Insights from industry leaders at the “Closing the Distribution Gap” panel

In a rare moment of industry candour, leading women in film distribution recently gathered at London’s historic Regent Street Cinema for an eye-opening discussion on the realities of getting films to audiences. The panel featured Kate Gerova (Mustard Studios), Cate Kane (MUBI), Eve Gabereau (Vue Lumiere), Fiona Lamptey (Producer, Founder of Juno Studios), and Melanie Hoyes (BFI Inclusion/Geena Davis Institute).

Instead of the usual industry platitudes, these executives shared genuine insights that exposed the hidden machinery behind film distribution. Here’s what filmmakers should really know:

The Opening Weekend Illusion

Perhaps the most shocking revelation came when panelists described how the industry’s fixation on opening weekend performance creates an artificial crisis point for independent films.

“It’s really difficult to pin everything on the weekend and then on Monday morning, you’re having to battle with exhibitors,” explained Cate Kane, highlighting a system where a film’s entire fate is determined in the first 72 hours of release.

This “Monday morning” process – where exhibitors decide which films keep their screens – has nothing to do with audience appetite and everything to do with industry mechanics that haven’t evolved in decades. For indie filmmakers, this means your years of work are judged almost instantly, often before word-of-mouth can develop.

INSIDER STRATEGY: Consider the platform release approach popular in the US, where films start in just 2-3 key venues before expanding. “I like the idea of giving it time to reach audiences and go further rather than this concentration on one weekend,” Kane advised.

The Sales Agent You Don’t Know But Should

While filmmakers obsess over securing distributors, the panel revealed that sales agents are actually the most crucial yet overlooked players in the ecosystem.

“Filmmakers do not know enough about the relationship with the sales agent,” Kate Kane emphasised. These are the power brokers who represent films internationally, know the markets intimately, and ultimately determine which doors open at festivals and with distributors worldwide.

Sales agents typically get involved before a film is complete, meaning relationships need to be developed early. The panel suggested this knowledge gap is partly why many first-time filmmakers struggle to position their work effectively in the marketplace.

INSIDER STRATEGY: Prioritise learning about sales agents in your genre/budget range long before your film is complete. “They’re the ones who are going to be having 24/7 conversations” with potential buyers, Kane noted.

The Myth of “Universal Appeal”

When a filmmaker pitched a project claiming it had “universal appeal,” Fiona Lamptey’s response cut through industry niceties: “I don’t know who the audience is and they were like, ‘it’s very universal.’ Of course it isn’t, and that’s fine.” But claiming “universal appeal” actually signals to industry insiders that you haven’t done your homework. “Successful filmmakers know exactly who their audience is and how to reach them.”

INSIDER STRATEGY: Be specific about your audience. “It’s just knowing for yourself as a filmmaker who that audience is. Who are you trying to talk to? Where are they?” Lamptey advised. The advise is underpinned with a real life example by Lamptey: “I did a really small film: a first time filmmaker, the Kickstarter funding… we cultivated and nourished that audience all throughout… and then when we launched it got 700,000 views a week, and then on another project I worked with a major streamer on series of short horror films and it got 10,000 first week. “

The Festival Circuit is Both and Boost and a Gatekeeper

Film festivals represent a paradox for emerging filmmakers – they’re essential for recognition but operate as insider clubs where connections often matter more than talent.

“It costs a lot to go, and then when you get there, you don’t know what the hell’s going on,” Melanie Hoyes candidly admitted, exposing how the mysterious “festival circuit” remains deliberately opaque to outsiders.

What’s more surprising is that organisations are actively working to change this. Melanie Hoyes mentioned efforts at “demystifying that process” by bringing emerging filmmakers to festivals like Rotterdam and offering guidance, suggesting an acknowledgment that the system needs reform.

Lamptey rightly noted that Netflix has an entire awards team working around the clock to secure nominations and wins. While no independent filmmaker will have the budgets to compete in terms of the marketing budget (passim), it would benefit every independent filmmaker to plan their festival strategy way before the film is in production.

The Awards Season Trap

The discussion about awards season revealed one of the film industry’s most punishing cycles that actively disadvantages independent filmmakers, especially women and underrepresented directors.

Here’s how it works: The period from October through December becomes what Cate Kane described as a “woodchipper” for film releases. Major studios strategically stack this period with their awards contenders, investing enormous marketing budgets to dominate critical attention and theatre screens.

“Especially in Q3 and Q4, you’ve got film after film after film after film,” Cane explained, creating an impossibly crowded marketplace where independent films struggle for visibility.

In response, independent distributors often make a seemingly logical decision: “Female-led films will often come out in the summer when they’ll have more space,” Kane noted. This appears safer, as summer offers less competition and potentially stronger box office performance without fighting for screens against studio juggernauts.

But here’s the devastating consequence: “You’re not part of the awards conversation… you’re not in the awards corridor, so your film isn’t being talked about the rest of the year.”

This exclusion from awards consideration discussions (not the awards themselves) creates a compounding effect that follows filmmakers throughout their careers. While your film might perform decently in its summer release, without awards recognition:

1. Your next project becomes harder to finance because you lack the prestige markers investors look for
2. Top talent becomes more difficult to attach without the “award-winning director” label
3. Your perceived industry value diminishes compared to filmmakers who did secure nominations
4. You miss the publicity opportunities that come from being part of the awards conversation

As Kane bluntly stated, this timeline disadvantage “automatically makes it harder for your film, your next film” even if you “might have had a solid box office.”

The wealthy-get-wealthier dynamic extends to the awards campaigns themselves. The panel revealed that effective awards campaigns require “astronomical” budgets that independent films rarely have. “You need the stars multiple times in the UK and the US doing Q&As” with expenses far beyond what most independent films can afford – a sentiment also echoed in our deep dive into the awards strategy.

INSIDER STRATEGIES FOR FILMMAKERS:

1. Understand qualification windows: Most major awards require theatrical releases within specific timeframes. BAFTA, the Academy Awards, and the Golden Globes each have different requirements – familiarise yourself with these early in your distribution planning.
2. Consider limited qualifying runs: Some distributors do brief, minimal theatrical releases solely to qualify for awards before moving to streaming platforms (see our coverage from Cannes Lions where this was discussed in more detail). While expensive, this hybrid approach can sometimes be more cost-effective than a full theatrical campaign.
3. Target specific categories: For independent films, screenplay, breakthrough performance, and technical categories often offer more accessible entry points than Best Picture campaigns. Strategically focus limited resources on categories where your film genuinely stands out.
4. Explore festival-based awards: Film festivals often have their own awards that carry industry weight without requiring expensive standalone campaigns. A strategic festival circuit can build recognition that translates to later awards consideration.
5. Build publicity partnerships: The panel suggested that independent distributors could collaborate on publicity efforts during the awards season to create a greater collective impact rather than competing against each other with limited resources.

Understanding this systemic disadvantage is crucial – it’s not just about making a great film but navigating an industry structure that was designed to prioritise certain types of films from certain types of filmmakers.

The Leadership Model Problem

Fiona Lamptey delivered one of the panel’s most pointed observations: “The corporate world encourages, makes women act like men, even in structure.” This insight clarified that despite increased representation, the underlying problem is that leadership models themselves remain embedded in masculine approaches.

This phenomenon is quite ostensibly demonstrated in Michel Franco’s latest film Dreams (albeit in a different context), which premiered in competition at this year’s Berlinale and should hit the UK screens this summer. The lines of oppression are embedded in categories such as gender and race, but they are – as Nancy Fraser emphasises – not the cause of the relationship of domination per se. “Intersectionality,” Fraser sums up, “describes something, but explains nothing.”

Back to the panel talk, several panelists noted that starting their own companies provided the freedom to create different working cultures. Independent studios can offer more collaborative environments and better work-life balance.

INSIDER STRATEGY: When seeking production or distribution partners, look beyond the statistics about women in leadership to examine company culture and working practices.

The Creative Economy Alternative

Perhaps the most forward-thinking insight came from Fiona Lamptey, who suggested filmmakers should consider bypassing traditional distribution entirely: “I think there’s an opportunity now in kind of the model that network at, you know, as looking at that creative economy.”

This wasn’t just theoretical – Lamptey referenced her work at Juno Studios, which she co-founded specifically to explore new models outside traditional structures. She mentioned coming out of a corporate structure: “I’ve set up Juno Studios to reimagine how filmmakers could engage directly with audiences and build sustainable practices that didn’t rely solely on traditional gatekeepers. This wasn’t just about becoming an influencer but rather building direct relationships with audiences from the beginning of the creative process.”

INSIDER STRATEGY: Start building your audience from day one of pre-production. Consider how you’ll engage viewers throughout the entire filmmaking process rather than only at release.

The “Female Filmmaker” Dilemma

The panel concluded with a filmmaker’s poignant question that exposed a painful paradox: “How do we create attention to this [gender inequality]… and then not become pigeonholed at the same time?”

The honest admission that being labeled as a “female filmmaker” is both necessary for opportunity but ultimately limiting sparked a genuine moment rarely discussed publicly. Cate Kane’s response acknowledged the frustration: “In an ideal world, you wouldn’t have to put that label on it.”

INSIDER STRATEGY: There’s no simple answer here, but being aware of the tension allows filmmakers to navigate it more deliberately, leveraging women-focused initiatives while working toward recognition simply for the quality of their work.

The Distribution Landscape Now

The Distribution Landscape Now: A Comprehensive Picture

The post-pandemic distribution landscape has undergone profound transformation, creating both new challenges and unexpected opportunities for independent filmmakers. Synthesizing the panelists’ insights reveals a complex ecosystem in flux:

Audience Behavior Has Fundamentally Shifted

As Kate Kane explained, “After two years of watching stuff at home, they want that community experience… to laugh, to cry, to feel that emotion again with people.” This desire for emotional connection in communal settings has strengthened audience interest in certain types of theatrical experiences.

However, the distribution middle ground has eroded significantly. “Those mid-level films are a lot harder now,” Kane noted, creating a polarized market where audiences either want event-driven spectacles or deeply emotional, conversation-sparking independent films. The comfortable middle territory where moderately budgeted films could reliably find audiences has largely disappeared.

Eve Gabereau elaborated on how this affects distribution strategy: “We had to encourage people to come back to the cinema and we had to reengage with audiences differently.” This reengagement requires more direct, targeted communication and longer-term thinking about releases.

Traditional Release Models Are Breaking Down

The panelists collectively painted a picture of an industry still clinging to outdated distribution mechanics that no longer serve independent films:

• The opening weekend obsession remains despite evidence that word-of-mouth builds more slowly for independent films
• Theatrical windows are in flux, with some flexibility emerging but still largely dictated by major exhibitors
• The Monday morning exhibition meeting continues to function as a critical chokepoint where films live or die based on initial performance
• Platform releases are increasingly viewed as a better approach for independent films but remain underutilized in the UK compared to the US

“The actual mechanics are the same,” observed Gabereau, “it’s just how we keep it going and how to keep the films alive longer.” This tension between old systems and new audience behaviors creates a particularly challenging environment.

Gatekeeping Has Shifted But Not Disappeared

The panel identified how gatekeeping has evolved rather than diminished:

• Streaming platforms now function as powerful curators, with Melanie Hoyes noting the perception that “if it’s not on Netflix, it doesn’t exist”
• Sales agents remain critical yet often invisible power brokers in determining which films reach audiences
• Exhibition chains still control most theatrical access points with limited screens for independent releases
• Awards bodies and their qualification requirements continue to shape release timing in ways that disadvantage diverse filmmakers

These gatekeepers collectively create what several panelists described as a system that benefits established (predominantly male) filmmakers while creating additional hurdles for women and underrepresented directors.

Gender Statistics Reveal Stagnation

Mel Ariel presented sobering data showing minimal progress for gender equity in distribution:

• Films written by women have risen from only 13% to 20% since 2017
• Films directed by women have increased from 15% to 18% in the same period
• Only 20% of theatrically released films were either written or directed by women or gender-marginalized filmmakers

Most troublingly, at the current rate of change, gender parity for women directors isn’t projected until 2091, and for screenwriters until 2101. As Ariel bluntly stated, “Most of us won’t live to see it.”

This stagnation exists despite evidence presented that films directed or produced by women often connect strongly with audiences, suggesting the barriers are systemic rather than audience-driven.

Economic Challenges Compound Inequality

The panel highlighted how economic pressures disproportionately impact independent and women-led films:

• Print and advertising costs remain high with little innovation in marketing approaches
• Risk aversion has increased post-pandemic with fewer distributors willing to take chances on unique voices
• Childcare and caregiving responsibilities disproportionately affect women filmmakers without adequate industry support
• Tax credits and public funding for distribution remain limited compared to production incentives

As Kate Kane noted, distribution “isn’t thought about enough in funding. Up-front costs are high and the revenues are uncertain.” This economic uncertainty has led to what multiple panelists described as an increasingly conservative, risk-averse approach to acquisitions.

New Models and Opportunities Are Emerging

Despite these challenges, the panelists identified several promising developments:

• Direct audience engagement models are proving successful for filmmakers who build communities around their work
• Longer theatrical runs for distinctive films that find their audience, with several mentioning the success of “Perfect Days” which “started off slowly, slowly and grew, grew”
• Alternative exhibition spaces beyond traditional cinemas are creating new access points for independent films
• Independent film labels and companies founded by women are creating different approaches to development and distribution
• Discussion of tax credits for P&A could potentially transform how independent films reach audiences

Fiona Lamptey’s experience with Juno Studios represents one alternative approach, built on the belief that filmmakers must “engage with audiences earlier in the process” rather than treating distribution as an afterthought.

The Path Forward

The panel ultimately suggested that distribution cannot be viewed in isolation but must be considered throughout the entire filmmaking process, from development through production and into release.

Eve Gabereau emphasized that “the journey to audiences should be thought about from the beginning,” while Kate Kane suggested the industry needs to reconsider fundamental structures like the awards corridor and opening weekend focus if it genuinely wants to support diverse voices.

As audiences continue to evolve in how they discover and engage with films, the distribution landscape will likely continue its transformation. The filmmakers who succeed will be those who understand both the existing constraints of traditional systems and the emerging possibilities of direct audience relationships, creating strategic approaches that navigate both worlds.

Final Thoughts

Perhaps the most valuable insight from the panel was the recognition that distribution shouldn’t be an afterthought but rather a consideration from the earliest stages of concept development.

By understanding the realities of the distribution landscape – its biases, mechanics, and opportunities – filmmakers can make more strategic choices throughout the creative process, ultimately increasing their chances of connecting with audiences in meaningful ways.

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This article is based on a panel discussion held at Regent Street Cinema as part of the “Reclaim the Frame” initiative examining gender inequality in film distribution.