Distribution

China has long been an unpredictable but essential market for Hollywood, and this month may be one of the biggest indicators of where that relationship is headed. Two major titles are about to hit Chinese cinemas: Disney’s Zootopia 2 this week, and Avatar: Fire and Ash three weeks later.

How these films perform could shape how studios approach the Chinese market moving forward.

Zootopia 2 is tracking extremely high, even surpassing where Avengers: Endgame was at a similar point.

Avatar: Fire and Ash hasn’t opened presales yet, but James Cameron remains one of the most bankable filmmakers in China.

Industry insiders say these two releases are the clearest test yet of whether Hollywood still has a meaningful place in China, or if the market has shifted too far inward.

If both films hit anywhere between $125M–$150M+ in China during their opening stretch, it’s considered a strong sign of life. Anything significantly below may trigger a major reassessment in how studios spend, market, and strategize for the region.

Read the full breakdown here: https://deadline.com/2025/11/zootopia-avatar-fire-and-ash-china-box-offi...

Discussion question:

What do you think? Can Hollywood regain momentum in China, or are we seeing a long-term pivot away from U.S. studio titles in that market?

Admin please move if in wrong category:

I had this crazy(?) idea of writing a musical and making videos of each scene on Youtube. The real catch would be, that the viewers could vote after each published scene how the story should continue. Of course, there would be some guidelines and given alternatives for the plot twists.

Fun, yes/no?

Hello! I operate Itsbuz Productions – The Rating Tales, a brand/trademark I have applied for.

I’ve created custom branding laurels to highlight curated films on my website. These laurels are not related to festivals or awards — they are only for platform branding.

From a distribution/marketing standpoint, is it acceptable to use such custom laurels on my website and social pages?

Any rules or restrictions I should be aware of before using them officially?

Thank you!

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?

Hi friends, are there any podcasts you like to listen to that talks about 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

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."

www.deadline.com/2025/11/filmhub-alan-descragnolle-tech-distribution-afm-1236612700/