Screenwriting : Why Film Festivals Matter by Geoffroy Faugerolas

Film festivals are so important to the life of a film! They bring audience to build fans, press opportunities for buzz and more audience interest, and even distribution deals! Even more important the community at a film festival is like-minded and you build your community for when you do have a film in competition.

Laura Hammer So true! It's not who you know...it's who knows you. And festivals are a great way to connect with fellow creatives, artists...you never know what's going to come out of it.

I went to my first film festival last year because a script was an official selection. I didn't win anything but I got to hang out with so many incredible people who were just as passionate about this crazy ride as I was. I left feeling excited and connected in a way I had not anticipated. I cannot say enough nice things about HorrOrigins and it's companion Legendary Fest put on by the fine folks down in Tucson! I am definitely heading back again in 2026 even if I don't get selected again.

The Omaha Film Festival shows films BUT it has a screenwriting contest which provides a free pass if the script makes it as a Semi-Finalist so I’ve gotten in free for the last 4 years. Get to watch new films and partake of the Q& A’s with producers and Directors and hang out at the nearby restaurants and bars with all the film people.

Any other festivals that can compare?

My thing is they cost. And without a discount, they are expensive, and regardless of how good a film is, there isn’t a guarantee of a film being accepted. I believe there ought to be a discounted refund to all submissions whose film was not accepted.

I've never been to Cannes. Sundance is a networking mecca. Markets are a different story. AFM and Toronto were for sales agents to sell their existing product. I never found them to be especially helpful or receptive to new ideas or scripts. Now, IFTA can't be more than 20-25 members...and outside of streamers, not many buyers. I think if you have a great script, Stage 32 is a better place to get it exposure. I write commercial romcoms and family films. Those genres don't transfer globally, and are not of particular interest to most film festivals.

I'm going to be brutally honest with my esperiences with film festivals. A lot of them are great- a wonderful way to meet the people you need to meet, to meet and make new friends who are going through the same thing you are going through. And a lot of them can just be money grabs. I htink yoiu have to be really careful about which ones you submit to and spend yoiur money one.

You can stay behind your computer, research contacts and send emails, or you can meet people, laugh with them, drink with them, and then, “Oh yeah, what are you working on?”

Face-to-face has, without doubt, worked better for me.

Jack Vincent 100%!

Geoffroy the piece most people miss is that the recalibration happens even when no deal does. You walk into the market hearing what buyers actually want this year. You walk out writing the next thing differently. That part cannot be replicated from email threads. The information density of being physically in those rooms changes the next project. The deal sometimes follows. The shift in your work is the guaranteed return.

What a fantastic post and pitch to go to festivals.

I'm a Wall Street Journal Bestselling Author who has written or co-authored seventeen books. Nine are published and seven are number one bestsellers.

The adapted script for my award-winning fantasy novel has earned 44 awards and recognition, and while awards are appreciated ego boosts, I have a wall and closet full of them.

Festivals are also fantastic networking opportunities, and with a knack for selling ice cubes to individuals who live in igloos, they are beyond fun.

However, I'd rather focus on writing and publishing my next novel. And interested producers and studio executives appreciate the quick introduction to my entertainment attorney who creates the perfect win-win agreement everyone can say yes to.

I think it's always beneficial to go to panels, network, and get inspired by the current films that are screening!

Yes, attending film festivals can be productive. Watch as many films as you want. But for God’s sake, don’t waste your time sitting through Q&As. The real business happens at the mixers and the bars. Especially the bars. You don’t need to have a film in the festival — you do need to be ready to exchange contact information, network with purpose, and follow up.

I think it’s beneficial to go because of the networking. Agree totally on it’s not who you know but who knows you. We can sit at our keyboard and write or watch the events and get details from professionals here and broadcasters, but that does not get you in the mixers and face to face to those in the industry. Does it cost? Yes, it does . It’s been said to make money you have to spend money. How much do you believe in your film or screenplay? The answer should be 1000%. There are a lot of fish in the sea but investing in yourself and making those mixers, talking and making an impression narrows down the field to what bait and fish you are after and vice versa. We come from different backgrounds and financial situations.If you believe you will find a way to make it happen. No race was won by someone wishing they could afford the track shoes. Nothing is guaranteed, but for us dreamers, we don’t stop. Higher is always in our reach . Keep the faith ! Write on!

Here is an even better idea for the future of the business. Just a hypothetical process:

Basically, my idea is for this thing called THE SCRELLICE. So, the scripts for plays and films: they are prosetry, a combination of poetry and prose. The poem is poetry, the novel is prose, the screllice is prosetry.

What I'm saying is that screllices are literature: that is a fact. They CAN be published on the literary market as a mass medium. The market has to be created for that, but that has been the case with all products. If the demand was created through marketing for a screllice in filmic form (a movie script, essentially), and if that writer's screllice(s) were popular with readers, then producers could pick that writer as the writer of movie scripts to get made.

This would be a far better system of hiring writers than the very stochastic system that exists today, which no one likes, but latches onto, because the screllice as a mainstream literary medium has not become a thing.

What do you think about this? Would love to talk more.

My screllice is called Clean Break, and here is a link to it.

https://www.amazon.com/dp/B0D6...

Feel free to buy a copy as well; only 12.99!

I couldn’t agree more. For creators developing complex cinematic universes, attending festivals provides crucial insight into how buyers evaluate IP, narrative architecture, and franchise potential. It’s a rare chance to understand how large-scale, multi-platform concepts are perceived and what resonates in today’s market.

Plus these days, there are great festivals in every territoriy

I think festivals are valuable even if you don’t have a project screening yet — especially for understanding where your work fits in the market.

From what I’ve seen, it’s less about immediate results and more about perspective. You start to see what kinds of stories are getting attention, how people talk about projects, and how relationships are built over time.

For writers, I feel festivals can shift your mindset from just “writing a good script” to thinking about how that script can actually exist in the real world — who it’s for, how it can be made, and where it belongs.

Even being part of conversations around events like Cannes helps in understanding the bigger picture.

I think one loop around the sales agent trade stands at a film market would have most screenwriters reconsidering the true marketability of their portfolio.

For me, the true value in attending a film festival is simply being around others in the same field. This is a woefully isolating pursuit. My first experience of being around other screenwriters was a Stage 32 meet at Raindance. It was a profound feeling.

Relationships in this business are all about alignment, and alignment of personalities before material is underestimated. You get in a casual conversation about rock music and that producer who used to be in a band can't wait to read your biography about a musician. You mention you ride a Harley, and that executive who used to ride dirt bikes wants to know more about your action movie.

You are part of your brand. You represent your artistic voice in your personality.

This really resonates — especially the idea that alignment of personality often comes before alignment of material.

I think a lot of writers focus so much on perfecting the script that they overlook how much their own perspective, interests, and personality shape the way others connect with their work.

That point about casual conversations leading to genuine interest is powerful. It shifts networking from “trying to pitch” to simply being present and relatable.

In many ways, the writer is part of the story being discovered — not just the script itself.

In my experience, film festivals are imperative, and having something screening at them has almost no bearing on what you will take away from them. Can some of them be money grabs? Yes. But almost every single job I have ever gotten in the industry has come from a connection or relationship I made at a festival. And I stay very busy. So I encourage everyone to find a festival, start close to home to mitigate cost if possible, and introduce yourself to a few strangers. Invite them to have a meal or a coffee. And be selfless in your conversation. Ask them about the things that matter to them. Treat them as a human and not a step up. And you might just be surprised with a couple of really cool new friendships. And bonus, they work in the same industry as you. ;)

This is such a valuable perspective — especially the idea that relationships, not just projects, are what truly come out of festivals.

I think a lot of creatives underestimate how powerful it is to approach conversations without an agenda. When you treat people as individuals instead of opportunities, it naturally builds trust.

That point about being selfless in conversation really stands out. In the long run, genuine connections seem to create far more opportunities than any single pitch ever could.

Bram Christian. I'm with you on the cost aspect. I attended the Austin Film Festival, my first-ever film festival, last October. The only reason I attended was that my screenplay, Like Dew on Roses, was a second rounder. For those of us who don't have a lot in the pocketbook (yet), it's a challenge. To me, it was very expensive even though I stayed in an ultra-cheap hotel and took an Uber to the event. I probably would not have attended if Austin were not so close a drive. I met people and still follow a couple of them. I made a good connection with a director from some of the panels, but it remains an online friendship, and I limit my time because I know she is very busy. I'm fine with friends because if I like you and you like me, that's great—no expectations, only exploration. That director is moving on in her career and has some fantastic opportunities right now. Unfortunately, she isn't a producer. I haven't connected with producers through my film festival attendance, and I'm still waiting for an opportunity to get a bite on my screenplay.

I really relate to this — especially the part about cost versus return. It’s not always an easy equation, especially early on.

But I think what you said about making genuine connections, even if they don’t immediately lead to opportunities, is important. Sometimes those relationships take time to evolve before they turn into something more concrete.

Also, your point about having no expectations really stands out. That mindset probably makes those connections more authentic, which in the long run can be more valuable than chasing immediate outcomes.

Wishing you the best with your screenplay — it sounds like you’re putting yourself in the right spaces, which is already a big step.

I think a much better question is: WHO should go to festivals. Not everyone can network. Others find it extremely difficult -- nearly impossible -- to make connections with strangers in a very limited time. Some people don't have those skills and never will. Yes, it is possible to improve but in an environment dominated by people who are able to network, it can be tremendously soul crushing and a waste of time and energy for those who can't.

I am a wonderful writer with a unique voice. My films have been shown at local festivals. However, I will never make a connection at a festival. No one will approach me and any effort on my part to make a connection with someone else will be met with failure.

I phrased this rather bluntly because I do want to make it clear to those who do succeed with networking that there are many folks like me who won't. Yet, rarely do these forum conversions start with, "If you are not good at [insert social skill] you probably won't benefit from going to festivals." I've been to film festivals. I've enjoyed the films. But I also know that I am more likely to make a connection in a grocery store -- where I"m not competing with dozens or hundreds of other screenwriters -- than I am at a festival.

I have a recurring fantasy that those people who are good at and/or comfortable with networking will make a strong effort to make a connection with someone who isn't. There is a lot of hidden talent standing only 10 feet away from you . A person's ability to network and form connections is in no way a measure of their skills with writing, camera, editing, and many other roles.

That’s a really honest and important perspective — and I think it’s something that often gets overlooked in these conversations.

Not everyone thrives in high-pressure networking environments, and that doesn’t take away from their creative ability at all. Writing, directing, and storytelling are completely different skill sets from social interaction.

At the same time, I think the industry still runs heavily on relationships — but maybe the way we define “networking” needs to evolve. Not everyone connects in a crowded room, but meaningful connections can still happen in quieter, more natural ways — like online platforms or one-on-one conversations.

There’s definitely a lot of talent that goes unnoticed simply because it doesn’t fit the typical networking mold, and that’s something the industry should be more aware of.

Tom the point about WHO is sharp and worth sitting with. The networking framing flattens a craft question. Some writers are room people. Some are page people. Both can produce real work. Festivals work for room people because the rooms reward someone who can perform connection in five minutes. Page people can absolutely build careers but the path runs differently. It runs through samples, contests, the cold submission piles, the slow accumulation of a name on the page. The honest version of the conversation is to admit there are two paths and to stop pretending one is the only one.

That’s a really insightful way to frame it.

I agree there are definitely two paths, and not everyone thrives in the same environment. Some writers connect best through conversation, while others build their strength purely on the page.

Ultimately, the work has to speak—whether it reaches people through a room or through the script itself.

All I can say is I hope so. My story is there with a manager who is representing the story. I do think it is a good way to share and meet. Wish I could have been there myself. Looking to see how stories do. She has my script, 90-second video and deck. Wish me luck and keep on keeping on.

Wishing you the best of luck with your project.

It sounds like you’ve already taken strong steps with your script, video, and deck. Hope it connects well with the right people.

As the founder of the Weird Short Films Festival, I can truly say that festivals matter not only for the networking but simply for being able to leverage your acceptance to the people you want to stay on their radar. It's the perfect excuse to give an update, and even if the fest is small, it's a huge accomplishment and should be shared. It shows the world other people like your work and that's a big deal because festivals only want the best films to represent their fest. Show the world why your work matters.

That’s a great perspective.

I think a lot of people underestimate how valuable festival selections can be, not just for networking but as a way to build credibility and momentum. Even smaller festivals can create meaningful visibility and open doors when used the right way.

Really appreciate you sharing this insight from a founder’s point of view.

Great point Christopher Wells.

Couldn't agree more with this post. Some people feel nervous about going to festival if they don't have a film screening, but it is about so much more than that.

Absolutely agree.

Film festivals are not just about having a screening, but about being present in the environment, learning, and building genuine connections over time. Even just observing the space can be valuable for growth.

Good point.

Presentation definitely plays a key role, but ultimately it’s the strength of the story that sustains interest beyond the first impression. The balance between both is what really stands out.

Geoffroy Faugerolas This is such an insightful perspective, especially the point that Cannes is less about simply screening films and more about proximity to conversations, relationships, and decision-makers shaping the industry.

I also think what you said about festivals creating context for filmmakers and writers is incredibly important. Sometimes just being inside those environments changes how people think about their own projects, audience positioning, and the international marketplace.

And honestly, your point about relationship-building may be the most valuable part of all. In creative industries, trust and familiarity often build gradually over repeated interactions, and festivals seem to accelerate that process in a way online networking rarely can.

As someone based in India who hopes to attend these spaces in the future, posts like this are genuinely helpful because they explain the value beyond the glamour people usually associate with Cannes. Great insights.

Well said.

I think festivals also help refine a creator’s perspective over time—being around those conversations not only builds relationships but also sharpens how we see our own stories and their place in the larger market.

An undeniable milestone for the industry. While the grand scale and marketing are impressive... i always hope the true artistry and core messages don't get overshadowed by the aesthetics. Celebrating the raw talent is what truly matters.

- Seventy