IMPACT DISTRIBUTION DIGITAL EDITION I
We are nine months into the pandemic and the ever-changing landscape of documentary distribution keeps evolving. Every day, the lines that separate distribution and exhibition through film festivals, theatrical, non-theatrical, VOD (including the alphabet soup of streaming acronyms), and so forth continue to blur without anyone knowing exactly if or when things will change. Both traditional distribution agencies and impact producers have pivoted to reach audiences where they are: at home and at school, utilizing every possible digital tool at hand.
In a market flooded with streaming content, it’s critical for independent documentary filmmakers to advocate for their films and to find the right distribution model to strategize and navigate the complexities of our virtual environment, especially if they hope to achieve impact.
Just yesterday, I opened my inbox to find a call for submissions from the Woodstock Film Festival. It announced that the selected short films would stream online for six weeks in early 2021. You read right—six weeks. In this new model, the festival is effectively becoming its own VOD platform, bypassing distributors and using its curatorial powers to maximize relevance and profit. But, while we all remain digital, how can you benefit from this situation? Does this model support or hamper your impact campaign and other moving parts of your distribution efforts? Is any revenue being shared with the filmmaker? Perhaps it aims to provide artistic recognition and exposure?
Online screenings of all shapes and forms have fundamentally changed the concept of an audience as being limited to a brick-and-mortar space with their attention fully focused on the screen. The possibilities for reach are enormous, and yet reaching audiences meaningfully requires creativity, strategy, dedication and a concerted effort. That’s why I keep repeating that placement and availability don’t equate impact.
Enter geo-blocking, a concept based on controlling the geographical location from which people can watch your film, scaling things back to mirror something closer to an in-person event. Many wonder how to approach this tool. Why not simply allow your film to be viewed by as many people as possible? The answer: you need to make decisions based on a sound strategy and long-term plan, and that means making decisions on a case-by-case basis. Ask yourself strategic questions, such as: Is this a premiere? What stage of the film festival circuit is my film in? Is it a short or a feature doc? Do I want/need to preserve regional premieres? If so, why? What is the festival reach? What are other selected films doing? Is there an audience cap? The answers to these questions will help inform whether you request geo-blocking.
Screening windows are another tricky topic. As seen in the example at the beginning of this blog, some film festivals are now stretching their offerings online for extended periods of time, making it easier for their audience to watch at their convenience. When deciding whether to push back on screening windows, ask yourself what’s in it for your film and how this availability advances your goals. If having the film available online nationwide for several weeks doesn’t sound like a good case scenario, be ready to speak up and provide your reasons, negotiate, and hopefully reach a compromise.
Perhaps there is an argument to be made that as film festivals are blurring the lines, becoming both platforms and distributors, a standard screening fee or revenue sharing should be implemented, just like what you would get in a theatrical deal or even a semi-theatrical tour. Some say absolutely, that’s fair game. Others raise the alarm about some film festivals being non-profit organizations that often struggle to keep their doors open. To me, it’s all about understanding each individual event and the value they bring to your distribution plan. It’s always okay to raise valid concerns on behalf of your film and to be excited about certain events while declining participation in others, all while being gracious and reasonable.
Geo-blocking, screening windows, and fees are just the tip of the iceberg. While there is no one-fits-all answer to your digital strategy questions, drafting clear goals for your documentary will be key to success. Are you looking to
· Reach a lot of people?
· Change behaviors?
· Raise visibility for a cause?
· Change legislation?
· Win awards?
· Recoup your investment and monetize it?
· All of the above?
Clarify your goals early and use them as a tool to inform your approach to distribution and impact. Use them to brainstorm when making decisions down the road to maximize the film’s visibility and avoid taking steps that can become roadblocks.
Whatever approach you take, it’s worth remembering that our industry is currently in flux and turmoil. The 2021 film festival circuit is a moving target, with festivals being rescheduled, moved online, or altogether canceled. Our independent movie theatres continue to be largely closed to the public. They are trying the best they can to stay afloat through virtual theatrical runs, concessions sales, and small group rentals.* Powerful documentaries don’t seem to find a home while the platforms are being inundated with recycled content. Moving forward, production will require new levels of creativity and safety protocols. There are people out there claiming that nothing will be the same again. I think it will be better.
Never forget that your documentary has value. You created something that could potentially have a big impact worldwide, change minds, inspire audiences to move the dial on important social issues, or simply be touched by a story that changes the way they think and behave. Line up your goals and your distribution approach, and most of your questions will answer themselves, even in these uncertain times. Keep creating!
* Consider supporting your local independent theatre through the Art House Convergence: https://www.arthouseconvergence.org