The Independent Exhibition Conference, or Ind/Ex, launches today and it’s at capacity with 700 attendees from art houses, indie theater chains, indie distributors, indie vendors and regional film festivals. This is the first time since Covid hit that the industry is gathering, and it’s a critical moment. The theatrical business is very different and extremely tough, especially for art houses.
Art House Convergence used to hold an annual event before the Sundance Film Festival, but hasn’t for almost five years. For 2024, the group partnered with the Film Festival Alliance to create a new, expanded confab called Ind/Ex — three days of networking, speakers and panels on operations, programming, education, development, distribution and community engagement, set at the Chicago Cultural Center and Gene Siskel Film Center.
It’s not CinemaCon, but distributors ArtMattan Productions, Entertainment Squad, Exhibition on Screen, Giant Pictures, Mubi, Sony Pictures Repertory and Focus Features...
Art House Convergence used to hold an annual event before the Sundance Film Festival, but hasn’t for almost five years. For 2024, the group partnered with the Film Festival Alliance to create a new, expanded confab called Ind/Ex — three days of networking, speakers and panels on operations, programming, education, development, distribution and community engagement, set at the Chicago Cultural Center and Gene Siskel Film Center.
It’s not CinemaCon, but distributors ArtMattan Productions, Entertainment Squad, Exhibition on Screen, Giant Pictures, Mubi, Sony Pictures Repertory and Focus Features...
- 6/25/2024
- by Jill Goldsmith
- Deadline Film + TV
What’s a film without distribution? The Popcorn List sets out to make sure that doesn’t happen to the best indies.
Founded by Lela Meadow-Conner and Barbara Twist, the inaugural annual survey spotlights 20 features that debuted at major or regional film festivals this past year and come highly recommended by festival programmers. Nineteen out of the 20 movies have reviews on Letterboxd, despite not yet having theatrical or digital distribution in the U.S. All 20 have won awards — including Audience Awards and Jury Awards — at festivals like Sundance and SXSW.
Billed as being The Black List for undistributed films, the 2024 Popcorn List highlights independent films that are currently still without domestic U.S. distribution, like the documentary “Chasing Chasing Amy” about the making of Kevin Smith’s comedy.
The other 18 are: “Ajoomma,” “American Pot Story: Oaksterdam,” “Art for Everybody,” “Asog,” “Blood Sweat & Beers,” “Caterpillar,” “Citizen Sleuth,” “City of Wind,” “Crows Are White,...
Founded by Lela Meadow-Conner and Barbara Twist, the inaugural annual survey spotlights 20 features that debuted at major or regional film festivals this past year and come highly recommended by festival programmers. Nineteen out of the 20 movies have reviews on Letterboxd, despite not yet having theatrical or digital distribution in the U.S. All 20 have won awards — including Audience Awards and Jury Awards — at festivals like Sundance and SXSW.
Billed as being The Black List for undistributed films, the 2024 Popcorn List highlights independent films that are currently still without domestic U.S. distribution, like the documentary “Chasing Chasing Amy” about the making of Kevin Smith’s comedy.
The other 18 are: “Ajoomma,” “American Pot Story: Oaksterdam,” “Art for Everybody,” “Asog,” “Blood Sweat & Beers,” “Caterpillar,” “Citizen Sleuth,” “City of Wind,” “Crows Are White,...
- 4/2/2024
- by Samantha Bergeson
- Indiewire
Independent filmmakers and enthusiasts have a new resource to demystify the often-complex world of film distribution. Distribution Advocates Presents, a podcast hosted by Avril Speaks, filmmaker and co-founder of Distribution Advocates, officially launches on January 31st.
Distribution Advocates is a collective advocating for filmmakers and maintaining plurality and originality. Members currently include Avril Speaks, Karin Chien, Abby Sun, Amy Hobby, and Carlos Gutierrez. Their singular goal is to collectively reclaim power for independent storytellers in the current systems of distribution and exhibition.
This podcast aims to shed light on the inner workings of independent film distribution, by addressing a crucial question: how can we understand and improve the current ecosystem to create more equitable distribution systems?
From the role of sales agents to the functions of film festivals, each episode is a journey into understanding the challenges of distribution and the potential for transformative change. Think of it less as...
Distribution Advocates is a collective advocating for filmmakers and maintaining plurality and originality. Members currently include Avril Speaks, Karin Chien, Abby Sun, Amy Hobby, and Carlos Gutierrez. Their singular goal is to collectively reclaim power for independent storytellers in the current systems of distribution and exhibition.
This podcast aims to shed light on the inner workings of independent film distribution, by addressing a crucial question: how can we understand and improve the current ecosystem to create more equitable distribution systems?
From the role of sales agents to the functions of film festivals, each episode is a journey into understanding the challenges of distribution and the potential for transformative change. Think of it less as...
- 1/31/2024
- Podnews.net
Art House Convergence (Ahc) and Film Festival Alliance (Ffa) will mount a joint conference for the independent film exhibition sector to take place June 24-28, 2024 in Chicago, IndieWire announces exclusively.
Building on their previous collaborative programs over the last decade, including the FilmEx virtual conference and the Art House Convergence’s Annual Conference, this event welcomes exhibitors, distributors, and other industry stakeholders to address the future of the independent film exhibition sector (from festivals to theaters) with workshops, keynote speeches, networking, and breakout sessions.
Collectively, the two organizations represent hundreds of film exhibitors who serve millions of moviegoers each year. In an increasingly fractured industry, independent exhibitors have taken on multiple roles: curators, placemakers, and champions of independent filmmaking. Many work year-round to lure audiences to the increasingly threatened but still vibrant theatrical experience.
“As longtime collaborators with shared challenges and goals, Ahc is thrilled to partner with Ffa for...
Building on their previous collaborative programs over the last decade, including the FilmEx virtual conference and the Art House Convergence’s Annual Conference, this event welcomes exhibitors, distributors, and other industry stakeholders to address the future of the independent film exhibition sector (from festivals to theaters) with workshops, keynote speeches, networking, and breakout sessions.
Collectively, the two organizations represent hundreds of film exhibitors who serve millions of moviegoers each year. In an increasingly fractured industry, independent exhibitors have taken on multiple roles: curators, placemakers, and champions of independent filmmaking. Many work year-round to lure audiences to the increasingly threatened but still vibrant theatrical experience.
“As longtime collaborators with shared challenges and goals, Ahc is thrilled to partner with Ffa for...
- 9/28/2023
- by Anne Thompson
- Indiewire
Click here to read the full article.
While the majority of film festivals are headed up by full-time executive directors who work the entire year, they largely rely on other kinds of workers — part-time and seasonal workers, independent contractors and volunteers — to fill out different director-level roles, according to a new survey from the Film Festival Alliance.
Of the film festivals surveyed by the film festival nonprofit’s 2022 “Film Festival Staffing, Workforce & Compensation Survey,” whose results were released in a presentation Wednesday, 78 percent reported employing a full-time, year-round executive director, while only 46 percent had operations directors, 39 percent had programming directors, 19 percent had finance directors and 9 percent had hospitality directors working in that capacity. The festivals surveyed, on average, boasted 8.2 full-time employees, 3.1 part-time employees, 10.4 seasonal employees and 7.9 independent contractors, with about 1.4 positions currently open. The report noted that 16 percent of all festivals that participated in the survey were entirely run by volunteers.
While the majority of film festivals are headed up by full-time executive directors who work the entire year, they largely rely on other kinds of workers — part-time and seasonal workers, independent contractors and volunteers — to fill out different director-level roles, according to a new survey from the Film Festival Alliance.
Of the film festivals surveyed by the film festival nonprofit’s 2022 “Film Festival Staffing, Workforce & Compensation Survey,” whose results were released in a presentation Wednesday, 78 percent reported employing a full-time, year-round executive director, while only 46 percent had operations directors, 39 percent had programming directors, 19 percent had finance directors and 9 percent had hospitality directors working in that capacity. The festivals surveyed, on average, boasted 8.2 full-time employees, 3.1 part-time employees, 10.4 seasonal employees and 7.9 independent contractors, with about 1.4 positions currently open. The report noted that 16 percent of all festivals that participated in the survey were entirely run by volunteers.
- 6/22/2022
- by Katie Kilkenny
- The Hollywood Reporter - Movie News
Napster is long gone, but Sean Parker isn’t. Last year he divided Hollywood with the announcement of Screening Room, a new streaming service that allows users to watch movies still in theaters without leaving their home. A new Business Insider report suggests that, as the new premium video on demand (Pvod) venture seeks to gain traction, many in the industry remain skeptical about its long-term prospects.
Read More: Martin Scorsese Pens An Impassioned Defense of Cinema In Response To A ‘Silence’ Critic
“It seems to me it’s often an individual company that comes along and believes it has figured out how to make all the money in the theater space,” said Barbara Twist of Art House Convergence. “Personally, I have yet to see a new version that ensures that everybody keeps making the amount of money currently being made.”
The service would cost $50, of which $20 would go to...
Read More: Martin Scorsese Pens An Impassioned Defense of Cinema In Response To A ‘Silence’ Critic
“It seems to me it’s often an individual company that comes along and believes it has figured out how to make all the money in the theater space,” said Barbara Twist of Art House Convergence. “Personally, I have yet to see a new version that ensures that everybody keeps making the amount of money currently being made.”
The service would cost $50, of which $20 would go to...
- 6/1/2017
- by Michael Nordine
- Indiewire
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