A ccelerating the independent film business from script to screen is the key focus of Playback Film Summit – and film festivals could be one stop on the path to success.

The role of the festival circuit will be a key discussion panel with Toronto International Film Festival head and artistic director Cameron Bailey, Tribeca Festival director and programming VP Cara Cusumano and Melbourne International Film Festival artistic director Al Cossar. They are set to discuss how festivals can help filmmakers maximize impact on day two at the inaugural virtual event, scheduled for Tuesday (Nov. 9) and Wednesday (Nov. 10).

A networking event will follow the discussion with Summit participants gaining access to 14 key programmers and managers representing the Planet in Focus International Environmental Film Festival, Reelworld Screen Institute (which run Reelworld Film Festival), Calgary International Film Festival, St. John’s International Women’s Film Festival, TIFF, MIFF, Lunenburg Doc Fest, Vancouver Film Festival and Gimli Film Festival.

Playback asked a selection of the attendees, as well as a programmer for the upcoming Whistler Film Festival, to share insight what makes a good fit for for their events. Here’s what they said:

Offer originality

“Good films have a quality about them that elevates the medium,” says Alan Wong, festival manager of Manitoba’s Gimli Film Festival. “They should make the viewer feel like a participant, not just an observer. And the journey needs to be as distraction-free as possible, in order for the message to properly sink in.”

The festival, he adds, uses a rubric with three criteria that the jury looks for in each submission: Strength of the project’s concept; originality and relevance of subject matter and approach; and overall artistic innovation and technical proficiency

Wong says judges render their decisions based on those elements, and “look for presence of new perspectives, production quality in sound and image, editing, pacing, risk-taking, and then the final element is personal to the juror – overall opinion.”

He also notes that there’s a standard that needs to be met that will become more apparent the more filmmakers hone their craft.

Make a compelling impression

“The best submissions have a strong point of view, distinct voice, and unique access to a subject that will emotionally engage or intrigue and transport the viewer, helping our audience see the world through others’ eyes,” says Pamela Segger, executive director and programmer for Nova Scotia’s documentary festival. “Particular to Lunenburg Doc Fest, we seek diverse international documentaries of all lengths across a broad spectrum of subject, viewpoint, and style. More and more our festival is increasingly interested in films that push the artistic boundaries of documentary filmmaking.”

The festival is looking to align with both emerging and established filmmakers, preferring work “that represent inclusive storytelling on and off screen.”

Offering a personal touch can also lift a project: “A filmmaker who expresses interest in actively participating in the festival, by way of an audience Q and A and onsite participation during a special event or social, adds to the appeal of a potential selection,” Segger adds.

Address the festival’s need – and your own

“They should research the different festivals before they spend a fortune submitting to all of them,” adds Whistler Film Festival program director Paul Gratton. “All have different niches.”

“It really depends on what your purpose is with your film. Are you seeking distribution?  Are you looking for reviews?  Are you looking to find another way into the marketplace? Because the marketplace is very difficult for say, a low-budget Canadian film. You really have to do a bit of research – not all film festivals are created equal.”

Gratton also says that some festivals – including Whistler – are territorial. “We never run a movie that plays the Vancouver Film Festival,” says Gratton. “So, if your heart is set on playing Whistler, you shouldn’t accept an offer from Vancouver. There’s lots of regional quirks like that. For example, if you want to qualify for the Borsos Award (For Best Canadian Feature Film), we’d have to have a minimum of a B.C. premiere.

“You have to look at the different regulations. Different film festivals are  more exigent when it comes to exclusivity in terms of having premieres and windows. Some will take films from other festivals; others insist on being the world premiere and the Canadian premiere.”

Gratton says that there may also be revenue-making opportunities at certain festivals. “Our online revenues offer 50 per cent to the filmmakers,” Gratton notes. “So, for low-budget Canadian filmmakers, that’s direct access to the paying public without having the big grief of trying to find distributors or screens for a Canadian film.”

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