Directing a feature film is like living a small lifetime. Everything — from the first draft of the script to the final frame — passes through your hands, your heart, your nerves. And just when it feels like the hardest part is behind you, another crucial phase begins: distribution. That’s when I realized — I had neither the time, nor the energy left to handle it myself.
I’m a director. Not a PR specialist, not a marketing strategist, not someone who can spend hours writing to festivals, submitting forms, tracking deadlines, or negotiating with programmers. But I deeply wanted my film not just to be seen — I wanted it to live, to connect with audiences, to find its way into new worlds.
So I turned to professionals.
How It All Started
A few filmmaker friends had recommended a distribution company that specialized in auteur and festival-driven cinema. From our very first meeting, I could tell — these people understood cinema. They weren’t just selling “content.”
They watched my film attentively and respectfully. They asked precise, thoughtful questions. No flashy promises, no sales talk — just a clear plan: which festivals, which markets, what strategy, and why.
My Film in Safe Hands
After that meeting, it felt like someone lifted a heavy backpack off my shoulders.
The team took over the full process:
- They built a tailored festival strategy.
- Created all the necessary materials: press kit, subtitles, posters.
- Handled submissions to relevant festivals.
- Communicated with programming departments.
- Tracked deadlines, responses, and logistics.
Meanwhile, I focused on developing my next project — and to be honest, I hardly worried. For the first time in a long while, I trusted part of my creative path to people who genuinely knew what they were doing.
First Results — and Real Joy
Just a few months in, the first good news came: my film was selected for the official program of a major European A-class festival. Then came more invitations: regional festivals, special screenings, even an educational film platform. I couldn’t attend many of them physically — but the film had its own life. It met viewers, received reactions, sparked discussions.
It was a deeply moving feeling — to know that your story found its audience.
Why This Was Important
As a debut director, this experience was more than just about screenings — it was about building a reputation.
Every selection, every showing was a step toward future collaborations, new funding opportunities, and a stronger professional presence.
Without the distributor’s help, I would’ve likely pushed everything to “later,” like many of us do. And the film might’ve just stayed on a hard drive, unseen. But now it has an audience — and that’s the best thing that can happen to a film.
My Takeaway
Don’t be afraid to entrust your story to others — if they truly understand and respect auteur cinema. A good distributor is not just a service provider. They are a partner. Someone who sees your film’s potential and helps carry it out into the world.
Prime Star 
Sky Bloom