Distribution

Hello Stage 32 community,

I have recently completed a post-apocalyptic short film titled Expire, fully shot in Afghanistan. The film tells the story of abandoned AI-powered toys awakening in a world ravaged by humanity’s wars, exploring themes of memory, identity, and resilience.

I am seeking advice, contacts, or introductions to international film media, journalists, or publications that might be interested in covering this project. If anyone has experience or information about official press emails, media contact forms, or editorial phone numbers, I would greatly appreciate it if you could share them. Any guidance for reaching outlets like Variety, The Hollywood Reporter, IndieWire, or other global cinema media would be extremely valuable.

Press Kit, images, and IMDb link are available for those interested:

• IMDb: https://m.imdb.com/title/tt19369318/?ref_=ext_shr_lnk

• Letterboxd:

https://boxd.it/WogW

Thank you in advance for any advice or support — the help of this community is truly appreciated!

Best regards,

Muhammad Abed Baryal

Hey Stage 32 community,

As a violinist and film composer, I know how hard we all work to create content, and nothing is more frustrating than seeing platforms take a massive cut of the profit.

I wanted to share a platform I've been using since 2023 for my own live concert streams: Lounges TV. I can genuinely vouch for them as a company that puts creators first, and they've just opened up their platform to something that should excite all of us here: Short Films and Documentaries.

Why I Vouch for Them (My Experience)

I first started using Lounges TV for pay-per-view concerts, and what immediately impressed me wasn't just the platform's smooth operation, but the speed and fairness of the payments.

This is a UK-based, ad-free streaming service created by some serious industry heavyweights, including Ben Lavender (the founder of BBC iPlayer) and co-owned by Simon Cowell. But more important than the names is the philosophy: they were built to be a direct-to-audience, creator-first platform.

What This Means for Your Film Projects

If you have a short film or documentary that is finished and ready for distribution—or even a back catalogue sitting on your hard drive—this offers a seriously fair way to monetize it:

You control the price. No one tells you what your film is worth—you set the rental price.

The 80% Difference: You keep a massive 80% of all rental revenue. When you compare this to traditional distributors or major streamers, that's huge.

Payout Speed: This is my favourite part. All profits go into your online wallet, and when you request a cash-out, the funds are in your bank account, usually within 48 hours. It’s transparent and fast, which is a rare thing!

Lounges TV provides a fantastic alternative revenue stream for independent work that might otherwise struggle to find a fair home.

My Affiliate Link

I'm keen to see more brilliant short-form content on the platform. If you decide to give Lounges TV a try for your own projects, please consider signing up using my affiliate link below—it’s an easy way to support a fellow composer/creator:

[HANNAHWOOLMER100]

Has anyone else in the Stage 32 community heard of Lounges TV or used a similar pay-per-view model for their film? Let me know your thoughts!

https://lounges.tv/category/shortfilms?page=1&tab=content

Best,

Hannah, Violinist & Film Composer

For many indie filmmakers, distribution options are limited. Most microbudget films—without star power or major festival buzz—tend to land on the same platforms: Tubi, Amazon Prime, etc.

But is that really a bad thing? Not necessarily. Exposure is valuable, and it can lead to future opportunities, collaborations, and even paid gigs.

That said, no matter how big or small the platform, it’s crucial to have a marketing plan in place. Facebook ads, targeted social posts, email lists—something to actively promote your film. It’s not impossible to make money back on a small project, as long as your expectations are realistic.

So I’m curious—does anyone here have a project they’re currently trying to distribute?

Where are you stuck? What hurdles have you run into along the way?

The ongoing Disney–YouTube TV blackout has stretched past the two-week mark, and both sides are reportedly taking major financial hits, to the tune of $60 million in losses for Disney over 14 days, according to Morgan Stanley.

Read the full Deadline breakdown here: https://deadline.com/2025/11/disney-youtube-tv-blackout-each-side-losing-1236614462/

Since October 30, ABC, ESPN, and other Disney networks have gone dark for YouTube TV’s 10 million subscribers, cutting off high-profile broadcasts like Monday Night Football and college game days. The standoff highlights the ongoing tug-of-war between content owners and digital distributors, where both are fighting for control over audience access, ad revenue, and platform leverage.

With Disney now owning major stakes in Hulu + Live TV and Fubo, and YouTube TV holding rights to the NFL’s Sunday Ticket package, this blackout is more than a business dispute; it’s a sign of how fragmented the streaming and live-TV landscape has become.

Even industry analysts note: the question isn’t just who wins, but what gets lost in these corporate battles, from ad dollars to consumer trust.

As more distribution power shifts between major platforms, what do you think these standoffs mean for the future of content distribution, especially for independent creators and smaller networks trying to get their projects seen?

Good to know about FilmHub:

"DEADLINE: Your current acquisition rhythm is five exclusive titles per month. And you’re aiming to scale that up to 20?

D’ESCRAGNOLLE: Yes, we’re generally acquiring about five exclusively per month, and scaling that to 20. But we’re also releasing, non exclusively, another 500 to 1000 titles per month. We’re a full distribution company, so while we’re acquiring directly from producers themselves, we are also acquiring from other sales agents, distributors, and studios.

DEADLINE: That’s a lot of titles. Can you talk me through how your tech systems help you work at this scale and pace?

D’ESCRAGNOLLE: We work with over 300 sales agents, distributors, large catalog owners, and studios. We still need to talk with our partners and sign deals. But at the same time, once we have deals, we can utilize technology to move much faster. For instance, when we do a deal with a distributor or sales agent, we ingest all of their assets into our system. Our system then creates the caption files and key art. We are handling all transcodes and assets. We also do our own quality control, rather than outsourcing to a post house. That’s how technology makes us faster. On the other side, for our sales team licensing to the major SVODs and broadcasters, as soon as a title comes into our catalog, they get automatic notifications."

Who are the good small/medium budget thriller distributors? I just finished directing a thriller feature in Big Bear. So I'm late to reach out to distributors. If you know of any good distributors worth chatting with, let me know and see ya at the conference.

Richard Lorber tells us:

“I’m not exactly questioning my Gatekeeper faith, but I’m “Creator curious.” I’m still looking for films of quality but that come into being and connect with audiences in new ways and for new reasons. I like films that question and even deconstruct the rules of their own game. Works with this “meta-cinema” consciousness bridge the Gatekeeper and Creator cultures and, to my questioning mind, uniquely validate the relevance of filmmaking today.”

It’s the first time I’ve heard of “meta-cinema”, and Richard Lorber [Chairman and CEO of Kino Lorber Media Group] goes on to define it for us…

“By Gatekeepers, I mean curators and distributors and the like who follow the traditional model of one source transmitting content to many. By Creators, I mean the DIYers who disintermediate Gatekeepers and transmit content through multiple sources every which way to not just many, but many different kinds of audiences.”

I was glad when he clarified what he means by “meta-cinema’ as multiple sources and audiences for a filmmaker to channel their work too.

My question here is, as a film producer, what do those channels look like for you? How do you see the possibilities for the transmission of your content, beyond traditional distribution?

https://open.substack.com/pub/richardlorbermedia/p/meta-cinema-and-a-gat...?

Hey everyone, it’s Sydney from the Stage 32 Education Team. I hope you’ve had a great week!

I wanted to pop in today to talk about distribution because there are so many opportunities for filmmakers to get their projects seen, and we want to make sure you have the tools to take full advantage of them.

One class I’m really excited about an upcoming class this month.. Chris Hazenbush's 4‑Part Distribution Guide for Documentaries, Docuseries, or Unscripted Projects. Chris walks you step by step through planning your distribution strategy, navigating the marketplace, and making sure your project reaches the right audience. Plus, direct access to Chris once you sign up and throughout the course. You’ll leave the live interactive class with practical steps you can start using immediately. You can check it out here: https://www.stage32.com/education/products/stage-32-4-part-class-step-by...

Here are a few other webinars on distribution you might find helpful:

-How to Secure the Best Distribution Deal for your Feature Film Project

Taught by Tiffany Boyle: https://www.stage32.com/education/products/understanding-the-economics-o...

-Distribution Today: How Netflix Picks Up Completed Films and Works with Filmmakers

Taught by Kristin Harris (On Sale!): https://www.stage32.com/education/products/distribution-today-how-netfli...

-The Writer-Director Blueprint: Taking Your Film From Concept to Distribution: https://www.stage32.com/education/products/the-writer-director-blueprint...

Here are a few other classes on distribution you might find helpful:

-2-Part Distribution Class: The Future of Film Distribution - A Masterclass to Navigate the New Terrain: https://www.stage32.com/education/products/creating-a-distribution-and-m...

-Stage 32 Producing Class: The Ultimate Guide to Getting Distribution For Your Indie Film: https://www.stage32.com/education/products/stage-32-producing-class-the-...

-Stage 32 2-Part Class: Advanced Film Distribution: Contracts, Sales Agents & Streamer Agreements: https://www.stage32.com/education/products/stage-32-2-part-class-your-de...

If you’d like hear more about Chris’s class, just email me at edu@stage32.com and I’ll send you more info!

We’re planning our 2026 education, and I would love to hear from you. What topics in distribution would you like to see next year? Or are there other areas you’d like us to cover that we haven't? Share your ideas in the comments — I read every single one!

I can’t wait to see what you suggest :) Comment below!!

—Sydney

Stage 32 Education Team

edu@stage32.com

I want to know your profit experiences with both mainstream (which now includes TubiTv if you went to them directly, but NOT if you went to them through Filmhub) and independent distribution pipelines, as well as what people call DIY. We at the Independent Producers Guild finalized a research study of the profits and payments to independent films since 1990. We all know they have literally vaporized. The question is, why, and by how much. We have conclusions, but as we move into solutions (which we have also been working on) I want to hear your experiences regardless of where they come from. Also I would invite your discussion of the conclusions of the paper below. The research conclusion:

"The economic difficulty faced by independent filmmakers is not a simple misfortune resulting from technological change; it is the calculated outcome of a system designed to suppress competition, acquire valuable IP at reduced cost, and eliminate the contractual obligation to share residual profits. The low profitability of the sector is structurally mandated by the dominant cartel."

A key factor, but not the only one, is the setting aside of the Paramount Decrees in 2020, after which the MPA was permitted to engage once again in monopolistic practices like block-booking, clean screens, and vertical ownership - among other things. But there's far more and you won't like it... BUT this is to cause some debate and exploration of how we as independent filmmakers can actually succeed in this environment, Read or download the whole paper here: https://independentproducersguild.org/paper-cartel-or-collapse

Lionsgate has started getting fans to create their trailers on TikTok... My understanding of the industry and fanbases tells me that this is destined to be one of those "sounded good at the time" decisions, and I will tell you why. But first, the article:

https://variety.com/2025/tv/news/lionsgate-tiktok-fan-edits-1236551825/

One of the discussions we have at Diamond Shadow Productions as we begin to implement the FilmPod model revolves around the gaming industry and how the response of game studios to fan-generated media differs from that of the film world. For example, Larian studios recently gave free reign to Baldur's Gate 3 fans to create not just videos, not just added "mods" for the game (one of the most successful in recent history), but to even permit those mods to expand the already enormous game. Currently, among the many hundreds of mods available, through Larian no less, there are at least two massive expansions being worked on by fan teams numbering, literally, in the hundreds. The Baldur's Gate 3 fanbase is eagerly awaiting those, which will be FREE. We often compare this to the attitude of Paramount over the infamous Axanar. Originally supportive, Paramount reversed itself and sued the creators of Axanar to shut down their production (this was ~11 years ago). The reason apparently was that the Star Trek fanbase (I was one of them) supported the project to the extent that it was going to be a feature length production with production values at least as good as the Paramount films - you can still see the 21 minute Prelude To Axanar here: https://youtu.be/1W1_8IV8uhA - The fan group pivoted and kept the dream alive, but are still struggling to create their first two shorts after that debacle.

At first blush, Lionsgate's move might be seen to be engaging the fan base, moving toward the kind of relationship that gaming studios have with their market. That is not the case and if Lionsgate thinks it is, they are mistaken. Gaming studios encourage and permit FANS of a game - those who are already invested in the game existing and wanting to share their experience. The market is already prepped, and likely even mature, for that game. Lionsgate is opening up actual film footage and letting amateurs have at it, before the film is released, in the strange hope that this will interest people in the upcoming film.... one which trailer they certainly haven't seen and which is now associated with a random jumble of visuals and sound which unrelated to the film - created by people WHO ARE NOT FANS yet.

What are your thoughts on this entire move?