DECONSTRUCTING DOC DISTRIBUTION

The ongoing crisis in the distribution of independent documentaries has turned everyone’s attention to the topic. A variety of efforts are underway to shake things up and bring clarity and change to the field. At this year’s Camden Film Festival, the distribution town hall was filled to capacity, and included an interesting presentation by Keri Putnam, Walter Shorenstein Media and Democracy Fellow, about the independent film sector, complete with data and big picture solutions. 

There’s a consensus on the need for new approaches, fresh alliances, and creativity in film distribution. Most films start their distribution journeys in the film festival circuit, but the once-dominant role of film festivals has evolved and securing selections has become increasingly challenging. Still, film festivals are a natural habitat for filmmakers. Most of us feel comfortable building a list of prospects, preparing assets, applying, and then waiting— and waiting— and waiting. However, what most filmmakers are not as comfortable with is what happens next, especially since many still expect to be “picked up” or “approached” by streamers, partners, or sales agents during the festival circuit. In reality, this only happens to a tiny fraction of films.

When filmmakers don’t receive the attention they expected on the festival circuit, they often default to “Do It Yourself” (DIY) distribution, a tricky label for an otherwise interesting concept. Since the early 2000s DIY has gained traction in the indie filmmaking world. I should know, since I worked for five years on one of the first DIY impact and distribution campaigns in the US: Traces of the Trade: A Story from the Deep North. Back then, things were different. This innovative model was heavily supported by foundations and corporations alike. Doors opened for us effortlessly; with a substantial budget, a good-sized team, and a brilliant strategy, the film thrived with hundreds of screenings, training sessions, conferences, and workshops across the country. The film was also featured as part of the PBS POV Season 21, and sold thousands of DVDs in three different editions. Today, DIY is like fixing your broken car with a YouTube tutorial. Indie documentaries, by definition, are a team effort, so managing your film’s distribution on your own is a bad idea—especially because most DIY operations lack what made the Traces campaign so successful: funding, a team, and a solid strategy.

One of the most pressing issues facing indie filmmakers is the lack of adequate funding for distribution. Despite its critical role in a film's lifecycle, distribution funding remains scarce and often comes with stringent requirements. This often forces filmmakers to accept unfair deals that offer little benefit beyond the relief of having their film "distributed."

However, while we wait for funding institutions and gatekeepers to catch up, we don’t need to keep playing a game that doesn’t work for filmmakers. Traditional distribution avenues can be analyzed and deconstructed to identify what works and what doesn’t. New alliances could be formed, and producers and strategists could collaborate from the early stages of production as a team. We could also address the shortage of experienced professionals willing to do the actual work—rather than just consult at exorbitant prices.

Moreover, we already have alternative, successful pathways such as independent screening tours—including theatrical—and impact campaigns that can be implemented alongside traditional strategies. These can extend a film's life and help filmmakers achieve their goals. These alternatives shouldn’t be seen as afterthoughts but as opportunities to take control, build an audience, generate buzz, and earn revenue between your film festival premiere and your streaming or broadcast deal. And if your goal is social change, there’s no better way to spark conversations and bring your call to action to audiences—from remote public libraries to large educational institutions, museums, opera houses, or corporate movie nights—while preparing for the next phase of your release.

Distribution is a journey, and filmmakers must have a say in theirs. If we allow ourselves to imagine all the opportunities available when we venture off the beaten path, I believe the effort is well worth it.