DISTRIBUTORS FACT SHEET: 2022 Edition

For the third year in a row, Dear Producer brings you the Distributor Fact Sheet (See 2019 and 2021 Edition). We started this initiative to help demystify the distribution landscape for independent filmmakers. Countless labs exist to assist filmmakers in getting their film’s funded, yet resources remain scant to help those same films actually get in front of audiences. We hope to bridge the information gap by providing you a directory of distributors as well as their tenets; what do they look for, where do they look for it, and how are they acquiring the content. This year we extended our survey to include questions regarding the diversity of staff (age, race, gender, veteran status, abilities), the usage of sales agents in the acquisition process and the doling out of minimum guarantees.

Here are some key takeaways from the responses:

Lack of transparency from distributors continues.

We were surprised by the large drop off in participation this year after expanding our survey to include topics such as diversity and payouts of minimum guarantees (aka MG – the amount a distributor pays to license a film). This year we had just 26 companies respond compared to 38 last year, 2 of which did not disclose answers to questions regarding diversity, and 5 who chose not to disclose the average MG amount paid. One distributor put it quite bluntly, “This year you added a bunch of stuff I am not comfortable answering so I am passing this time.” Another distributor expressed, “This year, I am afraid there is just a bit too much red tape that is out of my control, so have to pass on the opportunity.”

In a market that is getting leaner than it already was, it seems there’s a concern on behalf of distributors that the wind will blow in an opposing direction if they share too much information. If distributors are feeling this scarcity mentality, what about the filmmakers? For years, filmmakers have handed over content of value only to get back very little in return. We cannot force the marketplace to yield more money for the art, but we can help filmmakers make informed decisions on what their distribution agreements might entail and encourage distributors to foster relationships by being transparent about how they work.

There were new additions to where distributors pick up films.

While the usual festival suspects were still represented, new additions popped up like Maryland Film Festival, NoHo Cinefest, Dances with Films and Illuminate. This provides a more optimistic view on the role festivals will continue to play in distribution moving forward, despite pandemic era doubts.

Diversity in distributor staff positions show room for improvement.

While we do not have the data of previous years to compare these percentages to, it will be helpful to see in subsequent reports how these numbers (hopefully) change for the better. Racial diversity clocked in with 15 of 26 companies reporting at least 15% of staff identifying as POC. Five of those companies reported 50% or more identifying as POC with the average percentage of 36% of staff members identifying as POC across all companies who responded to this question.

Women in staff positions had a stronger turnout with 17 of 26 companies reporting at least 20% identifying as female. 11 of those 17 companies reported 50% or more identifying as female with an average percentage of 48.8% of staff members identifying as female. With the 2020 US Census reporting 50.52% of all Americans identifying as female, this is one category where the larger population’s diversity is becoming more reflected inside these pivotal positions within our industry. The work is by no means done and other categories, as you’ll continue to read, have far more to go.

Representation of LGBTQIA+ among distribution staff clocked in at just 9 of 26 companies reporting at least 10% of staff identifying. Only one company reported having 50% of their staff composed of LGBTQIA+ identifying individuals.

Both the disabled and veteran categories had low turnouts with only 3 of 26 companies reporting at least 10% of staff identifying. Both categories had just one company reporting 50% of staff identifying as disabled or veteran.

Lastly, of those reporting, staff seems to skew over 40 years old as 15 of 26 companies reported having at least 10% of staff identifying as 40+. Of those companies, 8 reported 50% or more of their staff being 40+ with one company reporting 100% of their staff being over 40 years old.

A high percentage of companies do not pay Minimum Guarantees.

Of the 21 companies that responded to this question, 9 (34.6%) said they paid no minimum guarantee. 6 companies (23.1%) paid between $10,001 – $50,000 and 4 companies (15.4%) paid just $1 – $10,000. Only 1 company reported paying $10,000-$100,000 and 1 company $50,001 – $150,000. While getting an MG may not be a filmmaker’s singular deciding factor for choosing to go with a particular distributor, knowing these numbers certainly add to making an informed decision when deciding how to budget your film and setting expectations with financing partners.

A lot of films were acquired in 2021.

Aside from Box Office Mojo, which does not report on every film or distributor, there is no place to go to find out how many films are released each year. While the data we collected on how many films each distributor acquired in 2021 is not exact (based on how we asked the question in number ranges) the 26 distributors who participated reported acquiring a combined 600+ films in 2021. That’s a lot of films especially since it does not include the films acquired from the 30+ companies we reached out to that did not participate in this survey (see list at the end of this article). Though as the data shows above, 100% of those films were acquired for less than 150k.

Words and reality seem to mismatch when it comes to needing a sales agent.

At first glance it looks promising to see 15 of 26 companies encourage filmmakers to submit their films either through their website or emailed directly, as opposed to requiring a sales agent. While it’s good to know that more distributors are open to receiving submissions directly, when asked, “What percentage of films acquired in 2021 came to you via sales agents?” the data told a different story. Some companies, 15.4% of them, did in fact acquire all of their films without a sales agent. Another 15.4% however used a sales agent for up to a quarter of all of their films while 19.2% used one for up to half of all of their films. Then the real kicker comes, a whopping 38.5%, the largest grouping, said up to 75% of all of their films came through a sales agent. This signifies that while you may not need a sales agent necessarily to get your foot in the door, your odds of getting a deal still largely hinge on having one.

Distributors remain clueless about social media.

Despite TikTok having 1billion active users around the globe, 50% of distributors responded saying an it isn’t necessary for a filmmaker to have an online presence. When we wonder why audiences aren’t showing up to indie films, perhaps we should consider the simple fact that they don’t know about them.

Final thoughts…

We’d like to encourage all distributors reading these fact sheets to think of this as an opportunity to draw a line in the sand for how your distribution company is different, how it communicates with filmmakers, how it better connects artists to audiences and how it maintains the value of the content in a way that creates a more sustainable, and equitable, future for us all.

For consulting services, email: liz.manashil@gmail.com

Now to get to the questions, here is what we asked everyone:

Please provide a short description of your company, including what year the company was founded.
List a few of your company’s most recent releases or acquisitions.
What is the size of your company? (If more than just a distribution company, please select only the number of distribution employees.)
What type of content do you primarily acquire?
What rights do you typically acquire?
What is your average license term length?
What festivals do you attend and feel are most meaningful when it comes to looking for films to acquire? (Check all that apply and feel free to add more under “other”)
Do you feel it is important for a filmmaker to have established a social media presence for a film before it is acquired?
How many films did you acquire in 2021?
What percentage of films acquired in 2021 came to you via sales agents?
What percentage of films acquired in 2021 were paid minimum guarantees/advances?
What was the average minimum guarantee/advance paid to films acquired in 2021?
What percentage (%) of your distribution staff (paid or unpaid) is made up of people identifying as people of color?
What percentage (%) of your distribution staff (paid or unpaid) is made up of people identifying as women?
What percentage (%) of your distribution staff (paid or unpaid) is made up of people identifying as LGBTQIA+?
What percentage (%) of your distribution staff (paid or unpaid) is made up of people who identify as disabled?
What percentage (%) of your distribution staff (paid or unpaid) is made up of people identifying as veterans?
What percentage (%) of your distribution staff (paid or unpaid) is made up of people over the age of 40?
How many films do anticipate acquiring in 2022?
What is the best way for a filmmaker to submit their film to you for consideration?
Share your thoughts about the future of independent film here:
What do you wish filmmakers better understood about distribution?
Is there anything else you’d like us to know about your company?

And here are the full responses…

1091 PICTURES
BIO: 1091 Pictures is a modern distribution partner for independent film and series owners based in New York and Los Angeles, offering content licensing and delivery to over 100 destinations in over 100 countries. The company was founded in 2014 as the film and television division of The Orchard, a subsidiary of Sony Entertainment, and rebranded as 1091 Pictures in 2019.
RECENT TITLES: Pharma Bro, Runt, The Fabulous Filipino Brothers, Electric Jesus, Clerk
EMPLOYEES: 16-30 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 13-15 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantasia Festival, Fantastic Fest, New Directors/New Films, Sheffield Doc/Fest, South by Southwest, Sundance Film Festival, Telluride Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 100+
ACQUIRED FROM SALES AGENTS: 26-50%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 51-75%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $10,000-$100,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 50%
STAFF IDENTIFYING AS WOMEN: 50%
STAFF IDENTIFYING AS LGBTQIA+: 10%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 20%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 100+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Filmmakers can submit their film to us for consideration via a sales agent or directly through our website.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Content is king and a good film will find its audience. The world of independent filmmaking is growing larger as more distribution outlets continue to emerge influenced by the evolving trends of consumption.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? Distribution is a constantly changing landscape and not every film will find success through the same route. Strategizing release plans tailored to your film is important to effectively reach the target audience.
ANYTHING ELSE? We’re about championing independent filmmakers, elevating fresh voices, and bringing their stories to a global audience. Our goal is to combine our knowledge of the market with a collaborative vision; and our mark of success is not just revenue, but also a satisfied filmmaker.

ARTMATTAN FILMS
BIO: Founded in 1993, ArtMattan Films is the Theatrical, Educational, TV, DVD, and VOD distributor of over 120 films from Africa, the Caribbean, Latin America, Europe, Australasia, Asia and North America, that all explore the human experience of people of color.
RECENT TITLES: Loimata, The Sweetest Tears; As Far As I Can Walk; Sugar Cane Malice; A Son (Un Fils); She Had a Dream; The Sleeping Negro
EMPLOYEES: 1-3 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 5-10
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, IDFA: International Documentary Film Festival Amsterdam, International Film Festival Rotterdam, Sundance Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 11-20
ACQUIRED FROM SALES AGENTS: 0%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? Prefer not to disclose.
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: Prefer not to disclose.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 100%
STAFF IDENTIFYING AS WOMEN: 75%
STAFF IDENTIFYING AS LGBTQIA+: 0%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 50%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Submit through NYADIFF.org
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Those who are committed and have something to say have a lot of opportunities.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? You have to be patient. Don’t burn your film with quick DIY streaming placements.

BREAKING GLASS PICTURES
BIO: Founded in 2009 BGP has a library of over 500 titles and licensed 40 titles per year. We license all rights.
RECENT TITLES: Give or Take, Jump Darling, City of Vultures 2 and 3, Waking Up Dead
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: 8-12 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 30+
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 76-100%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: Private
STAFF IDENTIFYING AS PEOPLE OF COLOR: 20%
STAFF IDENTIFYING AS WOMEN: 25%
STAFF IDENTIFYING AS LGBTQIA+: 35%
STAFF IDENTIFYING AS DISABLED: 1
STAFF IDENTIFYING AS VETERANS: 0
STAFF OVER THE AGE OF 40: 50%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 30+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: E-mail.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Not sure.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? It takes time.
ANYTHING ELSE? We always report on time.

CINEMA GUILD
BIO: Cinema Guild is a premier distributor of world cinema, independent films and documentaries. In their more than 50 year history, they’ve championed the work of cinema’s foremost auteurs, including Agnès Varda, Nuri Bilge Ceylan, Jia Zhang-Ke, Christian Petzold and Hong Sangsoo. In recent years, they’ve helped introduce audiences to rising talents like RaMell Ross, Valeska Grisebach and Payal Kapadia. The company was founded in 1968 by Philip and Mary-Ann Hobel, producers known for their work in documentaries and fiction features, including Tender Mercies, winner of two Academy Awards.
RECENT TITLES: In Front of Your Face, The Girl and the Spider, Rock Bottom Riser, A Night of Knowing Nothing, The Woman Who Ran, Swimming Out Till the Sea Turns Blue
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: Term length varies
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, IDFA: International Documentary Film Festival Amsterdam, International Film Festival Rotterdam, Locarno Film Festival, New Directors/New Films, Sheffield Doc/Fest, Sundance Film Festival, Tribeca Film Festival, Toronto International Film Festival, Venice International Film Festival
SOCIAL MEDIA: No, we don’t look at social media channels for the film or the filmmaker before acquiring a film.
FILMS ACQUIRED 2021: 4-10
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 76-100%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: Prefer not to disclose.
STAFF IDENTIFYING AS PEOPLE OF COLOR: N/A
STAFF IDENTIFYING AS WOMEN: N/A
STAFF IDENTIFYING AS LGBTQIA+: N/A
STAFF IDENTIFYING AS DISABLED: N/A
STAFF IDENTIFYING AS VETERANS: N/A
STAFF OVER THE AGE OF 40: N/A
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: They can contact us at info@cinemaguild.com
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Just try and stop us.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? We find the filmmakers we work with to be quite knowledgeable, but we’re always happy to answer any questions that come up.

DADA FILMS
BIO: Theatrical distribution servicing company that was founded in 2005
RECENT TITLES: Torn, Old Henry, Language Lessons, A Crime on the Bayou
EMPLOYEES: 1-3 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 13-15 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, South by Southwest, Sundance Film Festival, Telluride Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 4-10
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 0
STAFF IDENTIFYING AS WOMEN: 2
STAFF IDENTIFYING AS LGBTQIA+: 0
STAFF IDENTIFYING AS DISABLED: 0
STAFF IDENTIFYING AS VETERANS: 0
STAFF OVER THE AGE OF 40: 1
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: E-mail.

FACTORY 25
BIO: Factory 25, an independent film production and distribution company launched in 2009. Factory 25 is a home for conceptually provocative narratives and documentaries. The company’s mission is to expose the world to under-the-radar films, music, and other curiosities theatrically and digitally, as well as on TV, VOD, VHS, and limited edition discs with vinyl LPs and books. Factory 25 titles include Other Music, Ham on Rye, Christmas, Again, All This Panic, MA, Sylvio, August at Akiko’s, Uncle Kent 2, Stinking Heaven, Alex Ross Perry’s The Color Wheel, Sophia Takal’s Green, All the Light in the Sky, Amy Seimetz’s Sun Don’t Shine, the Zellner Brothers’ Kid Thing and the restored Sundance Grand Jury Prize winning film In the Soup by Alexandre Rockwell. Factory 25 has also produced Nathan Silver’s The Great Pretender, Onur Tukel’s Applesauce and Summer of Blood, Theodore Collatos & Carolina Monnerat’s Queen of Lapa along with the upcoming films You Mean Everything to Me by Bryan Wizemann, All the Old Bells by Brent Green and Inspector Ike by Graham Mason. Factory 25’s headquarters are located in Brooklyn, New York.
RECENT TITLES: Superior, Inspector Ike, Ham on Rye, Other Music
EMPLOYEES: 1-3 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: 8-12 years
FESTIVALS: Berlin International Film Festival, International Film Festival Rotterdam, Locarno Film Festival, New Directors/New Films, Sheffield Doc/Fest, South by Southwest, Sundance Film Festival, Tribeca Film Festival, Maryland Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 4-10
ACQUIRED FROM SALES AGENTS: 0%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 0%
STAFF IDENTIFYING AS WOMEN: 66%
STAFF IDENTIFYING AS LGBTQIA+: 0%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 66%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 11-20
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: E-mail.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? That a film can still be successful if it’s not picked up by Netflix or Amazon.

FREESTYLE DIGITAL MEDIA
BIO: Freestyle Digital Media was formed in August 2010
RECENT TITLES: Delicate State, The Invisible Mother, Best Summer Ever, On Thin Ice, The Queen’s Corgi
EMPLOYEES: 11-15 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: 13-15 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantasia Festival, Fantastic Fest, South by Southwest, Sundance Film Festival, Tribeca Film Festival, Toronto International Film Festival, Slamdance, Dances With Films
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 80+
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 1-25%
AVERAGE MINIMUM GUARANTEE TO FILMS ACQUIRED IN 2021: $1 – $10,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 15%
STAFF IDENTIFYING AS WOMEN: 20%
STAFF IDENTIFYING AS LGBTQIA+: 10%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 25%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 30+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Filmmakers are free to reach out to us any way possible. They are open to submit their film directly to us via our website.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: It is a wonderful time for independent film, as there are so many outlets for an indie filmmaker to have their film available on, not only in the transactional space (to rent or download to own), but the SVOD (Subscription Video on Demand) and AVOD (Advertising Video On Demand) space as well. The more outlets there are the more people will be able to see their film.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? A better understanding of the deliverable items that a distributor needs from the filmmaker to distribute their film. Social media support from cast and even the crew is important to promote a film these days.
ANYTHING ELSE? We also offer the option to filmmakers of doing a service deal with us, where the filmmaker pays the distribution and marketing expenses.

GATHR
BIO: Founded 2011 – Inventors of Theatrical On Demand® (bottom-up cinema distribution). First to market with Virtual Event Cinema in April, 2020. Will leverage our end-to-end platform to transcend Virtual and In Person Community screening events in 2022.
RECENT TITLES: On Any Sunday 50th Anniversary (Only documentary released to theaters in 2021 – ~$100k gross), Tipping the Pain Scale, Devolution
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Documentary, feature-length films
RIGHTS: Non-exclusive theatrical/non-theatrical rights
TERM: N/A Licensor may cancel at anytime (with appropriate notice)
FESTIVALS: South by Southwest, Sundance Film Festival, HotDocs, True/False, Illuminate
SOCIAL MEDIA: It is vital. We do minimal marketing on behalf of the film.
FILMS ACQUIRED 2021: 4-10
ACQUIRED FROM SALES AGENTS: 1-25%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 50%
STAFF IDENTIFYING AS WOMEN: 50%
STAFF IDENTIFYING AS LGBTQIA+: Unknown
STAFF IDENTIFYING AS DISABLED: Unknown
STAFF IDENTIFYING AS VETERANS: No one on the distribution team, although we employ veterans in other areas.
STAFF OVER THE AGE OF 40: 50%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: TBD
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: http://www.gathr.com/Filmmakers  
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Independent film needs a shot in the arm. It needs its own Web 3.0 moment. We must relentlessly innovate in the areas of storytelling, distribution and exhibition.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? As with selling a house, the first offer is likely going to be the best offer.
ANYTHING ELSE? Gathr is much more than a film distributor. We are solving independent film’s existential crises’ with entirely new technology aimed at removing barriers between films and their audiences, Talent and their Tribes, documentaries and their impact goals. Keep up with us at: https://blog.gathr.com/

GIANT PICTURES
BIO: Launched in 2017, Giant Pictures is a leading digital distributor that is committed to empowering filmmakers to own their distribution. With offices in New York and Los Angeles, we work directly with rights owners to distribute movies and TV shows to VOD and streaming platforms in North America and worldwide. A division of Giant Interactive, the award-winning digital media and technology services company which was founded way back in 2005, we distribute across 45+ platforms, including AppleTV, Netflix, Prime Video, The Roku Channel, Pluto TV, Tubi, and Peacock. Learn more at http://www.giant.pictures
RECENT TITLES: Dark Cloud, The Delicacy, The End of the Storm, The Bridge of San Luis Rey (Remastered)
EMPLOYEES: 11-15 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: Digital only, North America
TERM: 1-3 years
FESTIVALS: Cannes International Film Festival, Fantastic Fest, South by Southwest, Sundance Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 30+
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: Undisclosed
STAFF IDENTIFYING AS WOMEN: Undisclosed
STAFF IDENTIFYING AS LGBTQIA+: Undisclosed
STAFF IDENTIFYING AS DISABLED: Undisclosed
STAFF IDENTIFYING AS VETERANS: Undisclosed
STAFF OVER THE AGE OF 40: Undisclosed
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 30+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: https://www.giant.pictures/contact
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Over the past several years streaming has become the predominant mode of distribution for movies in the US and Canada, and this trend was accelerated by the pandemic. Giant Pictures has seen a 40% growth in streaming usage in each of the past 2 years. Many new streaming platforms have launched, or expanded their operations in the US, to meet this increased demand. This trend shows no signs of slowing and consequently, platforms have a voracious need for content.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? Setting up a release, particularly a digital release, takes longer than you think. Please leave enough time (around 3-4 months at minimum) from delivery of materials until your desired live date. Additionally, respect your marketing materials, particularly your artwork, this is a crucial asset for selling your film. Finally, do not treat distribution as a commodity! It matters WHO is presenting your film to the marketplace, and to digital platforms, so make sure you know your distributor’s reputation and who will be pitching your film. The same film, presented, by two different distribution companies, may achieve highly divergent results.
ANYTHING ELSE? At Giant Pictures our approach to digital distribution is more collaborative than filmmakers may be used to when compared with previous distribution experiences. We believe that distribution should be customizable, not templated. Giant can slot into filmmakers’ existing distribution plans and goals; from self-distribution theatrical releases to wrap-around SVOD licensing deals, to full project management of the digital footprint worldwide. Because of our roots as a top lab/post-production house, being service-oriented is in the DNA of Giant Pictures. We view the filmmaker as our client, meaning that filmmakers have control, flexibility, and transparency over every aspect of the digital release. However, with flexibility comes the need for filmmakers to take responsibility for much of their own marketing and release campaigns. Our model works best when we can partner with filmmakers who have clear distribution goals and who are highly engaged with their campaigns and ultimately their audiences.

ICARUS FILMS
BIO: “Since 1978, Icarus has offered a haven for nonfiction films that are at once socially conscious and supremely artful.” —The New York Times
RECENT TITLES: All About My Sisters, Putin’s Witnesses, Prism, Rocío, Monobloc
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Documentary, feature-length and short films
RIGHTS: U.S. and Canada; adding non-exclusive worldwide when possible
TERM: 5-10
FESTIVALS: IDFA: International Documentary Film Festival Amsterdam, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 30+
ACQUIRED FROM SALES AGENTS: 26-50%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 26-50%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $1 – $10,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 15%
STAFF IDENTIFYING AS WOMEN: 50%
STAFF IDENTIFYING AS LGBTQIA+: 20%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 50%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 30+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Email logline, screener and password, links to reviews, and a list of relevant academic disciplines to mail@icarusfilms.com

IFC ENTERTAINMENT
BIO: Established in 2000 and since becoming a leader in the independent film industry, IFC Entertainment consists of two distribution labels that are devoted to bringing the best of independent and foreign films to the largest possible audience: IFC Films and IFC Midnight.
RECENT TITLES: Catch the Fair One, Hatching, Resurrection, Hold Your Fire
EMPLOYEES: More than 50 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 15-25 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantasia Festival, Fantastic Fest, New Directors/New Films, South by Southwest, Sundance Film Festival, Telluride Film Festival, Tribeca Film Festival, Toronto International Film Festival, Venice International Film Festival
SOCIAL MEDIA: No, we don’t look at social media channels for the film or the filmmaker before acquiring a film.
FILMS ACQUIRED 2021: 30+
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 76-100%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: Prefer not to answer
STAFF IDENTIFYING AS PEOPLE OF COLOR: 28%
STAFF IDENTIFYING AS WOMEN: 51%
STAFF IDENTIFYING AS LGBTQIA+: Don’t know
STAFF IDENTIFYING AS DISABLED: Don’t know
STAFF IDENTIFYING AS VETERANS: Don’t know
STAFF OVER THE AGE OF 40: Don’t know
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 30+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Via agent.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? The evolving theatrical landscape.

INDIE RIGHTS
BIO: Indie Rights was founded in 2006 by Linda Nelson and Michael Madison, who started as filmmakers and felt there was a need for a new kind of distribution. The company has a great reputation for being innovative and enjoys direct relationships with all the major outlets globally. Indie Rights has been an exhibitor at AFM and Cannes for the past eight years.
RECENT TITLES: Maxima, Los Angeles, Cain and Abel, The Broken Rose, A Bend In The River
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: Initial term is three years
FESTIVALS: Cannes International Film Festival
SOCIAL MEDIA: Marketing must be a team effort and social media currency is vital
FILMS ACQUIRED 2021: 30+
ACQUIRED FROM SALES AGENTS: 1-25%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? We believe that filmmakers deserve to start earning revenue from the first dollar earned rather than waiting for expenses and MGs to be recouped.
AVERAGE MINIMUM GUARANTEE TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 0%
STAFF IDENTIFYING AS WOMEN: 40%
STAFF IDENTIFYING AS LGBTQIA+: 20%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 20%
STAFF OVER THE AGE OF 40: 40%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: TBD
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Through our website.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: The future is brighter than it ever has been. The internet has made global distribution possible for independent filmmakers. Google/YouTube will be the largest broadcaster of independent film by 2023. With two billion users that can be hyper-targeted, advertisers are realizing that this is a major opportunity for them. AVOD has quickly become the best opportunity for independent filmmakers to get their films seen.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? It’s easy to do your homework and find an honest distributor. Subscribe to IMDbPro, talk to producers that have worked with any distributor you are considering. Ask three questions – 1) do you get paid on a regular basis, 2) do you get detailed reports, and 3) is there someone to talk to or that will answer your emails.
ANYTHING ELSE? We welcome submissions for any completed feature-length narrative or documentary film. We look for a good story, good acting, good production value, and a willingness to nurture your film by cooperating with us on social media marketing.

JUNO FILMS
BIO: Founded in 2016, Juno Films is a boutique film distributor and world sales agent. Its founder Elizabeth Sheldon has over 20 years of experience in the distribution of documentary and feature films for both North American all-rights releases and international sales. Juno Films specializes in bespoke distribution strategies on behalf of producers and filmmakers.
RECENT TITLES: Calendar Girls, As In Heaven, Earwig, A Song for Cesar
EMPLOYEES: 1-3 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 13-15 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantasia Festival, Fantastic Fest, New Directors/New Films, Sundance Film Festival, Telluride Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 11-20
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? Confidential
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: Confidential
STAFF IDENTIFYING AS PEOPLE OF COLOR: We have no staff.
STAFF IDENTIFYING AS WOMEN: 50% of management identifies as women.
STAFF IDENTIFYING AS LGBTQIA+: 50%
STAFF IDENTIFYING AS DISABLED: 50%
STAFF IDENTIFYING AS VETERANS: 50%
STAFF OVER THE AGE OF 40: 100%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 11-20
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Via an agent
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: If audiences don’t resume showing-up for indie theatrical releases, festivals will be the new theatrical window. That has a lot of implications.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? Distribution is an intricate network of connections.
ANYTHING ELSE? We are highly selective but open-minded when it comes to evaluating a film.

KINO LORBER
BIO: http://www.kinolorber.com We’ve been around in our current form for about 10 years and before that as Kino International, which was founded in the late 1970s and merged with Lorber Films to create Kino Lorber in 2009.
RECENT TITLES: Ahed’s Knee, France, Hit the Road, Brighton 4th, Fabian or Going to the Dogs, Neptune Frost, Murina, Private Desert
EMPLOYEES: 31-50 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 8-12 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantastic Fest, South by Southwest, Sundance Film Festival, Telluride Film Festival, Toronto International Film Festival, Venice International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 21-30
ACQUIRED FROM SALES AGENTS: 76-100%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 76-100%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No answer.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 20%
STAFF IDENTIFYING AS WOMEN: 25%
STAFF IDENTIFYING AS LGBTQIA+: Unknown
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: Unknown
STAFF OVER THE AGE OF 40: Unknown
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 21-30
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Sales agent or major film festival participation.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: It is our job to continue to fight the good fight.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? We want the same level of success that you do.

LEVEL 33 ENTERTAINMENT
BIO: Founded in 2010, Level 33 Entertainment is a worldwide content sales and distribution company dedicated to providing the highest level of quality independent film distribution in the industry. Level 33 acquires diverse, entertaining content then distributes and sells directly across all media platforms, including Theatrical, On Demand, Physical Media and Television/Streaming.
RECENT TITLES: Deadly Cuts, Arctic Void, Use of Force
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS:All rights, worldwide
TERM: 4-7 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantastic Fest, South by Southwest, Sundance Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 11-20
ACQUIRED FROM SALES AGENTS: 26-50%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 51-75%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $10,001 – $50,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 25%
STAFF IDENTIFYING AS WOMEN: 60%
STAFF IDENTIFYING AS LGBTQIA+: 10%
STAFF IDENTIFYING AS DISABLED: 10%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 40%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 21-30
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Via email
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: While there have been many challenges to the independent film space, particularly over the last couple of years, we believe there are still bright days ahead for unique and diverse indie voices.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? The importance of building your film around marketable elements and the time it takes to see revenues from distribution of content.

MATSON FILMS
BIO: Founded in 2004 and based in Los Angeles, Matson Films services theatrical distribution of 20+ films per year for both individual filmmakers and other distributors with theatrical needs. Films distributed through these partnerships have ranged from Oscar nominees LIFE ANIMATED and CARTEL LAND, to major festival winners THE OVERNIGHT, THE HERO, AMERICAN ANIMALS, and HUNT FOR THE WILDERPEOPLE, to activist documentaries including THE MESSENGER, THE LAST DALAI LAMA and THEY CALL US MONSTERS, to cult classics like Alex Cox’s STRAIGHT TO HELL RETURNS. Under its own banner, the company’s acquisitions focus is on films from emerging American and International directors and the distribution strategy works to provide the excitement and community of traditional theatrical movie-going with the all-access opportunity of the exploding digital landscape. Company acquisitions include IT’S ALL GONE PETE TONG, GHOST BIRD, MUSIC FROM THE BIG HOUSE, PURGATORIO, GURUKULAM, and RADIO DREAMS.
RECENT TITLES: Be Natural, Making Waves, Gift
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 4-7 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Sundance Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 1-3
ACQUIRED FROM SALES AGENTS: 0%
ACQUIRED FILMS PAID ADVANCES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 20%
STAFF IDENTIFYING AS WOMEN: 50%
STAFF IDENTIFYING AS LGBTQIA+: N/A
STAFF IDENTIFYING AS DISABLED: 25%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 50%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: E-mail.

MUTINY PICTURES
BIO: Mutiny Pictures was founded in 2020 and strives to offer a clear, transparent, honest, and ethical relationship with its filmmakers throughout the distribution process.
RECENT TITLES: Equal Standard, The Yellow Wallpaper, I am Lisa, I Need You Dead!, Terror Trips, Heaven’s Above
EMPLOYEES: 1-3
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: 4-7 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Fantasia Festival, Fantastic Fest, Locarno Film Festival, South by Southwest, Sundance Film Festival, Toronto International Film Festival, BIFFF, BIFAN, Sitges, Telluride Horror Show
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 21-30
ACQUIRED FROM SALES AGENTS: 1-25%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 1-25%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $1 – $10,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 0
STAFF IDENTIFYING AS WOMEN: 0
STAFF IDENTIFYING AS LGBTQIA+: 0
STAFF IDENTIFYING AS DISABLED: 1
STAFF IDENTIFYING AS VETERANS: 0
STAFF OVER THE AGE OF 40: 0
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 21-30
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Either through our website or to jonathan@mutinypictures.com.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Making movies these days is easier than ever. Great equipment can be relatively inexpensive and great editing software is free or cheap. As a result, fantastic stories can be told when, in the past, they’d be completely passed over. We need those kinds of stories and look forward to the indie world and all it has to offer!
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? Filmmakers really need to understand how to work with a distributor and to anticipate what a distributor will need in order to make a film’s release successful.

OSCILLOSCOPE
BIO: Oscilloscope Pictures is an NYC-based independent film production and distribution company founded in 2008 by Adam Yauch. The company releases films on all platforms, including theatrically, digitally, and on DVD. The company is modeled after the indie record labels Yauch grew up around, choosing films and then releasing them with the same artistic integrity with which they were made.
RECENT TITLES: The Tale Of King Crab, The Velvet Queen, Clara Sola, Poser, Shortbus (Remastered), No Ordinary Man
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 13-15 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, South by Southwest, Sundance Film Festival, Telluride Film Festival, Tribeca Film Festival, Toronto International Film Festival, True/False, HotDocs
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 8-12
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 51-75%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $10,001 – $50,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 30%
STAFF IDENTIFYING AS WOMEN: 50%
STAFF IDENTIFYING AS LGBTQIA+: 20%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 20%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 8-12
BEST WAY FOR FILMMAKERS TO SUBMIT FOR CONSIDERATION: Our rule is that we do not accept unsolicited films (they should come through a trusted source or sales agent), but we bend that rule from time to time.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Filmmakers will continue to make independent films and this art form will adapt to whatever the future holds. Storytellers will be around longer than most of the companies filling out this survey will be.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? The value in International territories outside of just the US/North America.
ANYTHING ELSE? You can always find out more at http://www.oscilloscope.net or follow us on socials for a good laugh, cry, gut punch, or whatever other emotional rollercoaster we are on at that time.

PASSION RIVER FILMS
BIO: Founded in 1998, Passion River Films is a film distributor specializing in films that engage with audiences and impact communities. We handle distribution to broadcast, cable, VOD, Home Video, and to academic markets. Passion River’s diverse catalog features Academy Award and Emmy-winning films as well as films that have been recognized at Critic Choice Awards, Independent Spirit Awards, Sundance Film Festival, Cannes, SXSW, Berlinale, and many other prestigious events.
RECENT TITLES: Belly of the Beast, A Sexplanation, To Which We Belong, Analog Love, The Diabetes Solution
EMPLOYEES: 11-15 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: Typically all rights worldwide, but it depends on the film — we do work with partial rights on some titles
TERM: 4-7 years
FESTIVALS: Berlin International Film Festival, IDFA: International Documentary Film Festival Amsterdam, New Directors/New Films, Sheffield Doc/Fest, South by Southwest, Sundance Film Festival, Telluride Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It is vital. We do minimal marketing on behalf of the film.
FILMS ACQUIRED 2021: 21-30
ACQUIRED FROM SALES AGENTS: 1-25%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 30%
STAFF IDENTIFYING AS WOMEN: 70%
STAFF IDENTIFYING AS LGBTQIA+: 0%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 70%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 21-30
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: http://www.passionriver.com/submit-your-film.html
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: The independent film industry is in a dramatic period of upheaval. What was true in 2019 is likely not true today, and what is true today might not be true in six months.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? Time — the time it takes to sign a film, pitch a film, negotiate deals for a film, place the film, schedule the film and premiere the film are processes that take months. Then there is the time it takes for the platforms that licensed the film to report back and remit payments to the distributor, and for the distributor to then send its reports and remittances to the filmmaker.

PROLIFIC PICTURES
BIO: We are a boutique film sales agency founded in 2017, curating a catalogue of quality titles for buyers and audiences worldwide.
RECENT TITLES: Shapeless, a Tribeca selection, recently acquired. Queen of the Morning Calm released on Showtime
EMPLOYEES: 1-3 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: 4-7 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Toronto International Film Festival, Dances With Films, NoHo Cinefest
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 1-3
ACQUIRED FROM SALES AGENTS: 0%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 67%
STAFF IDENTIFYING AS WOMEN: 67%
STAFF IDENTIFYING AS LGBTQIA+: 0%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 33%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Email us at info@prolificpictures.com
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: Filmmaking is problem-solving, and we are as confident as ever that independent filmmakers will continue to solve the problems presented by an ever-shifting distribution landscape. The future of independent film is bright.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? Quality is key and every box needs to be checked, but performances and storytelling are the most important. A well-cast well-told film can be forgiven a lot by both buyers and audience, whereas a well-shot but poorly cast poorly told film is always a pass. Other than that, don’t assume anything. The industry is changing too quickly. Talk to as many sales agents and distributors as you can before you even write the script.
ANYTHING ELSE? We are very interested to work with filmmakers early in the process, even at development or script stage. While we don’t finance, we can provide valuable intel on what we’re seeing on the distribution side so that filmmakers are more informed and have a better idea what to expect when they bring their finished film to the marketplace.

TERROR FILMS
BIO: Launched in 2016, Terror Films is a horror genre distributor that specializes in the worldwide release of indie horror films across all major digital platforms.
RECENT TITLES: Evil At The Door, Portal Runner, Last Radio Call, The Taking of Deborah Logan, Hell House LLC Franchise
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: Digital only, worldwide
TERM: 4-7 years
FESTIVALS: Fantasia Festival, Fantastic Fest, Telluride Film Festival, Only festivals that typically screen horror films.
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 21-30
ACQUIRED FROM SALES AGENTS: 26-50%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 0%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: No minimum guarantee/advance paid.
STAFF IDENTIFYING AS PEOPLE OF COLOR: 0
STAFF IDENTIFYING AS WOMEN: 2
STAFF IDENTIFYING AS LGBTQIA+: 3
STAFF IDENTIFYING AS DISABLED: 0
STAFF IDENTIFYING AS VETERANS: 0
STAFF OVER THE AGE OF 40: 5
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 21-30
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Through our website via the submission emails provided.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: We believe it to be a bright one. Streaming (TVOD, AVOD, SVOD, VOD) platforms have given indie films a chance to be seen by a massive, worldwide audience in a way that did not exist 10 years ago.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? That there are no guarantees on financial success but you should choose a distribution partner who will guarantee marketing and promotion of your films to give your film a real chance at success.
ANYTHING ELSE? We are a company comprised of filmmakers who have created a model to place the films and filmmakers first. We are able to do what we do by not being a high volume machine, rather we tend to our films in a way not typically seen in the indie distribution space.

THE NACELLE COMPANY
BIO: The Nacelle Company, founded by Brian Volk Weiss, is an American diversified media company headquartered in Los Angeles, California. Established in 2017, we are a leader in the pop-culture space through scripted and unscripted production, podcasting, publishing, records, distribution, development, marketing and management divisions.
RECENT TITLES: The Center Seat: 55 Years of Star Trek, Eddie Izzard: Wunderbar, The Movies That Made Us
EMPLOYEES: 4-10 employees
TYPE OF CONTENT: Documentary, Fiction, Series, and Stand Up
RIGHTS: Digital only, worldwide
TERM: 25+
FESTIVALS: Fantastic Fest, New Directors/New Films, South by Southwest, Tribeca Film Festival
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 4-10
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 76-100%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $10,001 – $50,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 50%
STAFF IDENTIFYING AS WOMEN: 40%
STAFF IDENTIFYING AS LGBTQIA+: 20%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 30%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Our Website
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: No response.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? That it requires just as much effort as production.
ANYTHING ELSE? In addition to the films acquired noted above, we also acquire anywhere from 24-200+ stand up specials a year.

VISION FILMS
BIO: Founded in 1997, Vision Films is a Worldwide Distribution Company with a library of over 800 independent Feature Films, TV Movies, Documentaries and Music Specials. Their website is http://www.visionfilms.net.  In 2013, Vision Films announced their expansion into North American Distribution. Vision has a DVD label and their VOD partners include iNDemand, Vubiquity, Dish, Direct TV, Shaw, Rogers, Bell and Telus, Amazon, iTunes, Xbox, PlayStation, Vudu/FandangoNow, Google Play, Netflix, Hulu, Tubi, Pluto, Roku, IMDB.tv, the Peacock and more. Vision Films releases 3-4 New Release titles each month and is actively acquiring top-notch independent feature films, TV movies and documentaries that entertain, inspire, and inform audiences.
RECENT TITLES: Eagle Wings, 7th Secret: The Price of Desire, Prince Philip: The Man Behind the Throne, Alpha Code, Seal of Desire, The Adventures of Peanut and Pig
EMPLOYEES: 11-15 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, worldwide
TERM: 4-7 years
FESTIVALS: Berlin International Film Festival, Cannes International Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It is important. We rely on the marketing muscle of the filmmaking team in addition to our own.
FILMS ACQUIRED 2021: 30+
ACQUIRED FROM SALES AGENTS: 26-50%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 26-50%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $10,001 – $50,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 20%
STAFF IDENTIFYING AS WOMEN: 40%
STAFF IDENTIFYING AS LGBTQIA+: 0%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 30%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 30+
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Go on our website and send in the submission form via email.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: We are totally optimistic as there are more opportunities now than ever before!
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? 1) How long the process takes to see a return, it’s typically 9 months from signing on a film; 2) How hard we work to release a film, getting it on the platforms is not the hard part, the hard part is creating the right marketing and getting the word out to the consumer so they are compelled to buy the film.
ANYTHING ELSE? We are 100% transparent, offer a real time 24/7 producer reporting portal so a producer can see in between the quarters how their film is doing, and pay like clockwork.

ZEITGEIST FILMS
BIO: Zeitgeist Films is a New York-based distribution company founded in 1988 which acquires and distributes the finest independent films from the U. S. and around the world. In 2017, Zeitgeist entered into a multi-year strategic alliance with renowned film distributor Kino Lorber. Zeitgeist has distributed early films by such notable directors as Todd Haynes, Christopher Nolan, Francois Ozon, Laura Poitras, Atom Egoyan and the Quay Brothers. Their catalog includes films from the world’s most outstanding filmmakers including Margerethe Von Trotta, Ken Loach, Guy Maddin, Derek Jarman, Nuri Bilge Ceylan, Peter Greenaway, Yvonne Rainer, Andrei Zyvagintsev, Astra Taylor and Raoul Peck. Previous Zeitgeist Films releases in association with Kino Lorber have included Ken Loach’s Sorry We Missed You, Halina Dyrschka’s Beyond the Visible: Hilma af Klint and Ric Burns’ Oliver Sacks: His Own Life. Five Zeitgeist films have been nominated for Academy Awards and one, Nowhere in Africa, won the Academy Award for Best Foreign Language Film. Their films have been honored by festivals throughout the world with Grand Prizes at Cannes, Berlin, Sundance, Tribeca, and IDFA in Amsterdam. The Museum of Modern Art honored Zeitgeist with a month-long, 20th anniversary retrospective of their films in 2008.
RECENT TITLES: Hive, The Unmaking of a College, Fiddler’s Journey to the Big Screen
EMPLOYEES: 1-3 employees
TYPE OF CONTENT: Both documentary and fiction, feature-length films
RIGHTS: All rights, North America
TERM: 8-12 years
FESTIVALS: Berlin International Film Festival, Tribeca Film Festival, Toronto International Film Festival
SOCIAL MEDIA: It helps, but an online presence isn’t necessary.
FILMS ACQUIRED 2021: 4-10
ACQUIRED FROM SALES AGENTS: 51-75%
ACQUIRED FILMS PAID MINIMUM GUARANTEES? 76-100%
AVERAGE MINIMUM GUARANTEE PAID TO FILMS ACQUIRED IN 2021: $10,001 – $50,000
STAFF IDENTIFYING AS PEOPLE OF COLOR: 0%
STAFF IDENTIFYING AS WOMEN: 100%
STAFF IDENTIFYING AS LGBTQIA+: 0%
STAFF IDENTIFYING AS DISABLED: 0%
STAFF IDENTIFYING AS VETERANS: 0%
STAFF OVER THE AGE OF 40: 100%
ANTICIPATED NUMBER OF FILMS ACQUIRED IN 2022: 4-10
BEST WAY FOR FILMMAKER TO SUBMIT FOR CONSIDERATION: Through a festival, sales agent, though someone who may have done business or is a ‘friend’ of Zeitgeist who recommends it to us.
WHAT ARE YOUR THOUGHTS ON THE FUTURE OF INDEPENDENT FILM: It is very difficult to predict the future, especially when it comes to distribution.
WHAT DO YOU WISH FILMMAKERS BETTER UNDERSTOOD ABOUT DISTRIBUTION? We wish that filmmakers would do their due diligence about distributors, ask other filmmakers about their experiences, do research about the companies, check their websites and go to panels (or Zoom) where their executives are appearing and once they feel secure about the quality of the distributor, let go of their films and let the distributor do their jobs.

Dear Producer would like to thank the distributors who participated in this survey. Your transparency demonstrates your undeniable commitment to the film community.

DECLINED TO PARTICIPATE:
A24
Abramorama
Amazon
Apple
Array
Bleecker Street
Cohen Media Group
Decal
Desk Pop
Film Movement
Film Rise
Focus Features
Global Digital Releasing
Gravitas
Greenwich
Hulu
Janus
Launch Releasing
Lionsgate
Magnolia
Menemsha
Music Box
Netflix
Neon
Quiver
Roadside Attractions
Shout! Factory
Sony Pictures Classics
Strand
Uncork’d
Variance
Vertical Entertainment
Virgil Films
Wolfe

Dear Producer

Amplifying the Voices of Producers

DISTRIBUTORS FACT SHEET: 2022 Edition

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