Distribution Q&A

Can I distribute my film myself?

More filmmakers are actively undertaking the production and even distribution of their films. from crowdfunding to distribution, promotion and communications, digital tools and platforms facilitate self-production and self-distribution, with or without the use of professional support services. Self-distribution gives filmmakers optimal control over the exploitation of their work and allows them to collet revenue directly. The advantages and disadvantages of self distribution vary depending on the type of production, its potential, and the personal circumstances of the filmmaker or filmmaker-producer.

The challenges of self-distribution

Availability, communication skills, public relations skills and negotiation skills are valuable assets for undertaking distribution yourself. The workload and complexity of the work, the expenses to be expected, and the income to be hoped for depend on the film and the markets for which it is intended. Although the internet facilitates communication, transactions and transmission, all distribution involves a minimum expenditure on promotional material (graphic design, posters, film cards, trailer, etc.), duplication, transcoding, transport and courier services, not to mention the costs of registering for paid festivals.

A short film intended primarily for festival screening will generate little revenue (with the exception of a few TV or web sales opportunities); its distribution will me relatively simple, but will require time and money for festival submissions, shipping, etc. Working with a distributor can be advantageous because of their expertise, knowledge of festivals, reputation, contacts (low-cost festival submission), and the fact that they have a permanent structure dedicated to distribution activities.

For a feature film whose distribution plan includes theatrical release, television broadcasting licenses, and DVD and Blu-Ray sales, exploitation should generate revenue, but it will be more laborious and costly. In this case, having a well-established and recognized distributor can make all the difference in negotiating with theaters and broadcasters, as well as obtaining financing. Some production assistance even require a letter of interest, if not a signed agreement with a distributor.

The best distribution formula for a film therefore depends on several factors. More and more distributors are getting involved in projects right from the development stage. In short, it's better to think about distribution before committing fully to production!

Broadcast opportunities

In addition to festivals and movie theaters, various distribution opportunities may arise for short and feature films:

Special events organized my programmers, artist centers, or other organizations in alternative venues;
Galleries and multifonctional screening venues;
Performance halls, theaters, museums, bars or cafés.

Programmers often discover films at festival or premieres. Events are sometimes also the subject of calls for submission.

Developing your professional network

To stay informes, we recommend becoming a member of artist-run centers that relay calls for submissions, and monitoring the bulletin boards, newsletters, and Facebook pages of arts councils, cultural councils, SODEC, Telefilm Canada, and other organizations mentioned in out Q&A - Production section. As with production support, it is by developing your professional network and attending industry events that you will make yourself known and, in turn, be able to seize or even create opportunities to showcase your films.

Artist's remuneration

Screenings in a professional setting generally require the payment of a fee. CARFAC (Canadian Artists Representation / Front des artistes canadiens) has established fee schedules that artist-run centers, in particular, adhere to as much as possible. However, outside the professional circuit, the situation may vary. It may be worthwhile to participate in unpaid screening activities if they offer an interesting context for promoting the film, reaching a new audience, participating in exchanges, or making stimulating professional contacts.

When a film is screened at certain professional events, the organizers may cover all or part of the filmmaker's transportation and/or accommodation costs, or facilitate their travel and accommodation in other ways. The Canada Council for the Arts and the Conseil des arts et des lettres du Québec (for mid-career or established artists), SODEC, and Telefilm Canada offer travel grants for artists invited to follow their work abroad.

Which festivals are likely to accept my film?

Countless international film festivals program works according to their genre, length, country, language of origin, and subject matter. In various countries, public or private film support organizations maintain lists and directories that make it easier to find the most relevant festivals for a film. It is important to be judicious and strategic when submitting a film to festivals. As each festival receives large numbers of eligible productions, it is pointless (and even detrimental to your credibility) to submit a film that does not fit their guidelines or to send them several productions in response to the same call for entries.

50 Film Festivals Worth the Entry Fee
Article written by Film Freeway listing festivals that are worth their entry fees.

British Council
Repertory of over 1300 festivals in 80 countries, maintained by users.

Carrefour des festivals
Calendar of festivals in France

Hi Beam
Calendar of calls launched by festivals.

Telefilm - Calls for entry
Research engine for festivals

Who are the film distributors in Québec?

Artist-run centers, non-profit organizations, and service cooperatives

Members of the Regroupement des distributeurs indépendants de films du Québec (RDIFQ)

Other independant distributors

Large distribution companies

What are the digital platforms for distributing my film?

Broadcasting trailers, short and feature length films

Many broadcasting platforms allow to create free accounts. The ones that are the most used by filmmakers are :

In addition to serving as a means of distributing trailers or artist demos, these platforms can also be used to submit an entire film to a festival or broadcaster, making it accessible with a password.

Cinema database

There are several film databases, many of which have been developed in recent years. These are important tools for promoting films online, enriching search engine optimization, and increasing the discoverability of the work.

Streaming, Video-on-demand and Subscriptions

In order for a film to be distributed on major video-on-demand and streaming platforms such as Netflix and Apple TV, the filmmaker, producer, or distributor must deal with an authorized intermediary : the aggregator.

The aggregator acts as a broker and charges a fee in exchange for which it undertakes to transmit the film to the appropriate platforms in the required format. Each platform has its own standards in terms of the type and length of production accepted, format, territory of exploitation, and revenue sharing.

Each aggregator has its own fee schedule and operating rules for sharing the revenue paid to it by the platforms. Several aggregators initially charge a fee based on the type and length of the film, and then an annual fee for administration, but do not retain any share of the operating revenue. Some aggregation services do not charge an advance fee, but rather a percentage of operating revenues. Most are located in Europe and the United States. In Canada, a few large commercial distributors have a division that is an authorized aggregator, and other distributors must sign an agreement with another company. The first aggregator in Quebec is H264, which is also a distributor of short films.

A number of independent distributors already using Vimeo have opted for Vimeo On Demand for digital distribution. Platforms initially available only in the United States are now expanding beyond its borders, while others are developing and remain worth watching...

Here are some examples of subscription-based platforms:

Festival registrations

Some platforms allow you to upload, store, and update the various elements of a film's registration file, and then submit them to different festivals.

FilmFreeway: FilmFreeway is probably the easiest platform to use for submitting your film. It lists thousands of festivals around the world. The search tools make it easy to find festivals that match your film. You can also search according to the maximum fee you are willing to pay to submit a film. The service is free; you only pay the registration fees for paid festivals.
Shortfilmdepot: The Short Film Depot platform lists current and upcoming festival calls for entries. Registration is free, and you pay “stamps” to send film files to festivals.
DOCFILMDEPOT: The DOCFILMDEPOT platform works essentially the same way as Short Film Depot, but specializes in documentaries.
Reelport: The largest European platform of its kind, Reelport provides access to calls for entries from around 80 festivals. It allows you to keep your file up to date and submit it, but also to upload your film to an online catalog where festival representatives can view it.
Filmfest Platform: Filmfest allows you to put together your application, submit it to festivals, and create a printable PDF for those who require documents to be sent by mail.
Festhome: Festhome works essentially on the same principle as Short Film Depot.

Are there sources of funding for distribution?

Certain productions, mainly those supported by organizations such as SODEC, Telefilm Canada, and the Canada Media Fund, are eligible for financial assistance programs for marketing. Eligible filmmakers can also apply for grants from arts councils to travel outside Quebec if selected for a festival.