We make a plan of distribution, select appropriate festivals, make an application, trace results, organize your visit to the festival.
+7 (926) 554-81-08
You contact the coordinator and send a private link to your film.
The agent develops a distribution strategy and offer you a plan of festival sendings.
Pay for services and follow the results of our work.
Please read the FAQ — we gathered the frequently asked questions and offered our explanation.
We begin our work with making a distribution strategy in relation to the festival opportunities. Considering the film peculiarities we offer a distribution plan and a number of the festivals.
Films up to 30 minutes — 70 €
Films over 31 minutes — 150 €
If distributing the film in FA — for free
Arranging a film list ( per one item ) — 7 €
If you decided to distribute your film yourself but still don’t know how to begin and what festivals to choose — we’ll make a plan of sendings for you for some months forward. You will get a made-up table with both festivals and deadlines. Minimum pack — 10 items, maximum — 30 items.
Festival agent advice via Skype (for 1 hour) — 60 €
If you generally understand how the mechanism of distribution works and ready to to make all the sendings yourself, but want to confirm some details, the agents will consult you in all the questions, regarding work with festivals.
Film festivals are the ways of showing your film worldwide, getting the prize and money for the future works, travelling and attending the screenings, find a distributor, and strike up useful acquaintances in the film industry, get the reviews and read the comments in press about your film. All in all, it’s a way of becoming well-known. By the way any festival is a holiday!
The strategy is an expert analysis of the film in the context of film distribution situation. We appraise the strong and the weak points of the film, mark both the traits that are mostly important for the film festivals and individual peculiarities. We offer you the ways of distributing your film— what are the top-priority festivals to send your film to, what countries may be fairly well accepted, and what are the inappropriate variants. The denoted directions we confirm with the festivals examples, 6 to 10 items.
Of course, you can. But as it was already mentioned, there are more than 4000 festivals in the world. Half of them are fee-paying — so to send a film will cost you a lot. On the other hand, there are many festivals which are in plain sight and everyone can easily apply a film to it, but that’s why they get thousands of films and the contest is high. Thus the film need a strategy in order to go around the contest and pay less for the fee-paying festivals and apply your film where it can be of interest keeping in mind the question of the premiere screening.
Our service fee includes:
Festivals have two reasons to take the entry fee:
With the developing technologies the amount of video and film products is growing worldwide. At a time film application procedure has symplified. To regulate this technologies the entry fees are in great need. Festival entry fees range from 5 to 150 USD, short length films are cheaper than the feature length.
For sure. But it must be taken into account that 95% festivals in America, England and Australia have the an entry fee. If you are interested in distributing your films there, it’s better to include it into your budget. The majority of the top festivals has also introduced entry fees (the Berlinale, the Venice Film Festival, the IFFR and others). Sometimes the exact fee-paying festival have issue-related selection. According to the last years statistics, more and more festivals worldwide every year introduce the entry fee.
There is no common answer on this question. Each film has its own festival destiny — one can be selected to the top festival just by chance, on the first try but sometimes even good films are left out. Please don’t forget that a huge amount of films are sent to the festivals: secondary festivals get 3000 films at average, top ones up to 10000. From this flow only dozens can enter the competition.
That’s why we are sure — the more applications, the better, especially for the short-length films. The best possible variant - a year pack of sendings (120-180 items), in this case it is possible to cover the whole range of festival suitable for the film. But an individual strategy is also susceptible in the light of a budget and time.
There is no general standard. At the average the boundary passes at 30 minutes, further - up to 60 minutes — mid-length films, over 60 minutes — feature-length.
With all this different short-length competitions accept films both up to 10 minutes and up to 45 minutes. Common restrictions — 15 and 30 minutes. At American festivals such practice is accepted — 50 minutes boundary: the films shorter are short-length, longer — feature length. At that mid-length films if they conform festival rules produce difficulties in combining them into sections. There are even special festivals targeted on mid-length films, but they are in minority, so their distribution is quite difficult.
Short-length films (20 to 30 minutes) are also difficult to fit into festival programs, especially if the competition is not wide and the amount of screenings is limited. There is also a special format of microfilms, usually 3 or 5 minutes. There are the festivals specially targeted at this format along with the special competitions that have a tight topic.
According to item 1274 of the Civil Code of the Russian Federation it is accepted to use the pieces of work without author’s permission and paying for it if it is a training work. But the author’s name must be pointed along with the source. In all other cases for any public screenings one must buy special rights, regardless to the sound length. The duration of the exclusive copyright rights on the composition or any piece of work is limited (in general it is expiring over 70 years since author’s death). But even if the composition you use is now in public ownership there are also some related rights for execution (for example, the orchestra performed Bach composition, which you want to use in the film) and for phonogram.
Filling in the form and preparing the documents
All the questions in the form are useful. As the festival world is huge we need most diverse information about the film.
Is the music original or bought in sound library? — film festivals that give prize for soundtrack must know if the music is original or from some cast.
Has the film any public screening? — depending on the fact where the film was already shown the individual strategy of distribution to the top festivals is made in the light of premiere status.
We surely consider the director’s desires and choose suitable festivals. For example, you want to participate in the festivals of the define region or country, or you prefer the festivals with money prizes — we take it into account when making a list of festivals.
Director’s biography should be short. As a rule it includes a year and a place of birth, education and professional successes (participation in festivals and well-known educational programs). If you are a one-man band, please, try to enumerate all your professional interests: Ivan Ivanov (born 1980) — director, scenarist, cartoonist, culture scholar and specialist in Old Russian literature. 3-5 sentences in total.
Some thoughts from the director, that he or she would like to share with the audience to present the film. Why do you consider this film so important? And why must the world see it? Some interesting facts about the filming itself and the background of the film idea. Free form, not more than 1500 characters with spaces.
Not we but festivals do — director’s residential address is usually required if the entry form when applying the film. Sometimes the festival sends souvenir stuff - cards, catalogues and certificates confirming participation of the film.
Оpen premiere of the film is the first festival screening as usual. Previous screenings for friends and film project team, also their friends and their friends’ friends are called private screenings even if they took place in film theaters (one-off, without tickets).
We need to translate the film into other languages. Some festivals translate the film into the official languages of the country, srt. file is the best way to do it easily (soft subtitles) or at least, the dialogue lists with beginning and ending timecodes for each phrase. Sometimes the festivals ask for these files when applying the film in order to have all the files needed for interpreters when the program of the festival is formed. In the other case the festivals require the dialogue lists after announcing official selection and the filmmakers do not provide them in time.
Absolutely. All the festivals are selected according to the individual strategy of the film, where all the priority directions are declared. You see over this strategy before we start working, so you no surprises to you. And of course, you can be sure that your film suits the festival rules (runtime, year of production and etc.).
Unfortunately not, the programming director of the festival is get to make a final choice. There are many factors to influence official selection but no one will meet someone’s needs against the quality. The best way to enter the festival is to make a perfect film!
It is an optional item in the entry form but if there are some film facts important for the festival they should be mentioned. For example, you shot some film scenes in Italy then if applying to Italian festivals that should be highlighted. The film may also perfectly match festival subject or the filmmaker has already took part in the festival.
We use all the film applying sources existed: online platforms, entry forms at festival websites, vimeo links, DVDs with entry forms via mail. Film applying information is included into the festival table that’s why every application can be traced — mailing via individual number at the Russian Post website, online platform application via its status at the website’s interior film page etc. We send some films straight to the selection committee.
Film’s festival life is a year or two on the average. This depends on the fact that top festivals usually don’t accept the films made older than two years. That’s why it is so important to start festival distribution in time. If the film has been once already shown and then was forgotten it will be difficult to work with it.
Yes, as a rule. Some festivals register it in the contract offer (it’s often an entry form at the website) that the film can’t be excluded from the program after its public announcement. But even in this case the chance are that the festival will meet the filmmaker’s needs.
If the film is feature-length then the festival pays for the arrival for at least one member of the film crew to present the film at the festival’s screenings, press-conference, official opening/closing and so on. Visit details are discussed separately.
If the film is short-length then the festivals in rare cases cover all the transport expenses, sometimes they offer you free accommodation, but anyway you will be welcomed. It is better to come and moreover it is possible. FA will assist you in the questions of communicating with the festival up to planning your festival visit.
We define fee-paying festivals for 1-3 months forward, you make a deposit, so we can pay festival fees. Because of the frequent currency rates changing we either accept money in fee currency or make re-calculation once a month.