Sarah Pirozek, writing on Filmmaker Magazine, shares her search for an Independent Distribution Strategy Amidst Pandemics and Streaming Wars.

Sarah‘s debut feature is #LIKE.

The micro-budget noir feminist thriller has played at some smaller film festivals and garnered some great reviews. But distribution remains elusive. Sarah says:

“The smaller distributors who approached me seemed to have little marketplace clout, and they weren’t offering a minimum guarantee. They also had high expense caps, meaning that I’d probably see little to no profit. And they wanted all rights, a very long term, plus a high share of the revenue split after marketing costs and distribution fees. A filmmaker friend told me that some of these companies just want to refresh their rosters and don’t do a lot once they actually sign your film. In addition some of these companies had the sort of horror slates where my quirky feminist film, although a thriller, wouldn’t sit well alongside often misogynistic slasher pics.”

As she vows to continue her search for a viable distribution strategy, Sarah ends with this downbeat quote from a fellow producer:

“We should just get the fuck out of this? You kill yourself making a movie. No one makes money and no one is gonna see it. Not everyone’s voice is heard on streaming platforms.”

My take: here’s a strategy: wait. I think it boils down to supply and demand. As the cost of filmmaking has diminished, the supply of movies has increased, driving down the market. But, as the pandemic drags on, people are streaming more and more content, and production has slowed to a trickle. When supply is down and demand is up, prices rise. While you’re waiting for your film to become more lucrative, think of other ways to increase its value. For instance, build up your profile and those of your stars.