How I´m Planning My Indie Film Distribution From Day 1

For years, I’ve wanted to make a feature film.

But things got in the way. Theatre gigs. Music projects. Excuses. Life. And most of all: – the idea that I need to make tons of successful short films first.

Finally. I’ve decided to make the film myself. No waiting. No permission. No perfect timing.

But as soon as I made that decision, something hit me:

There’s no point making an independent film if nobody sees it.

And that’s where indie film distribution comes in. Not as a distant, final step after post-production. But as something I need to think about now!

Before I shoot, before I cast, before I even lock the script.

This post is me learning out loud — and sharing what I´ve learned so far. Figuring out how to release a film without waiting for a distributor. Or a film festival miracle. Maybe you’re also working on a film? I hope this helps.

Distribution Starts Before Production

Most indie filmmakers don’t think about distribution until the film is finished.

They focus 100% on the film itself — the story, the visuals, the shoot — and then.. When it’s finally finished, they ask: “Okay… now where is my distribution deal?”

I don’t want to end up there. Distribution isn’t just about where your film lands. We can also make active decisions.

Let them affect how we make the film:

• What kind of audience you’re targeting
• What platform will best suit the film
• What marketing materials you’ll need
• Whether your budget is realistic for the market
• How you shoot and edit the final product

There’s no sales agent guiding you. No producer handling deliverables. No team pitching your film to platforms.

It’s just you — and if you want your film to reach people. Right?

Think like a strategist, not just a storyteller.

Defining Success Early

Before I can think about how to release a film. I need to get honest about why I’m making it.

Because “success” is one of those slippery words. If I don’t define it, someone else will. And I’ll probably end up chasing a version of success that doesn’t even matter to me.

So I’ve been asking myself:

• Do I want to make money from this film?
• Do I want to get into festivals and build credibility?
• Do I want it to lead to directing jobs or acting roles?
• Do I just want to make something I’m proud of and share it with people who care?

For me right now, it’s mostly this:

I want to build an audience and a body of work.

I’m not expecting this film to make me any money. If I make back the money I’m spending, that’s great! But it’s not my main goal.

But I am expecting it to be the start of something — not the end product.

Something I can point to; when people ask what kind of work I want to create. Or have created. Something I can learn from, grow through, and build on.

Most of all, I expect it to be the start of a marathon. A marathon of me making feature films. Hopefully for decades. And for that to happen, I need systems and collaborations in place..

This clarity is helping me decide things like:

• What kind of budget makes sense
• How much time to spend on marketing vs. perfection
• Whether I prioritize control (self-distribution) or exposure (festivals)
• How I’ll measure the impact: views, emails collected, conversations started
• Who I decide to work with

I believe a lot of filmmakers fall into the trap of thinking success is binary:

Either you’re discovered at a major festival, or you’ve “failed.”

That used to be the only route before our modern digital era. Traditional distribution relied heavily on festivals. 

But in 2025, there are too many other ways to make meaningful, sustainable work. We don´t need a breakout hit.

We need a long game.

Know Your Core — But Stay Strategic

Im drawn to existential drama. A genre that typically appeals to festival audiences, cinephiles, and literate viewers.

Think: Joachim Trier, Mia Hansen-Løve, Noah Baumbach, Richard Linklater.

These films tend to be slow-burning. Character-driven, and thematically rich — but they’re not easy to market. Unless you already have a name or festival traction. Which I dont.

So here’s my take: I don’t want to compromise my artistic vision. But I also don’t want to make a film no one sees.

Which is why I don’t want to market my film as an “Existential drama”.

My plan is to pivot slightly.

To make the film more distribution-friendly. Without betraying my vision. So I’m aiming at a related genre: dark comedy.

Here are three pivots worth considering:

a) Adding a Clear Narrative Engine

Existential films often meander. If you give your story a clear engine — a deadline, a ticking clock, a specific goal — it’s way easier to pitch.

Think Lady Bird (drama, but with a clear arc and stakes). Think Before Sunrise (talky and existential, but with time pressure).

b) Anchor It in a Subculture or Setting

Distributors love when a film taps into a specific world:

Acting school, underground music scene, spiritual retreats, small-town politics, etc.

The more specific the world, the more niche audience potential it has. (“A moody drama about nothing” is hard to sell. “A drama about a burnout actor doing ayahuasca in Lapland”? Easier.)

c) Introduce a Genre-Adjoining Layer

You don’t have to make a thriller. But adding light elements of another genre (e.g., romance, mystery, dark comedy) can broaden appeal.

Think Columbus (Kogonada) — visually poetic and quiet. But structured with subtle romantic tension. Or Force Majeure — existential themes with strong satirical edge.

Rethinking Film Festivals

For a long time, I thought film festivals were the golden ticket. You make a great short. It gets into Sundance. Someone sees it.

Suddenly you’re directing a feature with A24 or Netflix. That story does happen — to maybe 0.01% of independent filmmakers.

So I’m shifting how I think about festivals. Not as the only plan, but as one possible piece of a broader release.

Instead of chasing the biggest names, I’m looking at:

• Niche festivals that match my film’s themes or genre
• Regional festivals that help build local support
• Online festivals that allow for global discovery
• Shorter turnaround events that don’t take 6+ months for an answer

And I’m not counting on any of them to make the film successful.

Final Thoughts: Make the Film You Can’t Not Make

If you’ve been waiting for the perfect funding, the perfect team, or the perfect yes — stop waiting. The landscape has changed. You can build the thing yourself. That doesn’t mean going it alone, but it does mean taking ownership over the process.

Thinking like a strategist is essential.

Define your version of success early. Build around your strengths. Stay nimble, stay honest, and question everything — even the traditional paths that once made sense.

This isn’t just about making a film. It’s about making something on your terms.

In the next post, I’ll share exactly how I plan to release the film — like a creator, not just a filmmaker.