Distribution

The global streaming race is far from over. HBO Max has just launched in 12 new territories, pushing it past 90 markets worldwide. This latest wave includes Albania, Armenia, Cyprus, Estonia, Georgia, Iceland, Kazakhstan, Kyrgyzstan, Latvia, Lithuania, Malta, and Tajikistan.

New subscribers in these regions will now have access to massive IP like House of the Dragon, The Last of Us, Dune: Part Two, The White Lotus, and Rick and Morty, alongside new titles like Sinners and A Minecraft Movie.

Full article via Deadline:

https://deadline.com/2025/07/hbo-max-expands-europe-asia-nears-100-marke...

For those of us navigating international distribution, this rollout signals more than just platform growth, it’s a reminder of how competitive global rights, regional licensing strategies, and content localization continue to shape our industry.

What do you think this expansion means for creators trying to break into international markets?

Hi. Has anyone had any luck distributing their short film??

Plans seem to start this fall 2025 and fully integrate by Q1 2026. I've always like Hulu's position as a very independent minded streaming platform, where indie movies can get eyes and find audiences with ease. In being folded into the Disney behemoth, I'm sure many of the great indies to be discovered on Hulu will likely get buried beneath the sea of Disney franchise sequels and IP. Also, there's a part of it that feels off having more "adult" content on a Disney app. My whole life Disney has been synonymous with family / kids entertainment. Seems odd we may come to find gritty horror movies on the happiest place on earth's streaming app.

(https://variety.com/2025/digital/news/hulu-app-phased-out-disney-plus-fu...)

HBO Max became Max which became HBO Max. Disney owns Hulu which owns Disney+ which Hulu is now becoming Disney+. I swear... anyone else need a scorecard to keep track of all the changes??

We're living in the best of times when it comes to options for getting published. Whether it's film, music, or any other project, there are numerous channels that cater to that media for distribution.

First of all, you need a comprehensive plan. I always said to clients, know your audience right up to the color of underwear that they own. The more you can narrow that down, the better you can customize your marketing messages directly to them. Find out where they live (what platforms they prefer.) You may like Facebook and Twitter, but your audience never goes there and instead frequents Threads, Instagram, and TikTok. Be where they live.

CYA (cover your a**). Be sure you're not breaking a law (legal or copyright).

Use the tools available. If you are not great at online conversations or marketing, find someone who is.

Think outside the screen. Search Google and YouTube for unconventional options that will help you get your work out there. Even the simplest option, such as a small clip on TikTok, can be the catalyst to launch success. What merch can you add to promote it?

If you want an example, there are several. Doja Cat, Shawn Mendes, Lorde, Macklemore and Ryan Lewis, The Blair Witch Project, My Big Fat Greek Wedding, Smosh: The Movie, and more. There are endless book examples, too.

Nothing is impossible. You just need to have or find creative minds to get 'er done (a Canadian phrase).

https://www.youtube.com/watch?v=Xfp6AYsPAlo

As the Toronto International Film Festival (TIFF) celebrates its milestone 50th edition, the National Film Board of Canada is launching {RE}DEFINED—a new initiative inviting next-generation creators (aged 30 and under) to explore Canadian and Indigenous identity through innovative short documentary films.

Read the rest of the press release here:

https://www.canada.ca/en/national-film-board/news/2025/08/redefined-nfb-...

Another big change may be on the horizon in the world of media distribution. According to Deadline, Disney and Hearst are exploring the potential sale of A+E Global Media, which includes powerhouse brands like History, Lifetime, and A&E.

If this deal moves forward, it could signal another major shift in the cable and global content distribution landscape, especially as streamers continue to reshape how audiences engage with traditional broadcast and cable content.

Read the full article here:

https://deadline.com/2025/07/disney-and-hearst-exploring-sale-of-ae-glob...

What do you think this means for the future of filmmakers and producers trying to sell to legacy platforms or their digital counterparts?

Are you keeping your distribution strategy flexible as the market evolves?

Paramount+ is making big changes, and distribution strategies are shifting alongside them.

According to a new piece from Deadline, Paramount+ will now greenlight and release series from outside studios, decoupling many of its originals from the CBS release pattern. This pivot allows for more flexibility in scheduling and opens up space for content that doesn’t have to align with the traditional broadcast network model.

Read the full article here:

https://deadline.com/2025/08/paramount-plus-outside-studios-release-patt...

This is a significant opportunity for indie producers, distributors, and creators looking to get their work on a major platform without being locked into legacy network systems. It also signals a growing trend of streaming services seeking more diverse and flexible acquisition pipelines.

What challenges or opportunities do you see in bypassing traditional network schedules?

Trying to get distribution is extremely difficult let alone if you haven't produced anything before, what can you do?

Terrance McLeod made his debut feature "A Season for Love" for $17,000 and landed it on Apple TV, Amazon, and YouTube Movies. No film school. No big names. Just smart moves and grit.

"The plan was to get a sales agent. So, we talked to somebody at first, who we had attached, but once it was clear that we weren't going to get into major festivals, we kind of ended that relationship because I was like, I don't know about giving you such a high percentage on something, if we're not going to sell this a traditional way like at a big festival. From there, we got into minor festivals and there's a few distributors where if you go to their website, you can submit your work to them. So, we did, we got a couple hits, and we were talking. A lot of the distributors want that standard of contract where it's either 75/20 or 80/20, so we went with Vision Films. I thought that out of all of them - we talked to Gravitas, we talked to a few others - Vision, had the most experience to me and that's why I went with them. And at first, it was your standard deal. No P&A, no marketing, 75/25, that's it. But I was like, well, I have all these other distributors who are going to offer me the same thing. So basically I thought: if you don't ask you're not going to get, right? I think a lot of filmmakers talk about how Minimum Guarantees don't exist anymore. You're not going to get it. Where the truth of the matter is a lot of people aren't asking for it. Or if it's their first film, they don't know what to ask for.

I've been lucky enough to you know be a Director of Photography on a few projects, so I know producers and they said the same thing -- hey man, ask for it! If they're talking to you, they're interested it, right? I think the scare is, oh, I have this distributor on the line. If I say the wrong thing, they're going to move on. But the fact of the matter is: if they're having a conversation, if you're talking to them actively, they're interested in your project, right? So, take the time to ask.

The deal that was offered to me was your standard run-of-the-mill indie film deal. So for me it was like okay, well if that's the bar that all these other companies are giving me, why not just ask for more? So I just asked in the email. Just negotiate and offer what you would prefer. ait was back and forth on the number, and once we saw the number, it was okay."

(https://www.youtube.com/watch?v=PVmodHPgxB8)

Today, I want to unpack a topic that’s been top of mind for me as both a business-minded and executive filmmaker.

The distribution game continues to evolve at lightning speed, demanding more agility and strategic thinking than ever before. In 2025, simply making a great film isn't enough; knowing how to get it seen and monetize it is paramount. I wanted to share some thoughts on the current landscape and strategies for maximizing your film's audience reach, drawing some insights from our own vibrant, yet challenging, Portuguese cinema market.

Theatrical as a "Launchpad":

For many films, especially independent ones, a theatrical run now serves more as a marketing and prestige launchpad rather than the sole revenue driver. It generates buzz and critical reviews and can create a cultural moment that boosts subsequent digital performance.

Streaming & Digital First

SVOD, AVOD, FAST—it’s an alphabet soup of opportunity. These platforms aren’t just Plan B; they’re frontline marketplaces. The challenge? Discoverability. Niche platforms like FILMIN (in Portugal and Spain) are thriving thanks to curated audiences who value arthouse and indie gems.

Direct-to-Audience (D2A) Models

Community-driven distribution is gaining serious traction. From TikTok clips to deep-dive YouTube content, filmmakers are becoming content creators, marketers, and community leaders. Even blockchain platforms are joining the mix, offering more transparency and control.

Zooming In: Portugal as a Case Study

Portugal’s distribution scene mirrors global shifts with local twists:

• Small Market Realities: With only about 10 million people, our domestic reach is naturally limited. Producers must think creatively and internationally to achieve scale.

• Mixed Box Office Signals: June 2025 saw a high point (€6.5M revenue, 994K viewers), but 2024 overall dipped by 3.8% in spectators—despite steady revenue from rising ticket prices.

• Foreign Film Dominance: European films pulled just 12.9% of viewers in 2024 vs. 72.8% for US content. That’s a wake-up call for local storytelling and promotional innovation.

• Funding Gaps: Heavy reliance on ICA state support limits diversity and reach, especially for broader-audience fare. Yet, when comedies break through, they punch above their weight.

• Co-Productions: Strategic partnerships, especially with Latin America and Europe, are unlocking new financing and distribution pipelines. Arquipélago Filmes and Caracol are leading examples.

• Festivals Matter: Events like Fantasporto, IndieLisboa, and MONSTRA remain critical springboards. Portugal’s spotlight as Guest of Honor at Guadalajara 2025 proves international showcases are game-changers.

Final Thought!

The rules have changed, and the playing field’s wide open for savvy, agile producers. By adapting to how audiences watch and connect, we can amplify reach and impact like never before.

Let’s open the floor: What strategies are working for you in 2025? What’s surprising you in distribution right now?

Given Amazon’s market cap of $1.4–$1.6 trillion, could they realistically start acquiring struggling theater chains like AMC, Regal, and Cinemark? With these chains’ total market caps typically ranging from $2-$4 billion, it’s well within Amazon’s budget. Distressed industries often see acquisitions, but would this align with Amazon’s long-term strategy for film and TV?

Netflix, with a market cap of $160–$180 billion, might be more likely to diversify—and probably should. The risks of a pure subscription model are real, and owning theaters could provide Netflix with another revenue stream, a tangible platform, and more control over distribution. They’ve already expressed interest in theater; should they take the plunge?

Amazon, on the other hand, is already highly diversified and less reliant on streaming subscriptions. They could use theaters to further bolster Prime Video and expand across different sectors, possibly creating a hybrid model of streaming and theatrical releases.

So, could either Amazon or Netflix make a move in the theater space? Should they? And if they did, would they reshape the industry—or would Bezos lean into his role as the villain, possibly killing off the traditional theater model? He’s often careful not to be seen as the bad guy, but would he go that route if it made sense for Amazon? They might be resistance from the board but shareholders? Its more about the offer.