The Whistler Film Festival, in partnership with Telefilm Canada, the Canada Council for the Arts and Nordicity, has just released a report on The Future of Film Festivals; Emerging models and relevant practices for media arts organizations.

The takeaways? Sorta glass half full:

“The hybrid online/in-person model, in some form, is here to stay, bringing with it significant benefits as well as formidable challenges.

Digital programming allows film festivals to be more accessible but also makes it harder to stand out in a crowded online space.

The loss of organic connections is a crucial barrier, especially for emerging creators, to access networking and sales opportunities.”

Some key quotes:

“Film festivals are curators and will stay as curators, with this identity becoming more important than ever. For example, one festival noted that “we cannot compete with platforms like Netflix and do not plan on trying to.” Instead, festivals will continue to focus on providing the viewer with a different type of experience. Such niche experiences include screenings from independent filmmakers, providing region-specific content, or amplifying films from equity-seeking groups.”

And:

“Key strategic positioning considerations include the level of in-person vs. online screening and the balance of industry programming (e.g., panels, networking) vs. film screenings that may attract a wider, non-industry audience. Different festivals will have different approaches regarding the hybrid delivery and their positioning. Film festivals will need to have a clear understanding of their audiences and develop clear communications on what is held in-person and online.”

Further:

“As film festivals are competing for people’s time online in the attention economy, differentiating themselves in the online market will be a strategic necessity when retaining a hybrid model. Examples of differentiating strategies provided by interviewees include focusing on regional-specific content or specific film genres and niches. Articulating a specific identity as an organization will be key to making that differentiation clear to existing and potential new audiences.”

Download the final report.

My take: Once in-person gathering restrictions are lifted and cinemas reopen (and audiences feel safe enough to return,) film festivals will have three choices: remain online only, return to in-person only, or adopt a hybrid model. I think the hybrid model will maximize the benefits of both approaches: the intimacy of the theatre plus the global reach of online. Depending on the target audience, I think the hybrid model can work extremely well. Imagine a weekend in-person festival followed by a month of online screenings: the best of both! The wildcard will be “Zoom fatigue” though — have folks just had too much of their digital screens?