🍿 No BS: What the class of 2026 filmmakers should know

Anonymous advice from TPL filmmakers on the state of it all.

As we embark on the kick-off to festival season, a whole new crop of indie films and filmmakers will reckon with their festival strategy, and audience-building and distribution decisions. And in just a few weeks, we’ll have a better idea of and how (if) the indie film distribution game might change (for the better?) in 2026 - with new distributors on the scene and dare we say, a greater sense of open-mindedness all around about what the journey can look like.

In anticipation, we asked a handful of 2025 TPL filmmakers (and are including some wisdom from the 2024 TPL cohort, as well): “What advice would you give to a filmmaker whose film is launching on the circuit this year?” Maybe these are ‘obvious’ sentiments in 2026, but until we’re proven differently, a reality check never hurts and as one filmmaker said…”It might take a while to get the ball rolling, have faith.”

Yummy popcorn at the Anjelika!

🍿 Regarding Festivals: Have an Open Mind

• Have an open mind, count no festival, city, or person out, and put yourself out there as much as you can.

• Share your film with audiences, see how different people in different demographics react, and to build your network of other talented filmmakers.

• Just because you didn’t get into one of the big 5 doesn’t mean your film is a failure. Find the festivals that are excited to share your work, and try attending where you can.

• Reach out to sales agents and/or distributors early in your festival run while you are at peak momentum. Don’t wait for people to come to you. Be your own best advocate.

🍿 Regarding Sales Agents: Get it in Writing

• If you work with a sales agent, make sure they have the bandwidth to represent your film and ask them exactly what you can expect from them.

• Don’t assume they will submit your film to other programmers or do anything “extra” if they can’t sell your film out of a major festival.

• If they warn you that the festival you are premiering in is not a “sales” market, and ask them where/how they intend to sell your film, if not there. Will they screen take your film to markets? Will they screen your film for distributors? If so -- Get it in writing.

• Don’t be overly flattered by sales agencies, (or distributors.) They tend to take advantage of wanting to be loved. Read the small print.

🍿 Regarding Marketing & Publicity: Align on a plan & expect to spend

• When hiring a publicist, ask how many other films they have on their plate for the festival, in addition to yours. Ask them which ones! If the other films have bigger “packages” (and publicity budgets) know that yours will likely not be prioritized when they are pitching to the trades and larger outlets.

• You need a marketing plan and an engaged team to execute it for your film to have a shot of breaking through in this abysmal market.

• When meeting a potential distributor, start with a meeting regarding marketing strategy - share yours and ask them to share theirs. Don’t assume alignment.

• Without sufficient marketing and PR support, building a film’s audience and having successful outcomes is challenging. Without an effective marketing plan, indie filmmakers are better off self-distributing.

Popcorn for breakfast at Milwaukee Film Festival!

🍿 Regarding Distribution/Distributors: Trust your gut, expect nothing

• Don’t count on anybody or any company coming to “help” you distribute your film...

• Don’t expect distribution. Prepare to do it yourself and build your audience and figure out how to reach them on your own.

• Don’t take just any deal that comes your way out of desperation.

• When/if you do work with a distributor: Write into your contract bi-weekly meetings for status reports.

• Really get guarantees from the distributor about the promotional efforts they are going to make. Also, scrutinize the distributor’s social media to make sure they are active and engaged.

• Trust your gut and find partners in distribution or otherwise who resonate with your film. Those people will fight for your projects harder and champion you as well.

• Don’t expect a sale no matter how commercial your film is; budget $150K for self-release unless you pre-sell a project.

• Make sure they actually watched your film!

🍿 Regarding Audience Building: Start yesterday

• Work on your plan to bring your movie to audiences long before you finish the film.

• If you’re making this film for you, your audience is more people like you.

• Start collecting emails and social media followers and engaging with them the day you start work on the project

• Have patience and look for your audience EVERYWHERE...

• Audience building has to start as soon as possible, you have to start talking to your future audience before you have the film looking for them.

Iconic popcorn at Vidiots!

🍿 All this said, we remain optimistic - and are excited to help build audience and visibility for a new batch of films.. Stay tuned Monday, here and at Hope for Film, for your first look at the 2026 he Popcorn List!

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Thank you to our industry partners Ted Hope (Hope for Film), Maida Lynn (Facet), Eventive, Product of Culture, Simple DCP, mamafilm, The Film Collaborative and all of our festival and cinema collaborators.

🍿 The Popcorn List is a discovery and visibility project that amplifies independent films that deserve to be seen more widely; highlights the discovery nature of film festivals and the craft of film curation; and satisfies audience’s desire for story-driven movies.

TPL provides an opportunity for Films & Filmmakers, Distributors & Sales Agents, Film Festivals & Independent Exhibitors & Audiences. Through our various initiatives - including the Annual Lists and The Pop Up Series, we’re out to disrupt the outdated model, establish a new set of best practices and create a regenerative professional network within the independent film ecosystem. Learn more >

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