Over the past year, the number of film submissions to festivals—many of them in Spain—has increased again. In recent months I have spoken with festival directors, who have seen how the number of films submitted has doubled and even tripled in just one year.
This is an issue that has been widely discussed, including some working sessions organised by the Coordinadora del Cortometraje at the Alcine and Soria festivals.
Until very recently, the increase in the number of submissions was a good sign and showed that the festival was recognised. News and press coverage would lead with the number of films submitted, but now it has become a problem for many.
Film submissions have grown exponentially; there are festivals that have gone from receiving 1,500 and 2,000 submissions to 6,000 in a single year.
This increase is difficult to manage, especially when resources are limited and programming teams are made up of collaborators. Most of these cases tend to be festivals that have opened their call on several platforms.
There are several measures that can be taken to control this flow of submissions, but above all you need to know your festival’s capabilities well and how far you can go. In this post you can see some measures festivals are taking, and some other options that can be considered to control mass film submissions:
#1 Specialisation
Festival specialisation is a fundamental measure, as it helps with audience segmentation and with building a community of loyal followers (LGBT, Human Rights, fantasy and horror, women’s cinema, documentary, children and youth, and so on). In addition to focusing on a specific theme or segment, it is also about committing to a specific programming line.
Most festivals that have problems due to the mass influx of submissions are generalist, whether short film or feature film festivals. Sundance, for example, receives more than 12,000 films a year, but it is not a problem.
#2 Duration
One of the most direct ways to control submissions is by setting participation limits based on film duration; for example, there are festivals that only accept short films up to 15 min. or up to 20 min. The problem with this option is that you may exclude very high-quality films.
#3 Shorten or extend the call period
Some festivals reduce the time their submissions are open. An example of this measure is the Huesca Festival, which plans to open the submission period for only one month. The opposite measure can also be taken: keep the call open for a long time, but close it months before the festival takes place. This allows enough time to watch all the films submitted.
#4 Make submission more complicated
This is another option that some festivals are beginning to apply. If the problem is that submission processes have now been simplified, what better way to make them more complicated again to slow the flow of submissions. In this way, some festivals have created their own forms, where a link and a password for viewing can be added.
It is also possible to request documentation that only a small number of films meet. In the case of short films, there are festivals that are asking for the rating licence and nationality issued by the ICAA, which not all producers or directors have before distributing their films.
#5 Expand the programming team
Despite all these measures, the most logical would be to hire more programmers so that all submitted films can be viewed without problems. The reality is that festivals do not have sufficient resources to absorb the costs involved in the exponential increase in submissions.
#6 Create submission fees
In relation to the above, creating submission fees is the most effective measure to control the increase in submissions. Above all because it links the number of films submitted to an increase in income. With this option, the increase in submissions would stop being a problem and become a source of funding. Having more resources can help pay programmers and hire new ones.
Festivals have to work to ensure that all the submissions they receive can be viewed and assessed under the best possible conditions.
The increase in film production—more activity and a greater desire to create each year—should be good news. Festivals must analyse their situation and establish measures to know how to control this constant flow of productions and offer programming that is consistent with their editorial line.
Do you know of any other measures festivals can take? If you manage a festival, are a director or a producer, I would love to hear your comments.