Maximise Your Online Film Festival Experience | Raindance

You’ve spent a fortune applying to film festivals. I know this because I do this with my movies. You’ve had a series of rejections – and wow – do they sting. I’ve been turned down by dozens of film festivals with my various projects.  Now you’ve finally got accepted to a film festival. Congratulations! You plunk down your last chunk of change and book travel and accommodation to a festival screening. And then the reality of COV ID-19 hits. And your travel is cancelled and your festival is online. Once the festival starts, how do you maximise your online film festival experience?

Here’s what I have noticed from filmmakers attending Raindance have done to make their screening and their attendance a standout. My question is: How can you adapt and use these techniques in an online festival setting?

online film festival experience

Making the most from your online film festival experience

1. Make personal connections

Make no exception – the number one reason you go to a film festival is to make connections. These happen on several different levels, and to access each you will need different skills. An online film festival experience offers you the chance to expand the geographic footprint of the people you will meet. No longer do you need to be within a commute to the festival screening. You can now join from anywhere, as long as you have decent WiFi.

  • Your screening audience  – getting live feedback from a cinema room full of strangers is an experience that you cannot buy. Whether they laugh at the right place, or laugh at all are lessons you’ll carry for the rest of your career. Of course, applause at the end of the screening is a great added bonus too. Online is different. But you still have the advantage of live Q&A’s – at Raindance at least.
  • Fellow filmmakers – learning from your filmmaking colleagues is a sure-fire way to gain valuable knowledge. They won’t teach these tips at any film school.
  • Attending film professionals – the filmmaking industry is a people industry. Building relationships with industry professionals is much easier at a film festival. Don’t ignore this valuable opportunity.

2. Promoting your film and yourself

Learning the art of self-promotion is an important skill. Start the buzz.

  • Personal profile cards – consider a personal profile card as a micro poster about you. Be consistent and use the same image throughout your different social media profiles.
  • Lobby cards – ideally postcard and letter size with a brief synopsis and your contact details. These should be available in a variety of sizes for the different social media platforms
  • Your film’s campaign image – the most important element of your promotion is an eye-catching visual image. Getting this right can be a series of trials and errors.
  • Using social media – this has become the essential skill filmmakers need to know. Learn how to devise and execute a memorable social media campaign – both for your film and for yourself.
  • Film trailers – many people make their decision on whether or not they’ll watch your film based on a 2-minute trailer. Try to convey the emotion of your film. You should also creat e15 second versions of your trailer for use on social media. for Twitter and Facebook these should be square. For instagram 9:16 ratio to fit on their screens.

3. Getting press for your film

The art of getting press is another filmmaker essential no film school in the world teaches you. Press is the lifeblood that drives your film to viewers. Without viewers your film will end up in a graveyard filled with the corpses of other films strangled by lack of publicity.

  • Creating a press kit – a proper press kit contains all the story and production notes of your film. Successful press kits create their own unique story of the film, almost the written equivalent of a good film trailer. Have a look at the press kit we made for the movie ALICE – and note the different visual assets created for different social media as well.
  • Getting press – a press agent or publicist is another essential member of the team. Remember their task is to distribute your story, not to create it. You still have to create the story of your film.
  • Conducting an interview – have you ever been interviewed? Film festivals love to interview filmmakers. The interview is one of the key ways you can start the ‘buzz’ for your film. It’s a really good idea to prepare a list of questions and include it in your press kit so journalists get an idea of what topics to ask you.

4. Identifying your goals

Can you remember why you wanted to make a film in the first place?

  • Creating a business plan – this simple document should lay out the ‘why’ you want to make a film, contains bios on your key team members as well as the financial information. Make certain you thoroughly examine your distribution strategy – unless you don’t care whether investors ever get paid back.
  • Pitching successfully – the ability to succinctly and clearly verbalise your film’s story is yet another essential skill. Practise on your friends so when you get to a film festival you’ll be able to quickly and confidently answer the question: “What is your film about?”

5. Doing the deal

Isn’t it great when a distributor rushes up to you after your screening and offers to take you out for dinner? Of course you politely decline because you know they are trying to get you out of the building away from their competitors, all of whom are trying to negotiate for your film.

Fade Out

It’s easy enough for me to go on and on about how filmmakers attend film festivals. What have I missed out? Do me a big favour and stick your thoughts and comments in the box below. And see you at this year’s 28th Raindance Film Festival!

Happy Filmmaking.



Photo Credit David Martinez / BIFA 2018

Few people know more filmmakers and screenwriters than Elliot Grove. Elliot is the founder of Raindance Film Festival (1993) and the British Independent Film Awards (1998). He has produced over 700 hundred short films and five feature films: the multi-award-winning The Living and the Dead (2006), Deadly Virtues (2013), AMBER (2017), Love is Thicker Than Water (2018) and the SWSX Grand Jury Prize winner Alice (2019). He teaches screenwriting and producing in the UK, Europe, Asia and America.

Raindance BREXiT trailer 2019

Elliot has written three books which have become industry standards: Raindance Writers’ Lab: Write + Sell the Hot Screenplay, now in its second edition, Raindance Producers’ Lab: Lo-To-No Budget Filmmaking and Beginning Filmmaking: 100 Easy Steps from Script to Screen (Professional Media Practice).

In 2009 he was awarded a PhD for services to film education.

  • facebook
  • linkedin
  • skype
  • twitter
  • youtube