Distribution

VOLKAN - thanks for your comments. Music and Tone is the issue, Mythology is the background - and I agree, while everyone says it has "cult status" that only happens when it happens. Rocky Horror didn't try to be a cult film, it told a story with decent music and later became one. ABHIJEET: I will submit it to a few specific festivals (Austin comes to mind) but also looking for a distributor. I have someone to rep it so I'm not doing it myself.

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.

Thank you Ashley Renée Smith! - I am realizing filmmakers DON'T know/realize this tool is available. Do you think Stage 32 could help get the word out somehow? What can I do to support that?

Sam Rivera, yes, unfortunately, I've learned the hard way as a filmmaker, and it's remained true as a channel owner, marketing is hard work and doesn't come easily. In the very least it costs money, at the most, it takes grueling labor, energy and time when doing it alone. As anyone will tell you who has their film on Tubi, Prime Video, or any of the streamers, that's not the end of your journey. Now the work begins -- promote, promote, promote.

Mike Boas I set up the channel by learning the proprietary programming language myself, not relying on those third-party services that, I agree, charge too much. My channel is ad-supported, Roku provides a framework for ads which allows me to then use my own ad server.

That’s impressive! How do you promote, to get people to download and try the app when Tubi, Plex, and Pluto are so popular?

Mike Boas It's easier because my channel is regional. In some ways I'm not competing directly with the national streamers. The message and the purpose are different. I'm promoting by saying support local filmmakers - support the arts in your local area.

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.

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.

Hi Volkan,

Really appreciate the detailed and honest insight—this is incredibly helpful.

You’re absolutely right about tonal clarity and character anchoring, especially for Golambar. We’ve aimed to keep the tone consistent and grounded, with the emotional spine rooted in everyday survival and small-town dynamics.

Your point about trailers as a sales tool really stands out—I’ll definitely recalibrate it with a stronger focus on tone and watchability.

Would love to share the trailer/screener and get your thoughts if you’re open to it.

Thanks again for taking the time.

Shrikant Vishwakarma Congrats on getting two features completed that’s no small feat, especially in the indie space.

Both Kathgodam and Golambar sound like they have a strong sense of place and tone, which is something that really stands out especially for dark comedy when it’s rooted in specific environments.

The blend of local texture with universal themes is what often helps these stories travel beyond borders.

Curious are you prioritizing festival exposure first, or leaning more toward direct OTT acquisition?

Hi Abhijeet, appreciate the insight—that’s exactly how I’m positioning both films.

At the moment, I’m leaning toward a hybrid approach: starting with targeted festival exposure to build credibility and critical traction, while simultaneously exploring direct OTT acquisition if the right platform fit comes in early.

Both Golambar and Kathgodam are designed with strong regional texture but universal themes—so the goal is to see which route unlocks better long-term value rather than just a quick sale.

Two finished features is real work! Festival exposure helps.

Absolutely—festival exposure helps with credibility.

I’m focused on festivals that actually drive sales, not just laurels.

Would you suggest prioritizing top-tier festivals .

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.

Shadow Dragu-Mihai $50 a ticket? I can’t think what would be in that ‘high-end experience’ to justify the cost?

nope... no way. I'll see it on HBO when it arrives

Shadow Dragu-Mihai That’s a really interesting shift and I agree it feels like theatrical is moving toward a more premium, event-driven model.

Dune: Part Three selling out at that price point shows that audiences are still willing to pay but only when the experience feels worth it.

The question for me is what happens to mid-budget, character-driven films. If theatrical becomes more exclusive, do those stories lose their space on the big screen and move entirely to streaming?

It feels less like theaters are disappearing, and more like they’re redefining what qualifies as a “theatrical experience.”

Christopher Wells AMC A-List makes seeing movies very affordable. Am I using all 4 visits per week? No. But even 3 visits per month brings the cost per movie down to $8-9 per watch which is reasonable. Watch 5-6 movies per month in theaters, I pay $3-4 per visit. That's a maximum experience to cost ratio.

What's get me into the theater most though is knowing great filmmakers are making exciting movies. Project Hail Mary was a stunning pre-summer blockbuster this year. Excellent auteurs like Stephen Soderbegh, Kristoffer Borgli, Gus van Sant have all released fascinating movies. There's been popcorn genre flicks galore between PRIMATE, SEND HELP, 28 YEARS LATER 2, SCREAM 7, READY OR NOT 2, and LEE CRONIN'S THE MUMMY. There's also been stupendous crime thrillers left and right like CRIME 101, HOW TO MAKE A KILLING, and THEY WILL KILL YOU, to go alongside amusing stunt movies like GOOD LUCK HAVE FUN DON'T DIE, THE MOMENT, and NIRVANA THE BAND THE SHOW THE MOVIE. The movies are literally back and there's something for everyone out there.

And like I mentioned , I do not have a 70 FOOT television in my house yet. 80 INCH - yes, but 70 FEET - no. I unfortunately still lack the space in my 2 bedroom townhouse.

What Damon Zwicker said! x5

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.

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.

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.

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.