Cindy Marinangel made an 11th-hour decision to attend the U.K. premiere of her movie at the Eurocinema Film Festival. However, when she showed up at the venue they knew nothing about the event. This is just one of a catalog of complaints against festivals:
, Cindy Marinangel made an eleventh-hour decision ahead of its U.K. premiere at the Eurocinema Film Festival in October 2018. Despite tight personal finances, as producer, writer and star of the centuries-hopping romance, she concluded that she needed to be there.
Though some obscure festivals haven't lasted long, others are flourishing thanks to filmmakers who are happy to shell out $40, $60, $80 or more in individual submission fees. But the costs often don't stop there. Alongside travel and accommodation expenses, many of these events serve up an increasing array of costs that are rarely mentioned in the application: to promote your film, to take part in workshops, go to awards dinners and sometimes even just to see films besides your own.
Australian filmmaker Claire J. Harris felt that the Nice International Film Festival fell in the latter category after she attended in May 2018 with her feature. Nice, part of a 15-year-old European chain called Film Fest International that holds events in Madrid, London, Milan and, soon, Antwerp, touts on its FilmFreeway page that the festival's dates overlap with the Cannes Film Festival a few miles away, "naturally filling our venue with a wealth of talent.
Optional fees included: $30 for each project pitch submitted for consideration to the "Industry Partners program" designed to "bring [projects] to life" ; $13 to enter a competition where a project chosen by "industry executives" would win a "sit-down" opportunity with those executives as well as a free pass, hotel stay and $4,000; and $99 to commission Dove Sussman, the writer of the Clive Owen-Morgan Freeman movie, to pen a review of a filmmaker's...
The festival also addressed the fact that the event featured nearly five times as many films in 2019 than 2018. "Did we prepare? We believed we did. Did the execution of the event reflect that[?] The majority of our attendees would answer yes. However, for us we did not realize the strain on the infrastructure of Oaxaca itself we created." The Oaxaca Film Fest, which has no social media presence, closed reviews on FilmFreeway until days before this article was set to run.
"If a filmmaker has a script or film that is submittable to any other show, we always tell them to absolutely submit — you do give yourself more possibility to win," says Action on Film Megafest creator Del Weston, adding that that KJ Dim Sum & Seafood has been the festival's award ceremony venue for two years now.
This savviness includes being a bit more particular, and not simply chasing laurels to plaster over promotional literature and artwork. But industry figures argue that some responsibility must also lie with the submission platforms themselves, especially FilmFreeway — which makes a not-inconsiderable 8.5 percent commission on each admission fee. "They need to understand that this is an area where people can be exploited," says Cath Le Couteur, founder of subscription-based online indie filmmaking community Shooting People.
Not all small festivals that require filmmakers to pay for their travel, accommodations and pass are suspect. "There are festivals that ask you to pay for your pass — Austin Film Festival is one of them — but then it's not to go to empty screening rooms. They're giving you something for your pass," says Sandrine Cassidy, senior director of talent development, festivals and distribution at USC, who works on festival placement for student films.
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