Lately, I’ve been giving a lot of thought to duration.
In recent weeks, we have received some news from festivals that has highlighted, once again, how complicated it is to distribute films of 30 or 40 minutes, which is why I am increasingly reconsidering the advisability of distributing certain lengths.
When I speak with directors and producers who are in the final stages of editing and defining the final length, I encounter some beliefs that, while not false, need to be viewed with nuance.
Deciding the final length is truly very complicated, so I have noted some considerations that would be good for you to keep in mind before finalizing the edit.
Take note.
#1 There are festivals that accept shorts of 30, 40, and even 60 minutes, but…
Although many festivals accept short films with a maximum duration of 30 or 40 minutes, the reality is that they then select very few shorts of these lengths. The same applies to festivals with broader limits or those that do not have a defined duration limit.
When analyzing the programming of these festivals, the percentage of 30 or 40-minute shorts or medium-length films is actually very low.
Therefore, do not decide the length based solely on festival rules. Remember that, even if you see festivals with very broad durations, do not rely too much on them, as they actually select very few “long” short films.
#2 The duration of short film sessions
Short film sessions are usually held with several shorts or in the same session with a feature film. This greatly influences programming, since if half-hour shorts are scheduled and sessions are organized for one hour or one and a half hours, only two or three shorts could be programmed.
Therefore, programmers significantly reduce the length of selected short films to accommodate a greater number of works and have more diversity in the programming.
There are also festivals that program short films alongside feature films, which means the short must be around 15 minutes or less, as a 120-minute session could easily extend to 150 minutes if a half-hour short is programmed with it, and therefore no one does it.
#3 The volume of short film production
The enormous global production of short films means that programmers watch thousands of shorts throughout the year. Therefore, given such an avalanche, shorter films will always have an advantage.
Furthermore, longer shorts may not be watched in their entirety. Although it may sound bad to say, sometimes the programming team may not have enough time to watch the complete shorts, as these are very small teams with limited resources.
#4 It’s also a matter of statistics
Considering the guidelines, if your short is longer than 25 minutes, it will be eligible for far fewer festivals than if it were under 20 minutes. Therefore, distribution is heavily conditioned.
If your short film is 20 minutes long, it can participate in festivals that accept less than 20 and less than 30 minutes. If it is 30 minutes long, it can be submitted to a smaller percentage of festivals, thus reducing the possibilities.
#5 A bit of psychology
The psychological component must also be taken into account. Both viewers and programmers have a psychological limit, and when a short film exceeds 25 minutes, or it can be seen in the timeline that it has a duration of 30 minutes, it conditions the viewing of the film before it even begins.
This can cause its viewing to be delayed compared to shorter films, or it may need a very powerful beginning to maintain attention for a longer period.
So… How is the length of a short film defined?
It is a difficult decision where two ways of understanding cinema clash: the more “commercial” and “industrial” side versus the more “artistic”.
Whether the length should be what it needs to be, what the story demands, what the director considers without being swayed by commercial concerns, or maintaining a concise length that works better in festivals, meaning adjusting the film to market reality.
The eternal debate.
I have always strongly defended the more artistic vision; if a film goes to fewer festivals, it doesn’t matter, as long as it is the best possible film according to the director’s vision, whether it lasts 30, 40, or 50 minutes.
But reality is stubborn, very stubborn.
It is increasingly complicated to distribute a film of 30 or 40 minutes. High-quality films are missing out on festivals because films with shorter durations are increasingly being programmed.
It is very hard to see directors excited at the beginning of distribution with their 30 or 40-minute film that practically does not go to festivals, does not generate sales, nor online views, and therefore is not seen.
Does it make sense?
Not much, honestly.
Although it is true that some long short films do well, the percentage is very small.
Therefore, I increasingly see it as clear that the best thing for a short film is to have a maximum duration of 20 minutes, and if it’s shorter, even better. With a maximum “safety limit” of 25 minutes, meaning 22 is better than 25 minutes.
What is your experience with long shorts? Have they worked for you?
I would love to hear your opinion on this topic. See you below in the comments.