{"id":11303,"date":"2019-01-16T17:35:28","date_gmt":"2019-01-16T16:35:28","guid":{"rendered":"https:\/\/ismaelmartin.com\/the-paths-of-selective-distribution\/"},"modified":"2019-01-16T17:35:28","modified_gmt":"2019-01-16T16:35:28","slug":"the-paths-of-selective-distribution","status":"publish","type":"post","link":"https:\/\/ismaelmartin.com\/en\/the-paths-of-selective-distribution\/","title":{"rendered":"The Paths of Selective Distribution"},"content":{"rendered":"

When you start moving a film, whether a short or a feature, questions always arise about which festivals to start with and what paths to take for distribution<\/strong>.<\/p>\n

Some time ago I discussed the differences between selective and intensive distribution<\/a> and how to approach each one. But in the case of starting with selective or less intensive distribution, there would be several options or several paths<\/strong> to begin with. <\/p>\n

When you decide to start a selective distribution (and also intensive), you must be clear that you will have to give up some festivals forever<\/strong>.<\/p>\n

This renunciation may occur due to premiere requirements, or due to submission fees, which can exceed the budget you have allocated for distribution.<\/p>\n

For this, it is advisable to analyze your film carefully<\/strong> to see if it has options at the chosen festivals and review the calendar<\/strong> you have ahead. There are several paths to plan a selective distribution, especially for the first months or the first year of distribution. <\/p>\n

In this post I discuss three possible strategic options you can consider<\/strong>, always depending on the film you have at hand and with examples of festivals that are currently open for fiction, experimental, and animation.<\/p>\n

Class A Festivals, World and International Premiere<\/strong><\/h2>\n

On this path, there are premiere festivals and others that value it<\/strong>. If you choose to start here, you must consider time and costs. <\/p>\n

Except for the Cannes Film Festival<\/strong>, the rest of the festivals charge fees. As far as possible, you should be in contact with them to find out whether or not they are interested in your film as soon as possible<\/strong>, so you can modify your strategy toward one path or another. <\/p>\n

Here are some examples of festivals that have open calls between February and March that you can consider:<\/p>\n