Filmmaking / Directing : What Are Your Favorite Industry Communities, Festivals, and Events? by Ashley Renée Smith

Hi, @Ashley! That's great that you've connected with those people, been inspired by them, and learned so much from them! I've been inspired by people, learned from them, and connected with people on Stage 32, Substack, etc.

Thank you for such a thoughtful question, Ashley!

Stage 32 has become one of the most meaningful creative communities I’ve been part of because it’s encouraged me not only to grow as a screenwriter, but also to build genuine relationships with creatives from around the world.

Beyond Stage 32, I’ve recently been inspired to learn more about Women in Film & Television International (WIFTI) and its local chapters. I love the idea of connecting with both a global creative community and filmmakers closer to home.

One thing I’ve learned this year is that a creative career isn’t built by one festival, one pitch, or one opportunity. It’s built through consistent learning, meaningful conversations, and showing up for others as well as yourself.

Thank you to everyone here who continues to share knowledge, encouragement, and experience. Communities like this remind us that we’re building our careers together, not alone.

Thank you for reaching out and for the invitation! Stage 32 has actually become one of the communities where I’ve made some wonderful connections with other writers and industry professionals. I’ll definitely take a look at the discussion.

Best,

Joyce

Thank you, Ashley.

For me, Stage 32 has become much more than a networking platform. It's a community where thoughtful conversations, professional feedback, and genuine connections have helped me grow as a writer.

I've also found FilmFreeway to be a valuable platform for discovering festivals and learning about the independent film landscape. But what has made the biggest difference is connecting with people who are willing to share their experience and encourage others.

Communities like these remind us that filmmaking is not just about creating stories—it's about building relationships that help those stories find their audience.

I believe every stage of a screenwriter's journey benefits from different communities and organizations.

It begins with research. Before writing, a writer should go beyond imagination and invest time in researching the geography, industries, economics, politics, and culture that shape the story they want to tell. Communities and professional resources can be invaluable at this stage.

During the writing process, platforms that provide education, feedback, and discussions help writers stay focused on story structure, screenplay format, and strong storytelling. Later, competitions, festivals, and script evaluations help polish the work and prepare it for the industry.

The biggest challenge, in my opinion, comes after that. Today, many online platforms allow anyone to create a professional profile without much verification of their experience or credits. While this openness creates opportunities, it can also make it difficult for writers, producers, and industry professionals to distinguish proven experience from self-described expertise.

That's why I appreciate platforms such as Stage 32, LinkedIn, IMDb, ISA, and The Black List. They've helped me build connections and continue learning. As our industry grows, I also believe that stronger ways of verifying professional experience could make these communities even more valuable and trusted for everyone.

Thank you for opening this discussion, Ashley.

For me, the most valuable industry communities and events are the ones that create real dialogue between filmmakers, producers, writers, development professionals and international audiences.

I closely follow major film festivals and markets such as Venice, Cannes, Berlin, Rotterdam, Toronto and AFM, because they are not only places for premieres or deals, but also spaces where cinema, culture and industry meet.

I am especially interested in environments where international independent cinema, psychological drama, social themes and film development can be discussed seriously.

As a filmmaker, I believe communities like Stage 32 are important because they allow creative professionals from different countries to connect, exchange perspectives and understand how stories can travel beyond their original borders.

I'm still looking. There's no networking culture in Italy, so I have to try online since film festivals don't offer any opportunities.

The Dots was useful for a while, but that community is gone forever. I tried The Video Consortium, but I haven't been there in a while. Discord is hard to navigate due to too many scams. I'm still considering Stage32.

I also spent time on Future Film Academy; it seemed promising, and there were even weekly Zoom meetings, but then the community was merged with another paid community, so I gave up. I only pay if I know what I'm buying.

I'm open to suggestions.

The New York Public Library (yup, held a screening there and special event for a film), Spectacle Theater (Brooklyn), Anthology Film Archives, Film Forum, Film Society of Lincoln Center, Hong Kong International Film Festival, BFI London, Frameline, OUTFEST, Palm Springs International Film Festival, Barnsdall Arts (for events in Barnsdall Art Park in Hollywood), and looking forward to the Egyptian Theater events (reopening this Fall).

One of my favourite industry communities outside Stage 32 is Life Out Loud Films and its No Film School. No Trust Fund. No Problem. community. It has helped me connect with writers, filmmakers, and especially producers from around the world, which has been incredibly valuable as a writer developing projects beyond my own local market. I’ve also had the opportunity to contribute to the community by doing lectures on ethical AI, so it has become a place where I’ve been able to both learn and share what I know. The relationships I’ve built there have been every bit as important as the courses, events, and resources themselves.

TIFF is probably my favorite fest because it really sits at the intersection of festival and industry market. It has the excitement and energy of a festival, but it's also a place where real business gets done and meaningful deals can come together (like Obsession selling for $15M:)). Somehow it still feels a bit more relaxed and accessible than some of the other major markets.

Tribeca will always have a special place in my heart too. I was working in Tribeca when the festival launched, so watching it grow was pretty special. And I've had films play at the Santa Barbara International Film Festival a couple of times—it's a fantastic festival with a wonderful atmosphere and incredibly supportive audiences.

A little plug as well for the Fantastic Pavilion at the Marché du Cannes, which is expanding with a presence at TIFF and Berlin/EFM. Created by the iconic horror brand and festival Morbido, it's a physical hub dedicated entirely to genre filmmaking, with panels, roundtables, premieres, networking, and plenty of business happening under one roof. If you're working in horror, thriller, sci-fi, fantasy, or genre generally, it's well worth checking out.

And while it's perhaps a bit inside baseball for producers, I've found an incredible community in Producers United. There is a fairly high barrier to entry -- you need to have produced a certain number of films as a lead creative producer -- but the initiatives they're working on affect all producers and creators, not just members. Just the other day, members had a Zoom with LA Mayor Karen Bass to discuss efforts to bring production back to Los Angeles. Producers United also recently partnered with CCAI (the Creative Community for AI Innovation), a nonprofit coalition that brings together filmmakers, studios, legal experts, and AI companies to help shape practical, creator-friendly standards around AI. The discussions around copyright, transparency, consent, and responsible AI use in filmmaking were genuinely fascinating. Even if you're not eligible to join Producers United yet, it's an organization whose work is well worth following.

AFF is such a great time because it is all about writers. Very laid back and an amazing op for writers to network. Many of the other festivals can feel a bit overwhelming with all the activity. AAF is my favorite. If you've never been to Sundance, you must go to experience it. Sure, it's a behemoth now (and is moving) but it's also exciting/productive if you have a game plan and stick to it.

Stage 32 is a given, obvi... But I also attended a Storytelling 360 event earlier this year and really enjoyed the insights from all the panels.

I think, for communities and networking among filmmakers, writers, and actors, Stage 32 is the best. Personally, I enjoy TIFF (which is less hectic and more business-focused than the Cannes Film Festival, where the parties and influencers get in the way of serious dealmaking). And of course MIPCOM for all things TV, as it's a quick in-and-out market but very closed to those who are not "in the know" of how to navigate it (Hint: take my MIPCOM class here).

As a screenwriter, I'm interested in getting notes from working professionals in the industry, and my go-to is the Wiki Screenplay Contest, a monthly screenwriting contest.

Their notes are thorough and detailed and provide real guidance on how to improve my scripts. Their feedback on a short script of mine allowed me to improve it and reach the semifinals in the Austin Film Festival with it..

Outside of Stage 32, my favorite online community has been Newgrounds. It's where I've gotten to meet and work with animators, writers and other voice actors from around the world. I've been a member there since 2014. Here's my profile page: https://makestuff.newgrounds.com/

Hello Ashley! I'm a new member from Burundi. I'm excited to be part of the Stage 32 community and look forward to learning, networking, and growing as a screenwriter.

Candidly, Stage 32 is a favorite, followed by being a member of the DGA and the PGA. All three places are where I find connection and creative people who are passionate about storytelling.

As an aspiring screenwriter from Burundi, Stage 32 is quickly becoming one of my favorite communities. It gives me the opportunity to learn from experienced professionals around the world, improve my craft, and connect with filmmakers. I'm grateful to be part of this amazing community.

I’ve found that the best industry communities are the ones where real relationships develop over time—not just places to collect business cards.

For me, the most valuable events have been AFM (American Film Market), Cannes, TIFF, and EFM in Berlin, where filmmakers, financiers, sales agents, distributors, and producers are all having the same conversations about getting projects made. Those markets have consistently led to meaningful partnerships because everyone is focused on solving the same challenges.

Online, Stage 32 has become one of the few communities where professionals from around the world can continue those conversations year-round. I also enjoy participating in filmmaker and producer groups where people openly discuss financing strategies, tax incentives, distribution, and investor relations—not just creative development.

After working in film finance for many years, I’ve learned that networking is most effective when you approach it by asking, “How can I help someone else move their project forward?” Those relationships tend to last much longer than connections based solely on what you hope to gain.

I’m always interested in discovering new communities that bring together producers, financiers, and filmmakers who are serious about getting quality projects financed and produced.

I've had some recent success networking on LinkedIn. InfoList stages some good networking parties in L.A. several times a year, and InkTip provides some opportunities to submit scripts to producers who are actually looking for material. As far as contests, outside of the two or three major ones, most of them are probably a waste of time. Some of the absolute worst scripts I've ever read have won or placed in screenwriting contests.

Cannes is the festival that gets me most fired up. It's electric, and there's no better place to meet people and start real collaborations. Plan early: sort your accreditation, flights and accommodation, and start your outreach ahead of time. Get a Cinando account too, it's a great way to see who's attending and how to reach them.

Berlinale is brilliant in its own way. The hub is a fantastic space for swapping ideas and catching great talks, and films are much easier to see there than at Cannes. Go early in the market if you can.

On a smaller scale, I recently discovered the Richmond International Film Festival in London: well run, easy to get to, great films, and surprisingly good networking.

Thank you for sharing, Henry. As an emerging screenwriter from Burundi, I appreciate your advice. One of my goals is to attend major film festivals like Cannes in the future, build meaningful relationships, and present my feature screenplay, The House of Morgana. Thank you for the inspiration.

I've found that every community offers something different, but a few have really stood out for me.

Stage 32 has been my favorite because it's more than networking. It's a place where I've received feedback, learned from working professionals, connected with other filmmakers, and found opportunities I wouldn't have discovered otherwise.

For festivals, I always keep an eye on the Austin Film Festival because of its focus on writers, and I love supporting local events here in South Texas whenever I can.

As someone creating punk rock, Chicano, and grindhouse-inspired stories through Cuete Films and Virus Veins Comix, I've learned that finding your tribe is just as important as finding your audience. Communities that encourage collaboration and genuine conversations have made the biggest difference for me.

Looking forward to seeing everyone else's recommendations!

Thank you for sharing your experience, John. I agree that the right community can make a huge difference. As an emerging screenwriter from Burundi, Stage 32 has helped me connect with filmmakers from around the world. I'm currently developing my supernatural horror feature, The House of Morgana, and I hope to collaborate with talented professionals in the future. Wishing you continued success!

Hey Ashley Renée Smith - for now, it's simply Stage 32. I'm grateful for the amazing friendships I've made here that I know will last a long time. There were a couple of smaller cons that I attended locally - GMX is one example that comes to mind. Sadly, those comics-related cons don't exist anymore. I'm also dipping my toes into Substack and learning the ropes.

To be honest, I don’t have a great answer to this one. I’ve never been to a film festival, a convention, or even Comic-Con. I didn’t share my creative work publicly for most of my life, but over the past few years, that’s changed.

Stage 32 has been the first creative community where I’ve learned to open that door, with all the vulnerability that comes with sharing work that matters to you. The people here didn’t flinch away. They stayed. They challenged me. They encouraged me. Many have helped me become a better writer. A few have made me a better friend.

For that, I’m genuinely grateful. Thank you, Ashley Renée Smith.

Great conversation starter Ashley! I would say my favorite two festivals thus far have been Sundance and AFM, but have heard really wonderful things about Austin and SXSW too! For Sundance, it's still so filmmaker friendly despite the programming changes over the years. At AFM, even if you don't have a pass or badge, it's a really great time meeting LA folks in the lobbies and events around town!

I'm still looking for a local community that resembles Stage32. The open mic nights in my city were good experience of getting onstage and performing poems and comedy, but the people who attend those venues are more into partying than they are into seriously creating. It's one of the drawbacks of being a creative in Regina, Saskatchewan is the community is so small and there aren't enough people who take their art seriously that I just have one friend who I songwrite with and even he told me that he stopped attending open mic nights because he felt the crowd wasn't serious enough.

One that's obviously very close to my heart is the Sunscreen Film Festival, in St. Petersburg, Florida. We've been doing it for over 21 years, and I've watched thousands of filmmakers meet collaborators, producers, actors, investors, and lifelong friends. People often think film festivals are all about getting your movie accepted. They're not. The real value is in the relationships you build.

I'm also a huge believer in attending film festivals even if you don't have a film playing. Volunteer if you can't afford a pass. Go to the networking events, panels, and parties. Some of the best opportunities happen in the lobby between screenings, not inside the theater.

I know not everyone can make it to Cannes, but if you ever have the chance, it's an incredible experience. Every year I come away with new friendships, business relationships, and a better understanding of where the industry is headed.

Another festival I absolutely love is the Key West Film Festival It's intimate, filmmaker-friendly, and attracts a surprising amount of high-level talent. I've literally found myself doing karaoke while Sean Baker and other filmmakers are just hanging out at the same bar. Nobody is swarming them. That's what makes festivals like Key West so special, you actually get to have real conversations and build genuine relationships.

I've built a 25-year career in this industry largely through the people I've met at film festivals. The films may get you in the door, but it's the relationships that will keep your career moving forward.

My favorite film festivals are:

The Flaherty Film Seminar is a renowned, intensive annual international event for documentary filmmakers, scholars, and programmers.

The Banff Mountain Film Festival World Tour is an international film competition and annual presentation of films and documentaries about mountain culture, sports, environment and adventure & exploration.

The Hamilton New York International Film Festival is a seven day film and music event that hosts filmmakers from across the globe. HIFF is regularly named a “Top 100 Best Festival” by Filmfreeway, the world’s largest film submission platform representing over 13,000 festivals.

The Funny Under Fifteen Minutes Comedy Film Festival is an annual short-film event held in Hamilton, New York. The festival showcases comedy short films running 15 minutes or less, offering awards in general and student comedy categories alongside Q&A sessions and panel discussions.

I've enjoyed working with the above festivals so much that I launched my own festival four years ago:

The Anima Cinefest International Animation Film Festival is an annual event showcasing original animated storytelling, including dramatic shorts, features, and episodic content, with a focus on supporting new and student filmmakers alongside industry veterans.

Great question! I absolutely love the programming (both on screen and off) at Sundance, Tribeca, SXSW. I also really like the Rhode Island Film Festival, AFI, and Austin Film Fest. So many great ones, though, and I'm sure I'm missing a ton!

Back in the day, I used to do a lot of film festival networking. I worked at one and would go to a few around LA. Super beneficial to see who's making what, be inspired, but I know it's not the easiest to go and chat it up wth people you don't know. I like Film Independent events/movies in LA. If you live outside of LA or NY i would def check out the local film festival or one that is a driving distance. You never know who youll meet OR see some great movies that will inspire you.

I direct artists to Stage 32 constantly. Totally agree with film festivals mentioned in these comments. I'd encourage engagement at film school events. Creating relationships with the next class about to enter the industry (agency mailrooms and entry level studio jobs) could help form a lasting network of ambitious professionals who work behind the gates.

Great question, Ashley! As an independent producer and experienced TV executive, one of my favorite festivals/organizations is the Proof of Concept Film Festival powered by the American Cinematique. I actually spoke on their TV panel at last year's festival. It's the only festival that specifically programs proof of concept shorts for both film & TV. They also have a podcast (not sure if there are more recent episodes though) called "Players: A Film Industry Podcast" co-hosted by the head Proof Film festival programmer. On the podcast, she has hosted great conversations with rising filmmakers discussing their experience in the festival circuit.

Another organization I like is the Humanitas Prize. I just watched one of their summer virtual panels and webinars last week called Financing 101, where they broke down today's landscape of financing and distribution for independent film. They also have an industry podcast called Humanitas 101.

Thank you for sharing these valuable resources, Shelby. As an emerging screenwriter from Burundi, I appreciate learning about festivals, podcasts, and organizations that support independent filmmakers. Insights like these help writers like me better understand the path from screenplay to production. I'm currently developing my supernatural horror feature, The House of Morgana, and discussions like this are truly inspiring. Thank you!

Hi Ashley and everyone! Love this question.

Finding the right community really changes everything. On a regional level, being involved with the Sichuan Female Photographers Association has been a huge source of inspiration for me in supporting women storytellers.

As a documentary filmmaker—from working on a long-term project like Singing for Silence to experimental shorts like Mega Foundry,I’ve always been obsessed with how films actually meet people.But documentary filmmaking is a long, solitary journey, and the audience can feel pretty niche at times. That got me thinking a lot about how we can break out of those traditional walls.

That’s actually why our team started the DOCA Film Festival here in California. Instead of staying inside traditional movie theaters, we’re bringing short films outdoors into the San Jose Holiday Lights event in downtown San Jose. The idea is to turn films into public art installations—so people experience them under the stars while walking through the light sculptures over the holidays.

We showcase all kinds of visual stories, from docs and narrative shorts to animation, experimental, AI-assisted, and new media works.

For me, a film really comes alive when it meets its audience in the real world

Thank you for sharing your inspiring perspective, Yixin. I really admire your vision of bringing films closer to audiences through creative community events. As an emerging screenwriter from Burundi, these discussions encourage me to keep developing my supernatural horror feature, The House of Morgana. I hope one day to connect with passionate filmmakers and producers who believe in original stories that can reach audiences around the world.

Great topic. ASIFA is great for anyone who is interested in animation, not just professionals. They have various branches and are an international organization.

Hey Ashley Renée Smith, I love this thread. For me, besides Stage 32, I am a member at the Women in Film & TV UK (WFTV) and it’s a great female community for European filmmakers. Also in Lisbon, we have another great community Filmmaking Lisboa built for international filmmakers living in Lisbon and they were my foundation as a crew for my debut short film. In Portugal, we also have Tribeca Festival founded by Robert De Niro and every year we celebrate filmmaking here. Next year, I am planning to go to Cannes, so I am working on my present time to be a reality in my future :))

Online, I’m w @joshuayoung on Life Out Loud. In town here, Los Angeles - I have a group that was started over 15 years ago at a coffee shop called Republic of pie in North Hollywood. It’s been every Tuesday at 11:30 AM. You can show up and find a group of assistant directors and directors who get together and just discuss whatever comes to mind. It started as a way of recognizing that you weren’t the only one unemployed with a small group of friends I had that were AD‘s. Now it ebbs and flows, depending on who’s working, new people are always welcome. No Secret password, no invitation necessary. Back table.

Two of the local film festivals I’ve been to multiple times, film invasion Film Festival and Sherman Oaks Film Festival , have a great festival runner, and the people are a lot of fun. They have informal that are open to movie makers.

Then of course Stage 32!

That's a great question, and smaller regional festivals and local film groups can be just as valuable as the big ones because they often have a more collaborative atmosphere. What's one organization or event you've found to be surprisingly generous that more people should know about?

Thank you for sharing your experience, Xochi. It's inspiring to see how strong filmmaking communities can help creatives connect and grow. As an emerging screenwriter from Burundi, I'm learning a lot through Stage 32 while developing my supernatural horror feature, The House of Morgana. I hope to participate in more industry events in the future and connect with talented filmmakers from around the world.