After finishing a film, the first instinct is often to think in terms of festivals. In many cases this makes sense, but experience shows that a festival premiere is not automatically the best first step for every project.
It’s important to distinguish between which festivals we’re talking about. Winning an award at a small or regional festival rarely increases a film’s market value in a meaningful way. It can be good validation and useful for PR, but in distribution negotiations it usually does not justify a higher price on its own.
The situation changes when a film gains attention at a major A-list festival. A selection or nomination at Berlin, Cannes, or Venice even without a win can significantly shift the negotiating position. At that level, it’s less about winning and more about where and in what context the film has been validated.
From a market perspective, this is simple:
a strong festival presence acts as a risk-reduction signal for distributors. The film is no longer unknown; it comes from a curated environment. This often translates into higher minimum guarantees, better terms, or increased interest, even without awards.
At the same time, festivals are not a goal in themselves. Many films travel through smaller or mid-tier festivals and lose momentum before reaching real decision-makers. They “played festivals”, but did not build a sustainable trajectory.
Immediate digital or VOD release is not necessarily a bad option either, but it only works when supported by clear positioning. Without a strong narrative around why now and why this path, films can disappear quickly in platform noise.
Strong release decisions are usually not about festival names or platform lists, but about questions like:
It’s important to distinguish between which festivals we’re talking about. Winning an award at a small or regional festival rarely increases a film’s market value in a meaningful way. It can be good validation and useful for PR, but in distribution negotiations it usually does not justify a higher price on its own.
The situation changes when a film gains attention at a major A-list festival. A selection or nomination at Berlin, Cannes, or Venice even without a win can significantly shift the negotiating position. At that level, it’s less about winning and more about where and in what context the film has been validated.
From a market perspective, this is simple:
a strong festival presence acts as a risk-reduction signal for distributors. The film is no longer unknown; it comes from a curated environment. This often translates into higher minimum guarantees, better terms, or increased interest, even without awards.
At the same time, festivals are not a goal in themselves. Many films travel through smaller or mid-tier festivals and lose momentum before reaching real decision-makers. They “played festivals”, but did not build a sustainable trajectory.
Immediate digital or VOD release is not necessarily a bad option either, but it only works when supported by clear positioning. Without a strong narrative around why now and why this path, films can disappear quickly in platform noise.
Strong release decisions are usually not about festival names or platform lists, but about questions like:
- who the film is actually made for
- what genre and budget context it lives in
- what type of distribution is realistically achievable
- where you want the film to be 6–12 months from now, not just at launch
- when festivals genuinely increased a film’s value
- when a different route would have worked better
- what warning signs suggest a chosen path may not pay off
