Distribution

Absolutely love your attitude, Janelle Rollins, you’re so right, this business is tough, but it’s absolutely doable when you show up with passion and persistence like you are!

Since you’re based near NYC, you’re actually in a great spot. Here are a few lesser-known but legit festivals and events where real networking happens and industry eyes are often watching:

• New York Television Festival (NYTVF) – While it’s evolved over the years, it’s long been a place where creators connect with agents, managers, and producers looking for new voices.

• Soho International Film Festival – A fantastic place for indie filmmakers and emerging talent. The crowd tends to be full of working creatives and industry scouts.

• Bushwick Film Festival – Strong emphasis on underrepresented voices and new talent. Great vibe and great conversations.

• Montclair Film Festival (just across the river in NJ) – Increasingly respected and attended by people from all levels of the industry.

• IFP Week / Gotham Week (The Gotham Film & Media Institute) – This one is gold. It’s not just a festival, it’s an industry marketplace and networking hub. A must-attend if you’re developing a project and want to meet agents or execs.

Also, don’t underestimate the power of consistently being active on Stage 32, joining the lounge conversations, attending Stage 32 webcasts, and even emailing our Success Team at Success@Stage32.com for advice on next steps can make a real difference.

Depending on what your film is about Janelle Rollins, also consider direct to consumer exposure. For example, one of the documentary filmmakers I met on this platform had a film about a jazz musician. She entered film festivals, of course, but she also did screenings around the globe that catered to the topic of interest. She came to Edmonton, where I was living at the time, and launched her screening tour at a jazz club there. She showed her film at other clubs, music schools, and in major jazz festivals, such as the Monterey Jazz Festival.

good call Wyman Brent

Sebastian Tudores, thank you. I had a connect request today from someone claiming to be famed director Oliver Stone. He is willing to read my script if I send him 350 dollars through a method where the money cannot be recovered and where it is diffcult to trace who receives the money.

well Wyman Brent - I could see Oliver Stone having an offshore account lol

Sebastian Tudores, my account is offshore and underwater.

"Stage 32 is full of amazing real people to connect with. Just remember: the real value here is in building genuine, supportive relationships with fellow creatives—not chasing connections that only look glamorous on the surface." You nailed it on the head 100%, Wyman Brent!

I was surprised when I heard about this, Ashley Renee Smith. It could mean less opportunities for distributors, creatives, producers, directors, crew, and others in the industry.

Ashley Renee Smith ...reducing the control of the MPA from only 6 mega-corporations to only 5 mega-corporations.

Absolutely, Maurice Vaughan, and that’s one of the biggest concerns we’re hearing from the community. When fewer companies hold more power, it can mean fewer doors to knock on, less creative risk-taking, and tighter control over what gets made and who gets hired. It’s a critical time for us all to stay informed.

True, Shadow Dragu-Mihai, Esq., Ipg. But one less mega-corporation can make some really big waves. It raises serious concerns about creative diversity, ownership of legacy IPs, and fair access for emerging talent.

Kenneth George I am sure they'll be very interested in what an unsold writer in the UK with anger issues has to complain about. But here's an idea - stop responding with abusive and inappropriate comments and I won't have to reply.

Shadow Dragu-Mihai, Esq., Ipg Wait, I think I know what this is. You have some sort of weird crush on me Shadow? I once read a book about these types of aggression. Sorry... :-( I am not into guys man if thats your thing ... not judging of course.

Quote from Kenneth George: "Shadow Dragu-Mihai, Esq., Ipg Pathetic. Here is the fact. Nothing you have done in 30 years meets my standard. That is what you should know. Now take your frustration somewhere else."

Well Kenneth that is a given since, with no experience and having done nothing in the industry, you don't have a standard yet. But thanks for finally admitting I have 30 years ahead of you. Yeah, you deleted it but we do get emails right?

Shadow Dragu-Mihai, Esq., Ipg Well, Shadow, since you won’t stop, you can quote this:

"30 years in an industry does not equal talent."

You've shown me what you've done in 30 years. Do you want me to tell you what I think of it? I was trying to be nice.

Put it this way, if you had one of my scripts 30 years ago, you'd probably be retired by now, This is turning into something very pathetic. I don't deal with fraudsters Shadow. And I am clearly not into whatever this is so how about you just move on.

Hi everyone, Ashley here, I’m the Head of Community at Stage 32.

I want to take a moment to step in and redirect the conversation back to a productive and respectful tone.

This post began as a thoughtful discussion about AVOD platforms and the real financial challenges facing indie filmmakers. That’s an important and timely topic, and I appreciate the insights that have been shared. However, the conversation has veered into personal attacks and unproductive back-and-forth that go against the values we hold as a community.

At Stage 32, we work hard to create a space where creatives can share ideas, ask questions, and collaborate without fear of being shut down or disrespected. We expect all members to engage with professionalism, kindness, and an open mind, even when opinions differ.

Let this serve as a clear warning: anyone who continues to be disrespectful, antagonistic, or dismissive in this post from this point forward may be suspended from the platform for violating our community guidelines.

Let’s bring the conversation back to the original intent and keep it constructive. We’re all here to help one another grow. Let’s honor that mission together.

Thank you.

6 months is where we did well.

That's a great timeline. What's the name of your film? How many festivals did you do? And did you handle your own PR or outsource it?

I jumped in as soon as my short was finished, and found a reputable distributor. It’s a bit more expensive, but the return was worth it.

I think there are a couple of websites that list festivals, what film catagories they show and submission deadlines. The ealier your submit the better your chances at getting in. If you submit later it usually costs more and its harder for programmers to find space for your film if they have already started making their screening schedule.

Ewan Dunbar Great advice! You're absolutely correct. In addition to submitting to festivals early, we also recommend filmmakers write a marketing and PR plan to get your film noticed at the festivals and stir buzz with distributors. Wouldn't you agree?

Thanks for the share Maurice

You're welcome, Kevin Jackson. Have you submitted a film to a film festival?

Thanks for sharing, Randall Scott White!

Congratulations on THE FILM/TV EXTRA placing as a Semi-Finalist, Ricardo Santiago Soto! Have you thought about posting your film on YouTube or Vimeo?

Hi Maurice, thank you! Yes, it's currently on YouTube placed on private mode for film festivals to view for now. I will probably open it up on YouTube for the public to watch thereafter.

You're welcome, Ricardo Santiago Soto. Hope you get distribution for your documentary! I'm looking forward to watching it!

The ever dilemma strikes again! I compiled a list of distributors over 3 years, all with names and contacts and their approach. I think I'll turn it into a public database for all - no reason to sit on it and I'm not a shark looking to sell it. Give me a week ;)

Hi Randall, wow, that is very noble of you to provide this valuable database. I purchased a list of nationwide theaters, as well as, colleges and universities, but the data is old, so I have to clean it up by adding fresh information to it. It will surely take me a while to work these lists of mine. I am curious how your public database will look. IDA has a public database of grants, while FilmDaily.tv charges a monthly to annual fee. I think either model would work well for you. I hope you are rewarded in some way!

Paul Norman Rich I have dealt with Chinese partners in various transactions. They are highly skilled in manufacturing and production, but intellectual property (IP) rights violations remain a significant concern. This issue isn’t unique to China—once you operate outside most Western markets, your risk of IP infringement increases substantially, and enforcement can be extremely challenging. Often, you may need to sue an infringer in their own jurisdiction, which can be complicated, time-consuming, and costly.

After reading this article, any enterprise with content appealing to teens with little tiny screens, might win big.

With so much content available for audiences today, it’s no surprise to hear COL Group mention in the article: “That gives us the insight and agility to help partners move quickly in a space where audience attention is won or lost in seconds.” The power in this new kind of media is this: it combines the depth and intrigue of a show that has aired for multiple seasons with the low commitment of scrolling on short-form content platforms such as TikTok. No longer do audiences have to sacrifice quantity of content for quality.

As to the questions, I do think that the industry will begin to see more short-form serialized content in the West as audiences continue to crave more emotional attachment to stories in an increasingly shorter amount of time. With the popularity of TikTok, Instagram Reels, and YouTube Shorts, the market seems prime for the adoption of serialized short-form content. If these prove to be audiences’ true preferences, then I believe AI-generated content could absolutely be a tool that promotes the growth of this short-form serialized content, especially if content creators begin to train LLMs on this new content.

Ashley Renee Smith Short form serialized content is a massive win. See TikTok and YouTube. The eyeballs it will get will prove it. People love short content and currently, platforms like TikTok help creators create huge followings. Some will post in both TT and YouTube. Comedians are killing it in this genre. https://www.tiktok.com/@steveioe/video/7542615534584515871

There are also so many crime story, Appalachian Mountain stories, and other series that has people coming back for more. I think this is a natural progression for the film market.

Having a teenager, I get about 3 micro-dramas a day.

Janice Foster It's obvious to be cautious.

So many scams prey on creatives. I get so many emails, texts, each day. On here, watch for people with NO BIOS. They say they are producers, financing films, etc.

Someone once said:

"Behind every great fortune is a great crime".

Ever wonder why high budget films cost so much? I have asked that question many times.

Jon Shallit While it might be tempting to label something we don’t fully understand as a scam, it isn’t necessarily one in the usual sense. Some forms of capital come at a very high cost, often involving a significant loss of control or commercial interest in the project. It’s possible to find someone willing to finance a project, but they may require enough control to limit their own risk. She still needs to be cautious and carefully weigh her options before proceeding.

Just my personal experiences. Maybe yours are different.

Jon Shallit of course.

Did they give an advance? A minimum guarantee?

no sir-- they did not....