Distribution

Here's another great piece of research from Stephen Follows, this time concerning the shifting audience trends and therefore a shift in the market for our films.

He moves us through the 20th Century with its trends for films, to the 21st Century, where he sees three forces at play:

Force 1: Audiences have changed what (and how) they watch

"Non-English film and TV viewing has become fairly commonplace in English-speaking markets. Ampere’s tracking across the US, UK, Canada and Australia shows 54% of internet users aged 18–64 now watch non-English content “very often” or “sometimes”, up from 43% in Q1 2020.

The shift is strongest among younger viewers, and the older end is moving too. Ampere reports 66% of 18–34s regularly watch non-English titles, compared with 41% of 45–64s, with the older group rising from 30% to 41% over the same period."

Force 2: Localisation is transformatively easier

"On the industrial side of creating and adapting movies, localisation is going through a quiet revolution.

Last year, Amazon Prime Video announced it was employing “AI-assisted dubbing” automatically on a number of international titles. Amazon will have a tight rein on their proprietary software, but:

Other companies are also building tools along the same lines.

It shows that localisation is moving away from being a manual specialist skill toward something the industry wants to run routinely at scale across all titles."

Force 3: Distribution is global by default and discovery is cross-border

"The final force for us to consider is the growing prominence of global deals - i.e., one deal for worldwide rights to content, replacing the per-territory deals that used to be the norm.

This affects both the industrial side (i.e. who filmmakers can sell to) and the consumer side (i.e. what content consumers can access).

Within the distribution world, deal-making has shifted towards scale. Streamers increasingly want rights that travel widely and move through one pipeline, rather than a patchwork of separate territorial licences."

Sadly, the whole text is limited by subscription, but you could get a free read of the article by downloading the SubStack app. I've done that and copied some of the insights here.

Force 3 has implications for independent filmmakers, in that even if pre-sale territories were bought, a Streamer could potentially force a buyback and push for a global Pay-1 licensing deal. This would hit potential pre-release income for investors and producers (if I've read this correctly). What are you thoughts about this and the findings of Follows' article, for things like AI-assisted dubbing?

https://stephenfollows.com/p/a-bigger-market-is-emerging-for-indie-film

https://www.vulture.com/article/this-years-sundance-sales-are-just-getting-started.html

My short The Cost of Silence about domestic abuse has been doing well in festivals, getting semi finalist, Best First Time Director, and yesterday Finalist.

People are asking where they can see it. I don't want to put it online on open view because its doing the festival run. What is the best way to show it so people can view it, without affecting the festival run. Is distribution the way to go and how do I go about that please?

Two major players in the UK’s emerging vertical video space just teamed up, and it feels like a real signal about where mobile-first storytelling and distribution are heading next. Full Deadline article for context:

https://deadline.com/2026/02/tattle-tv-onset-octopus-uk-microdrama-produ...

Tattle TV, which positions itself as Britain’s first microdrama app, has entered a strategic partnership with Onset Octopus, led by producer Ben Pengilly. Together, they’re building a slate of premium vertical dramas with a clear focus on stronger scripts, stronger performances, and higher production value across the board.

From a distribution perspective, a few things really stand out:

- Vertical drama is being treated as a primary distribution format, not a side experiment

- Onset Octopus already has global reach, with localized series and tens of millions of views worldwide

- Tattle TV is actively developing originals and adapting IP, positioning itself as a UK hub for mobile-first storytelling

- Rights and territory restrictions still matter deeply, especially when adapting legacy IP

- Vertical platforms are rapidly evolving into structured, serialized distribution ecosystems

And this moment lines up perfectly with an opportunity for writers who want to break into this space.

The Stage 32 + DramaBox Screenwriting Competition is approaching its FINAL DEADLINE this Wednesday, February 4th.

If you’ve been curious about vertical storytelling, this is one of the most direct on-ramps available right now.

You can submit your vertical drama script here:

https://www.stage32.com/happy-writers/contests/Stage-32-%20-Drama-Box-Screenwriting-Competition

Grand Prize Winner receives:

- $5,000 writer contract with the opportunity to adapt existing IP matched to your voice

- Career Accelerator Prize Package (valued at $4,000) including script development, career consulting, writer branding, and education

- Personal mentorship with dedicated 1:1 career development sessions

- Industry marketing campaign to Stage 32’s roster of 2,500+ managers, agents, producers, and executives

- Strategic partnership with Stage 32 and DramaBox executives to prepare your project to go directly to market

Finalists receive:

- An invite to the Stage 32 + DramaBox Writer Incubator, a free, invite-only vertical drama development experience

- A Career Momentum prize package valued at $1,500

- Logline placement in a Stage 32 Look Book sent to 2,500+ top industry executives

With companies like Tattle TV and Onset Octopus actively expanding the vertical ecosystem, it’s clear this format isn’t a trend, it’s a lane.

For those working in distribution, development, or writing, how are you thinking about vertical platforms right now? Are they part of your current strategy, or something you’re just starting to explore?

Sundance 2026 sales is a great snapshot of how distribution works today. It shows a real range of paths: from massive, star-driven bidding wars like Olivia Wilde's The Invite to more niche, single-buyer pickups for titles like Leviticus. What I find most telling is that only about a dozen of the 90+ films arrived with distribution already set, highlighting just how crucial the festival remains as a marketplace for independent films. It makes you wonder how the deals being made now will shape what we actually see in theaters and on streaming later this year. Exposure is also a huge plus when finding distirubiton, a Stage 32 filmmakers shared how the community led directly to an agent reaching out and kickstarting a distribution deal for their transmedia project. It shows that actively sharing your creative process and building an audience online can open unexpected doors long before you get to a festival. It makes you wonder how the combination of traditional markets and modern networking will continue to shape what we actually see in theaters and on streaming later this year.

Read ongoing sales here: https://www.indiewire.com/news/festivals/sundance-2026-movies-sold-so-fa...

With Sundance officially underway and many of you already prepping for Berlinale and Cannes, this feels like the perfect moment to zoom out and talk festival strategy, not just attendance, but how festivals fit into your distribution plan.

Whether you’re submitting a film, attending to network, volunteering, or simply observing and learning, festivals can be powerful distribution accelerators when approached with intention. They can also be overwhelming, expensive, and underwhelming if expectations and strategy aren’t aligned.

If you’re prepping for a festival this year…

How are you thinking about festival choice in relation to your film’s audience and distribution goals?

Are you prioritizing premiere status, sales presence, press, or networking?

What materials are you focusing on before you arrive (deck, trailer, one-pager, target buyer list)?

If you’ve been through the circuit before…

What’s one thing you wish you’d done earlier in your prep?

Did a festival directly help you land distribution, or was the value more indirect?

Any lessons learned about timing, submissions, or managing expectations?

If you’re not submitting a film yet…

Have you volunteered at festivals to build relationships and learn the landscape?

Are you attending with a clear goal, or still figuring out what festivals can do for you?

Festival season can be a whirlwind, but when distribution thinking is baked into your prep, it becomes a lot more strategic and a lot less chaotic.

Let’s share what’s working, what’s confusing, and what you’re doing differently this year. Someone else reading this thread is likely a few steps behind you and will benefit from your experience.

This might be of some interest to a few of you. Here's the Government of Canada press release about the court case between Cineplex and the Competition Bureau. Here is the link to the original press release: https://www.canada.ca/en/competition-bureau/news/2026/01/statement-from-...

Statement from the Acting Commissioner of Competition on appeal court's ruling in Cineplex deceptive marketing case

From: Competition Bureau Canada

News release

The Federal Court of Appeal ruled in favour of the Competition Bureau

January 23, 2026 – GATINEAU, QC – Competition Bureau

Jeanne Pratt, Acting Commissioner of Competition, issued a statement following the Federal Court of Appeal’s decision to uphold a September 2024 ruling by the Competition Tribunal in a deceptive marketing case involving Cineplex.

“We welcome the Federal Court of Appeal’s decision—another resounding win for Canadians. This outcome reinforces the Bureau’s clear stance that businesses should not advertise prices that are not attainable.

Canadians deserve transparency when making purchases. Businesses that fail to comply with the law risk significant financial penalties.

Our continued work on this file, along with other drip pricing cases underlines our commitment to tackling deceptive marketing practices.”

Quick facts

On May 18, 2023, the Bureau filed an application with the Competition Tribunal, seeking, among other things, for Cineplex to stop its deceptive advertising.

On September 23, 2024, the Competition Tribunal ruled in favour of the Competition Bureau and found that Cineplex engaged in drip pricing.

On October 23, 2024, Cineplex filed a notice of appeal, with the Federal Court of Appeal to overturn the Competition Tribunal’s decision.

On October 8, 2025, Cineplex’s application was heard by the Federal Court of Appeal.

On January 21, 2026, the Federal Court of Appeal dismissed Cineplex’s appeal, with costs.

Drip pricing involves offering low prices to attract consumers but then adding mandatory fees so that the prices are unattainable. This practice is against the Act, unless the additional fixed charges or fees are imposed by the government on purchasers, such as sales tax.

The Bureau has taken action against drip pricing for many years under the Deceptive Marketing Practices provisions of the Competition Act.

In May 2024, the Bureau issued a consumer alert to raise awareness and reporting of drip pricing.

We strongly encourage anyone who suspects that a company or individual is making false or misleading price claims to report it by using the Bureau’s online complaint form.

Related products

Competition Tribunal Cineplex Information Note: https://decisions.ct-tc.gc.ca/ct-tc/cdo/en/item/521297/index.do

Competition Bureau wins deceptive marketing case against Cineplex: https://www.canada.ca/en/competition-bureau/news/2024/09/competition-bur...

Cineplex - Notice of Application: https://decisions.ct-tc.gc.ca/ct-tc/cdo/en/item/521195/index.do

Recent changes to the Competition Act explicitly recognize drip pricing: https://www.canada.ca/en/competition-bureau/news/2022/06/important-amend...

September 2024 Ruling: https://www.canada.ca/en/competition-bureau/news/2024/05/the-ambush-of-h...

Associated links

Drip pricing and the Competition Act: https://competition-bureau.canada.ca/en/deceptive-marketing-practices/dr...

Deceptive marketing practices – Cases and outcomes: https://competition-bureau.canada.ca/en/deceptive-marketing-practices/ca...

Consumer alert: The ambush of hidden fees: https://www.canada.ca/en/competition-bureau/news/2024/05/the-ambush-of-h...

Amazon VOD will not let your film pass QC if you have website addresses in your film or trailer. I think Filmhub has a problem with that too.

So what does a filmmaker do if their documentary focuses on advocacy, and interview subjects are speaking about the websites for their organizations? If the movie is often ABOUT these websites, how do we get around distributors’ rules?

I’m currently editing a doc that will run into this issue. Anyone who has experience or ideas on the subject, let me know.

https://www.indiewire.com/features/interviews/indie-film-startup-distribution-1235168088/

I'm sure by now you've all read about YouTube star Markiplier who self-distributed his movie to 2500 theaters: https://collider.com/markiplier-indie-horror-movie-iron-lung-no-distribu...

Not everyone has 18 million or so followers but I've been thinking a lot lately about how many filmmakers I know who finish a project, submit to a few festivals, and then… wait. And hope. And sometimes nothing happens, and the film just lives on Vimeo with 300 views.

Distribution feels like this mystery box that no one really talks about until it's too late. So I'm curious: for those of you who've gone through the distribution process (whether it's self-distribution, festival-to-streamer, sales agents, whatever) what was your strategy, and did it actually work?

What would you do differently next time? What surprised you? What advice would you give to someone finishing a project right now?

The filmmakers who can think about distribution BEFORE shooting their project are generally the most successful.

https://www.indiewire.com/news/analysis/markiplier-open-iron-lung-2500-screens-no-distributor-1235172987/