I’m coming to the end of post-production on my latest short film That’s My House. It’s almost complete… finally. I hosted a private cast and crew preview screening of the film and it was wonderful to see it with a live audience. And it was beneficial for me to see/hear it on a big screen so I could look for anything I need to tweak before I release it (which I did).

So now what?

Well, simply… I want people to see it. I’ve worked too hard. The cast and crew have worked too hard. I want as many people to see this film as possible.

And that’s true of any filmmaker. The big question is, “What’s the best path forward?” Film festivals? YouTube? Some other niche streamer?

I guess that all depends on the ultimate goals you have for yourself and your career. Film festivals used to be the major gateway for previously unknown directors to get their shot. A successful career could be launched into infamy because the director made a fantastic short and it was noticed by the right people at the right festival.

But that isn’t as true anymore, as this video from Lofi Cinema argues:

I’ve always enjoyed film festivals, which is why I already have my FilmFreeway project page updated and my current festival watch list curated.

But chasing after those “Official Selection” laurels can quickly become an expensive addiction, so is it worth it? They sure look good on the poster and social media, but what kind of value do they really provide these days?

This is a point of discussion among filmmakers across the Internet. You can easily get sucked into a never-ending rabbit’s hole, so I could never link to all the blogs, forums, videos, etc. discussing this subject, but if you’d like a very quick overview, you can check out this subreddit thread.

In short, the answer to that question depends on you. What do you want from this film? For your career?

If you have an independent feature and you’re looking for a distributor then yes, I would imagine that festival/awards laurels can have tremendous value. And perhaps programmers at other festivals might be a little more willing to select your film if they see that it’s screened at other well-known festivals previously.1

If, however, you’re perfectly fine with making short films as an artistic hobby without any further career aspirations, you might be good to share your stuff on YouTube and find your audience that way. Filmmakers like David F. Sandberg have proven that you can be discovered through online platforms. In 2013, Sandberg wrote and directed Lights Out, a fantastic horror short. Originally released in the Bloody Cuts Horror Challenge, it went viral on Vimeo and YouTube where some Hollywood names saw it and came calling.

For me, I choose the film festival route, but I’ve learned to be strategic about it, based on what I want for myself and for my films.

I enjoy that festival scene. Since I produce a lot of comedies, I enjoy seeing my films with an audience. I want to make sure the jokes land and that people laugh in all the right places. And I’m always surprised to hear audiences laugh in places I didn’t expect.

I also enjoy the whole festival vibe. There are educational panel discussions, filmmaker networking events, (sometimes) media opportunities which provide great PR for my films, Q&A’s after my film screenings, and chances to see films I might not see anywhere else. I find value in talking up my films to others, learning/drawing inspiration from fellow filmmakers, and putting my name and face out there alongside my work. I’m always interested in the next collaboration; the possibility that someone gives me a chance.

Film festivals work for me because they’re fun and I don’t put too much pressure on myself to get into the “right” festival and screen in front of the “right” people.

Yes, it can be discouraging to get rejection notice after rejection notice.
You can question why you’re spending so much money on submission fees.
You can second guess yourself and your talents when a film festival experience doesn’t give you the results you want.

All of it has happened to me. I get it. But I think the main lesson I’ve learned is simply to let go and enjoy every step of your film’s life. After all, you made a film because you’re passionate about filmmaking. You didn’t spend all that time, energy, and money because you thought it would be a sure-fire hit and lead you into a lucrative Hollywood career. You had a story to tell and you were compelled to make it. And, if you’re like me, you find tremendous fulfillment in the creation of it. So take that same attitude with you as you release your movie to your audience, wherever they may be.

I’ll close with a comment Francis Ford Coppola made during a press conference for his upcoming film Megalopolis. He was answering a reporter’s question about where Coppola is financially now after investing so much of his own money to get the film made.

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Confessions of a Laurel Leaves Chaser