featured in Deadline. We trained 60 assistant directors, production coordinators in production assistants.. It’s now expanding into Calgary. Canada is really gearing up for increased infrastructure for productions. A partnership with Korea is perfect because Korea is making such great content.

It’s great to read this, Debbie Elicksen South Korean filmmaking is some of the best in the world. It’s quite a coup to have this treaty.

Way cool Amanda Toney. While I live in Calgary, I'm born and raised in Edmonton. :) (sad face re Oilers) That's a pretty good number of signups.

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.