In a couple of months, it will be three years since the post on short film distribution platforms in which I analyzed the active platforms at that time. In recent years, new festival submission platforms have emerged, revitalizing the distribution market (and not just for short films).
The time has come to provide an update and review the new projects currently underway.
Platforms facilitate submissions to several festivals from a single profile; this is an advantage for filmmakers and distributors as it saves a lot of time by not having to create a separate entry for each festival. For festival organizers and programmers, it greatly assists in the control and viewing of entries, as well as the management of submission fees.
Most existing platforms have created new versions and introduced video management, both via server uploads and through Vimeo (in 2013, there were platforms that did not allow video uploads).
These are the new submission platforms I have compiled to complete the previous post:
filmfreeway.com was launched in 2014 shortly after the post was published, and is currently the most popular submission platform on the market. It has experienced unstoppable growth; in less than a year, they reached 1,000 festivals and currently host 4,389. It features a very polished design and usability, adapted to new web design trends and allowing Vimeo links from the start. Its main feature is that it is free for filmmakers; on filmfreeway.com, you do not have to pay for submissions as you do in the European model. Its business model is primarily based on charging a percentage of festival fees and offering promotion and marketing tools—for example, charging festivals for their positioning on the website.
Furthermore, it has managed to stand up to Withoutabox, which until now was untouchable in the Anglo-Saxon market, leading to an adaptation of their design and an improvement in video management (they now also support Vimeo). In the United States, many festivals already use FilmFreeway, many of them top-tier and Oscar-qualifying, and they are gradually expanding into other markets.
flock.am is a small platform created by the independent film community Shooting People. Currently, it works with few festivals—only one is active now, the London Comedy Film Festival (others include Cork, London Short Film Festival, and the Open City Documentary Festival). All of them have a submission fee, the payment of which is managed through the platform, with no direct cost to the filmmakers. It allows a Vimeo link for video management.
screeningroom.org is a recently created platform that offers the possibility of managing screeners to invite collaborators and comment on videos. It also allows submissions to partner festivals, though there are currently few. At the moment, they only have two and are not accepting entries. I have not yet had to use this platform; it is based in Brooklyn.
filmflynet.net was also originally created as a tool to manage viewings and send film screeners; it was launched in 2012 as the first of its kind created in Italy. More recently, they have invited festivals to receive submissions, although there are currently no open calls on their website. I haven’t had to use this platform yet either; I know of it because some Italian festivals have suggested it as an alternative for submissions. It has a cost for sending viewings: it is free for up to 5 sends, they charge €14 for 30 sends, and €49 for unlimited sends for 6 months. It only allows video uploads (charging for server space) and does not support Vimeo links.
film-salad.com, recently created, is already the fifth Spanish platform. Currently, it works with 38 festivals and is growing at a very good pace. At the moment, along with Flock, it is the only European platform that does not charge for submissions. For video management, it only allows the upload of a Vimeo or YouTube link, simplifying the submission process. In a short time, it has become a free alternative to the current European pay-per-entry model.
The case of the Spanish platform festivals.es must also be mentioned, which I do not recommend using under any circumstances. Although they claim their use is free, I am aware that they include festivals that have not previously confirmed, receiving entries without the festival’s knowledge. Be very careful in these cases. To avoid problems, it is advisable to submit only through the platforms listed in the festival regulations.
With these new platforms, there are now a total of 16 (not including festivals.es). Let’s look at the full list of the most active ones and those I use most frequently in my daily work:
- withoutabox.com
- reelport.com
- shortfilmdepot.com
- filmfestplatform.com
- movibeta.com
- festhome.com
- uptofest.com
- clickforfestivals.com
- filmfestivallife.com
- filmfreeway.com
- flock.am
- film-salad.com
The most active market is actually comprised of 12 platforms. In the new projects, there is a clear commitment to free submissions, challenging the pay-per-entry model that has prevailed in Europe. I am sure this free model will continue to grow; in fact, more and more festivals are working with filmfreeway.com and film-salad.com.
Can they all survive in such a competitive market? The growth of filmfreeway.com and the decision by some festivals to use their own submission tools could shrink the market and lead to the closure of some of these projects. Although it is unlikely to happen for now, I do believe we are reaching a ceiling and that the pace of creation for new platforms has slowed down.
We will see how the market develops in the coming years and if festivals continue to rely on these tools.
Do you know of any other platform? Which ones do you use the most?