I’ve noticed a trend lately in new and established programs, labs, and workshops for filmmakers: more pitch competitions, industry preparation/training, and mentorship. At first, I thought it was maybe a way for non-profits and film festivals to save money because of limited grants and an overall slowdown in donations. This may be true, but I’m also hearing from industry executives that they feel filmmakers are less prepared for generals and meetings. It’s such an uphill battle for filmmakers to get in the room and so many go into panic mode I finally got the meeting but I’m so nervous! What if this is my only chance?! Sometimes that anxiety can cause the best among us to bomb. But with a little preparation and a confidence boost, I believe filmmakers can overcome this and get the “yes” for their projects.

Whether you’re competing in a pitch competition, pitching your project in a speed meeting, or taking a general with an industry executive, here are some helpful tips to prepare your pitch.

Conversation over Presentation

A great pitch shouldn’t feel like a presentation, but rather a conversation. You should be talking about your work as if it’s an extension of you. We’ve all heard about the elevator pitch, and being able to pitch your project at a moment’s notice. It’s that conversational nature that makes people lean in.

When you’re on a stage pitching your project, act as though you are speaking to one person as opposed to a room of people. Practice pitching to a trusted friend or partner first, and when you’re on stage, imagine pitching to them in that room. In the audience, I want to see a pitch where you’re comfortable and confident and you know your work.

The reason most people would want to support your project is not just because they like the project, they have to like you too. We know not everyone is charismatic or extroverted, but at the very least be confident in the strength of your project, so much so you convince me to invest in you.

You should know what you need in your pitch. This may seem obvious, however I’ve seen so many pitches that I don’t know what they need. Your ask is your ask, whether you need first money in, collaborators, or distribution, the hope is that someone hearing the pitch will be able to help.

Pitching Hot Takes

OK here are my hot takes when it comes to pitching:

1. Don’t read off your phone. This might be a personal preference for me, but I find it unprofessional. Take the time to print it or write it down.

2. Don’t spend the entire pitch explaining the story. A little exposition can go a long way, but don’t overdo it. Give yourself time to talk about yourself, your needs for the project, your characters, etc.

3. Don’t get defensive, just listen. It’s so easy to get defensive when there’s feedback you don’t necessarily want to hear. Some notes may be useful and some may not be. Either way, just listen with grace.

4. Be excited about your project! You’d be surprised how many pitches I see where the presenter doesn’t seem genuinely interested in their own project. Be excited and let the excitement rub off on the audience.

5. Please spoil it for us. If your project has a twist, please tell us the twist. You can give a spoiler alert, but we need to hear how the story will unfold. If the pitch is recorded or live streamed, tell enough for the audience to get the gist.

6. There is a such thing as over preparation. I know I said to be prepared, but being too prepared is also a form of anxiety. Leave room for the unknown and for meaningful questions.

7. Have one pitch to rule them all. This may be controversial, but I believe you don’t really need to tailor a pitch for completely different audiences.

Recommended Pitch Competitions

Here is a list of pitch competitions that I recommend to filmmakers:

• Film Shop Breakthrough Series

• SeriesFest Pitch-a-thon

• Brooklyn Exchange at Brooklyn Film Festival

• South Pitch at New Orleans Film Society

• AT&T Untold Stories at Tribeca Festival

  • Hot tip: Go to their YouTube to see what a $1 million pitch looks like!

Networking is so necessary in our industry and I know many filmmakers and industry alike struggle to make the connections they need. We are taught that it’s about ‘who you know,’ but we’re rarely taught the ‘how-to’ of who you know. Here’s part 2 of ‘how to who you know’.

The Networking Scale

The filmmaker I met at Tribeca rightfully pointed out that it was hard to meet executives at film festivals; that they rarely show up at the events and if they do, they don’t want to talk to filmmakers. It’s not that executives don’t want to meet filmmakers, they just keep getting ratioed and swarmed at these events. And in many cases, executives have their own agenda when entering these spaces. At major festivals like Sundance and Cannes, most of these executives need to “network up” or earn their keep. Companies spend tens of thousands of dollars for these executives to attend and to come back with business. They need to meet the executive above them for better opportunities, strike new partnerships with other companies, or secure a film sale. So if you’re not a filmmaker they can strike a deal with in that moment, these executives are less likely to connect.

On the other hand, executives invited as jurors and panelists at smaller regional festivals are way more open to meeting filmmakers, or to “network down”. To clarify, networking down just means they are in a better position to lift you up. Sometimes, these festivals incentivize industry to attend by covering their travel or giving a small stipend. In a way, the industry attendees must earn their keep by supporting and helping the filmmakers who are a part of that festival. If you want to see if your local festival has these industry attendees, look at their jurors and see if they have industry panels, workshops, or mentorship programs on their website.

I know it’s a natural instinct to network up, but it is just as powerful to network across with other filmmakers. You never know who knows who, and who can recommend you for a program, lab, festival, or to an industry executive. If one person wins, we all win.

Be a Friend First

As an executive, I know I will get a better response to “oh let me connect you with my friend…” rather than “I just met this person at Sundance…” People are just more inclined to help out because they like the person instead of fulfilling an obligation. Be a friend first and foremost. You don’t have to be immediate best friends with the person you just met, but you should at least be friendly and want to genuinely connect on a human level. No one wants to feel like a transaction or a means to an end.

Most of the job opportunities I’ve gotten have been because of my connections and being a good industry friend. I remember being in a very toxic work environment and told an industry friend that I was looking for other opportunities. They said “finally!” and recommended me for a job that their friend had emailed them about. They put us in touch and her exact words were “You are both wonderful and I recommend you both to each other! :-)” They put us in touch on a Thursday, I had an interview on that Monday, and an offer on Tuesday. I had met that person who connected me with a job a few years before that and we were always friendly and supportive of each other. So her statement about me was genuine and it literally opened a door for me.

Staying Connected

When you make that great connection at a festival and the other person asks to stay in touch, here is the best thing to ask next: “How would you like to stay connected?” It puts the ball in their court and allows them to determine their comfort level with you. The most personal way, of course, is through exchanging phone numbers. It’s a powerful thing to be able to text or call your industry contact. The next level is email and if they are a higher-up, getting their assistant’s email is golden. LinkedIn is also a great way to stay connected while also seeing if you have mutual friends. Most industry professionals have Instagram accounts, but rarely use it professionally—it may be a faux pas in some spaces to ask for their IG. Business cards are still used, but remember your goal is to get their contact information, not to wait for them to reach out to you. Using virtual business cards (Dot, Blinq, etc.) is becoming more popular and is a great way to stay connected.

I’ll share a cautionary tale about why checking in on how someone prefers to connect is crucial: I was at a Sundance party earlier this year, chatting with a group of two or three filmmakers. I had met one of the filmmakers before, and we were already following each other on social media. We exchanged phone numbers by “bumping” our iPhones together. I offered to email the other filmmakers, but one person was insistent on exchanging phone numbers instead of email. I pushed back and explained that I would prefer to connect via email since it was our first time meeting. However, they placed their phone next to mine, and our information was shared.

That filmmaker texted me several times, but I ignored the messages. If they couldn’t respect the boundary I initially set, then how could I introduce them to anyone else in the industry or invest in their film?

Always ask the other person how they would like to connect; it’s the safest bet in protecting your industry reputation.

Short and Sweet, Your Goal is to Meet

If crowds are not your thing, there is an alternative to networking: email outreach. Cold emailing is not new and may not always yield the best result, but there’s a way to turn a cold email to a warm one and eventually get a response. This method involves a lot more research and a more targeted outreach, but it can pay off.

When you finally get that email address for someone who can take your project to the next level, the natural instinct is to throw everything against the wall and hope something sticks for them. I have received these long emails before and it can be overwhelming, I didn’t even know where or how to respond—sorry!! If it takes more than two minutes to read an email and there is no clear ask, it’s likely your message will end up in spam or ignored. It’s not that they are being malicious, they’re often too busy to read a full pitch over email. The only time I’ve seen industry get upset by emails is if the sender is rude or extremely entitled. As long as you’re respectful and thoughtful, you will reach who you’re supposed to reach. Also, write the email you would want to receive! So as a filmmaker, how do you cut through the noise of their inundated inboxes?

I have an email template that works most of the time:

Hi «executive/programmer/producer name»

My name is ____ and I ____. «met you at the film festival/went to the same school/we’re from the same hometown/our mutual friend encouraged me to reach out». I’m reaching out because I have this project that would be a great fit for you because «in the past you supported similar projects like___/it has so-and-so attached and I know you’re a fan». It’s called ____ and it’s about «short logline». I would love to chat soon to see how we can work together to ____, please let me know when you’re free in the next few weeks. I’m happy to work with your assistant to find a time.

Short and sweet, your goal is to meet!

Let me break down why this email works:

1. Introduce yourself and find common ground

   1. First, personalize the email if you can. It shows that you are intentional with connecting with them and it’s not a “Dear Sir/Madam”. You should then give just enough context about yourself without telling your whole life story. If you have met them before, still re-introduce yourself and remind them of how you met. If someone encouraged that you reach out, mention that person here.

2. State your “why” and provide context

   1. Instead of listing all of your project details first, give context on why they are the person you chose to reach out to, and why your project is aligned with them or their company.

3. Introduce the project

   1. Name the project and your VERY SHORT logline!! It should be descriptive and enticing, and shouldn’t be more than a sentence.

4. Secure the meeting

   1. Mentioning an assistant is a great move because it acknowledges that their time is precious. It’s also flattering to the ones who don’t have an assistant. Also, you can ask them if they’re going to an upcoming festival and if you can meet them there.

      1. Also, worth noting that the best time to follow up is 2 weeks after you sent the email. If you follow up twice with no response, it’s OK to move on and not reach out again. The follow up email should be simple and say “Hey just following up on my previous email. Thanks!”

Where to Network in 2026

We’re about to enter fall festival season and the perfect time to network for your next project or your next career move. Here is a list of places I know the industry will be in attendance this fall.

• TIFF September 10-16 | The ‘Festival of Festivals’ is introducing a market this year that will rival the Marche du Film at Cannes. They are aiming to provide more robust programming and intentional networking. If you’re coming from the east coast, it’s a more affordable festival to attend and it is helpful to get a badge.

• Venice September 2-12 | The first-ever film festival is mostly focused on international films. You will need a badge and to get into a WhatsApp group to help navigate the events. It can get expensive to book ahead if possible.

• Telluride September 2-7 | The lauded festival is known for keeping its lineup quiet until you get there. Industry professionals don’t go specifically to network, but it does happen organically by standing in line. It’s really cost prohibitive to attend.

• NYFF September 25-October 12 | The classic New York festival is great for the international and splashy films you may have missed at Cannes. The events can be difficult to get into (Opening Night aka Film Prom™️ is the hottest ticket in town!) but if you are able to go, you will absolutely meet distributors. A Press & Industry (P&I) badge, if you qualify, is amazing and the best way to network with programmers from other festivals.

• Gotham Week September 28-October 2 | The best place for NY-based emerging filmmakers to connect. Yes, I’m biased since I work with them, but I’ve seen networking on the highest level happen during this week. I’ve seen both industry and filmmakers really connect at the events during the week. And the best part is that most of the festivities are free and open to attend.

See You There!

It’s so easy to exist in a bubble and just create in hopes that someone finds us and pluck us out of obscurity. But our industry doesn’t work that way. The best advice I can give is to be intentional when you meet people in our industry. Just as much as you are looking for help, the industry equally wants to help. They just may not have the time or capacity. The goal isn’t just to meet for the sake of meeting. Follow up and follow through. Be curious and ask for their opinion. Be memorable and make sure people don’t feel used. Show up and be yourself. Be kind, open-minded, and most importantly, be patient. You got this.

I was speaking with a filmmaker at Tribeca who expressed their frustration about networking in the film industry. They were making some valid points, and as a professional networker and a “Bob” (I will explain later), I realized that whether you’re new to the industry or a 20+ year veteran, networking can feel like a necessary evil or worse: a chore. If you’re feeling the same way, don’t worry, I have lots of great tips to share. Here’s part 1 of 2 of some helpful tips for networking at your next film event.

It’s all about who you know, but how do you “who you know?”

This industry is fueled by your network, and that’s the rule, not the exception. Often the first advice someone receives about the industry is “it’s all about who you know”. But no one really talks about those first steps in building a network. The first step in finding your people is proximity.

Let's start with school1 since it’s often the first entry point in building your network. There, you can connect with fellow students, faculty, staff, and career services if you have it. But an always underutilized resource is your alumni network. More often than not, if you email an alum from your school, they will answer because you both have common ground in your alma mater. When you connect with be sure to stay in touch—LinkedIn is usually the best platform to stay connected. If you’re currently a student and feel as though you have nothing to offer, you’d be surprised at the how helpful people can be. The industry loves helping students, especially if we get to brag about you when you become successful.

If you didn’t go to school or film school, that’s great too! Your local film community is your best (and sometimes better) resource. When I say “local,” I’m not limiting it to just where you live. Local can mean affiliation, identity, race, ethnicity, or anyone you can relate to. Those peers are coming up with at labs, festivals, etc. and in many cases, can plug you in on opportunities. Peer mentorship and networking is severely underrated, you never know who knows who!

Oh, and there’s always nepotism if you have it. Never be ashamed if your auntie is an executive at a studio, or your cousin is a famous actor. If they can help you get in the door, by all means, do it! Is it unfair for everyone else? Of course! And if everyone else had that level of access, would they take it? Absolutely! We have to make it in this industry by any means necessary.

Finding your Emotional Support Extrovert™️ aka “Bob”

I’m often asked how do I know everyone? Well, first things first, I’m an extrovert. I thrive off of the energy of the rooms I enter, and I love meeting people. I know not everyone is an extrovert, and several of you have social anxiety. That doesn’t mean that these networking spaces are not for you. I came up with a strategy that will help the most nervous among us make the right connections while networking: finding your Emotional Support Extrovert. A common misconception about extroverts is that we want introverts to act like us. That’s not true at all; we want you to thrive in these spaces too, and we can be both perceptive and protective. We can come off as intimidating, but most of us still want to connect and see you do well. We’re here to support you!

Next time you’re at a mixer or any gathering, look for that one extrovert who can captivate an audience. I like to call this person “Bob”. Bob is gender-neutral, I’m a Bob (hi!) Bob is that person you usually meet on a job who loves to talk and is super helpful. They can be different from you in so many ways, but the Bob in these spaces is here to make sure you thrive. Bob will have a group of 3-4 people around them and all you have to do is join the circle and listen. A good Bob will recognize that you’re joining the circle and they will include you. Your only role is to introduce yourself to Bob and be open to talking about you and your projects; Bob can only do so much, so meet them where they are when they bring you in.

I’m a proud Bob and if you see me or other Bobs at a networking event, join the circle and say hello.

Right Place, Right Time, Right Words

Place

How do you know you’re in the right place to network? New York and Los Angeles are the easiest places to run into industry folks. Because of the volume of people, by default there are more film happenings year-round. But if you live anywhere else in the US or internationally, there are film events to network at somewhere in your vicinity. But this is a community you’re going to have to work hard to find. You can start by becoming a member at the local art house cinema, joining local film groups, and getting to know your state or country film commissioner. I’m a huge fan of regional film festivals—there’s one in every state and in most countries! These are the best places to network since the festivals need your presence just as much as you need them. To make sure a networking space is legit, or to see if you’re in the right place, do a temperature check: how am I feeling in this moment? Do I need to prove myself in this room? If you’re feeling uncomfortable, don’t be ashamed to leave. Your peace of mind is more important and you will meet the right people on your right time.

Time

How do you know when you’re ready to network? So many filmmakers stop themselves from networking because they don’t feel ready yet, or worse, they don’t feel worthy. If you’re not in the right headspace to make connections, by all means sit this one out. Your time is valuable and so are the people you will meet. You should be in the best mood possible, but don’t count yourself out and think you’re not deserving of being in the room yet.

Words

You’ve finally found the right place, now what do you say? Here are some Dos and Don’ts for what to say when you’re networking:

Don’t: “What do you do?”
Do: “What brings you here?”

Asking someone what brings them to the event they’re at is such a better way of connecting with someone. What do you do implies ‘what can you do for me’ and asking why they are at the event opens the door of communication on more equal footing.

Don’t: “Elevator” Pitch
Do: “Standing in line” Pitch

The majority of your time at a festival is spent standing in line and that is the most underrated place to network. Be prepared to talk about yourself and your project in the few moments you have waiting in the bathroom line or the line for complimentary drinks. Here’s my standard, go-to pitch in this scenario: “My name is Alece and I’m at this festival to support emerging filmmakers and make connections for my writing projects. What brings you here?” I stated what brought me to the festival while also acknowledging my own projects and leaving it open-ended enough for the person to ask questions. The goal is to move that conversation from one standing in line, to a standing meeting. Remember: A successful pitch is an invitation to a conversation.

I have lots more to share, so come back for part 2 where I’ll tell you how to virtually network, discuss the networking scale, and final tips on successfully building your network!

The Tribeca Festival has officially begun, Mamdani is our mayor, and the Knicks are in the NBA Finals. New York is thriving right now!

My first Tribeca was in 2010 which was also the year I went to my first Knicks game. I’m feeling extra nostalgic! Not sure if I’ll be able to afford a ticket to the NBA Finals, but I will definitely be at Tribeca.

Tribeca is celebrating 25 years and I’m so excited about the lineup of films and events. I had the pleasure of being on the programming committee and will be hosting several Q&As during the fest. Tribeca has always been as a filmmaker-forward festival with the best parties, and this year seems no different. Here are my recommendations for the festival.

Kingston

This incredible debut feature showcases the raw reality of academia. My friend and programmer Casey Baron beautifully sums up my thoughts about the film: “These filmmakers take on the realities of contemporary academia in America with a reckless abandon that’s thrilling, endearing and full of blistering moments.”

I’ll be moderating the Q&A on Fri, June 05 at 6:15pm at AMC 19th St. East 6.

Human Theories

There’s something special about watching a true New York indie at Tribeca, and Human Theories is special. My friend and programmer Faridah Gbadamosi expresses my feelings about this film in the best possible way: “Human Theories is a love letter to the folks who are just trying to exist in our beautiful city”

I’ll be moderating the Q&A on Sun, June 07 at 12:00 pm at the Village East by Angelika.

Full Circle: The First All Black Everest Ascent

This inspiring documentary follows a group of Black mountaineers climbing the highest of heights while making history. I’m personally excited to see how they shot this, and to celebrate their mission of making the outdoors accessible to all.

I’ll be moderating the Q&A on Wed, June 10 at 5:00pm at AMC 19th St. East 6

Mouth Full of Golds

Lemme see them grillz! Oh, how I have always wanted a set of grillz. I can’t wait to watch this history lesson about ghetto fabulous (compliment) adornments for the teeth. It should be a fun watch and discussion.

I’ll be moderating the Q&A on Sat, June 13 at 5:00pm at AMC 19th St. East 6

See you at the fest!

Nana’s insightful article about her experience making Rainbow Girls while a very similar movie is out and getting a lot of attention: Boots Riley’s I Love Boosters. Take the time out of your day to read and find a way to support Nana and her incredible project!

UNSCRIPTED | Nana Duffuor

What Happened When Boots Riley and I Made the Same Movie

Like many of you, I’ve been a fan of Boots Riley’s filmmaking since watching Sorry to Bother You. Boots is a rare filmmaker, adept in finding imaginative ways to push the boundaries of cinema, taking the type of artistic risks that expand our imaginations. In an increasingly risk-averse industry that relies on tent pole films, remakes, and reboots that …

Read more

3 months ago · 427 likes · 31 comments · UNSCRIPTED | Nana Duffuor

Free Panel at BFF Exchange | Writing for the Screen | June 4

A bit of a shameless plug here: I’m moderating a panel on Thursday, June 4th at the Brooklyn Film Festival Exchange. See details below and I’ll see you there!

BFF Exchange | TALK | Writing for the Screen
How do you take your great idea and put it into a script? What makes writing screenplays different from other mediums? Hear from the award-winning filmmakers Meredith Alloway, Ellie Foumbi, and CC Webster about how to write for the screen successfully.

Feirstein Graduate School of Cinema
25 Washington Ave, Brooklyn, NY 11205
June 4, 2026, 2:15 - 3:00 PM
RSVP for Free Tickets

Submission Alert: FLC Academy Programs

Taking place during the New York Film Festival, the FLC Artists Academy and FLC Critics Academy provide early-career filmmakers and writers with real-world experience, access to industry events, and mentorship from seasoned professionals. These programs are designed to equip participants with the tools and relationships needed to build meaningful, sustainable careers in film.

I spoke to the Artists Academy last year about future-proofing their careers and it was amazing. Please let me know if you apply.

Applications close June 18, 2026, at 11:59 PM ET.

FLC Artists Academy Submit Here

FLC Critics Academy Submit Here

I Love Them Boosters, They Love Them Boosters, You Should Love Them Too!

Happy I Love Boosters weekend to all who celebrate! I had the honor of moderating a Q&A with Boots Riley at Yale University during his college tour last month. This incredible follow up to his debut feature Sorry to Bother You fits squarely in the Boots Riley multiverse. It’s worth a second and maybe third watch; first to just enjoy a masterfully made film, and second to take in its important and timely messaging. Find it immediately in a theater near you.

Six Seven Wins for Neon at Cannes

Cannes has officially bestowed its prestigious prizes, and the U.S.-based distributor Neon just secured its seventh Palme d’Or with Fjord—a film I can’t wait to see. I’m so here for this Neon supremacy on the international stage!

Here are the Cannes films I’m most looking forward to seeing:

• Fjord - Obviously because of the Palme d’Or win, but what’s not so obvious is my deep appreciation for Romanian New Wave cinema, and Renate Reinsve during the awards season.

• Clarissa - How often are we blessed with a sibling-directing duo, and who happen to be African, and are retelling a Virginia Woolf novel, and for that film to premiere at Cannes?! I’m sat.

• Club Kid - I’ve heard nothing but great things about this film, and Jordan Firstman is living a modern film fairy tale: an authentic journey from influencer to a film director. What a great time to be alive and to bear witness to this!

• Fatherland - I loved Pawel Pawlikowski’s previous film Ida and I’m here for all things Sandra Hüller.

• La Bola Negra - I’ve heard really great things about this one, and Netflix just bought it!

• Teenage Sex and Death at Camp Miasma - It’s a Jane Schoenbrun film, no other explanation is needed.

• Once Upon a Time in Harlem - I tried so hard to get tickets at Sundance and was unsuccessful. I can’t wait to see it in the fall, and for it to have the award campaign it deserves.

Is God Is is in Theaters

I’m watching it this week and so should you!! Also, its studio Orion Pictures has been on a generational run since Alana Mayo took over—Till, American Fiction, Nickel Boys, just to name a few. I’m going to support anything they put out because I know it’s going to be good!

The obituary for film has been written since its inception, from debates over whether film could differentiate itself from other art forms, to analyzing the future of silent film. The one thing that has been consistent in our century-old industry is change. Oh, and attention-grabbing headlines meant to stoke fear and invoke action.

Our industry has been undergoing some major changes that feel like harbingers of death: the 2023 WGA and SAG strikes, production moving overseas, massive agency layoffs, studio consolidation and mergers, and the rise of AI, just to name a few. These are scary times, but to call them “death” may be premature. It’s completely understandable to mourn these major shifts that have disrupted the industry as we know it, but let’s not mistake these changes for extinction.

Hollywood is a billion dollar business, and has not experienced a “bust” like finance, tech, or real estate; entertainment is essentially recession-resistant because we watch movies when we’re broke! Even with severe job losses and rising production costs, our industry has stood the test of time. Industry workers are creating their own opportunities, filmmakers are bootstrapping distribution, and movies can be shot on iPhones.

The feeling of dread in these headlines directly reflects the anticipation of the other shoe dropping—what if it does all fall apart?! But for more than 120 years, that collapse still hasn’t happened. Before we prematurely start performing CPR on our industry, there is another factor at play.

There is an elephant in the room when talking about this so-called cinematic death: the loudest voices that are calling for the collapse are the same people who thrived in the old version of the industry and want to “make cinema great again”. How can they compete in a changing world when they benefited so greatly from the times before? So in a way, yes, the industry has died to those who refused to change. History has rarely looked favorably on the risk-averse, after all. To their credit, this same group is trying to ring the alarm about these changes via the “cinema is dying” discourse. However, the death rattle headlines from these gatekeepers doesn’t quite hit the same when you’ve come from the other side of the gate.

Filmmakers, indie cinema, and mid-level industry workers who were historically excluded from Hollywood in the first place are now finding new opportunities amid these morbid times. The previous iteration of the industry is not dead—it has just simply evolved. The old guard may never be onboard for this evolution, but I’m confident that the industry will survive and even thrive.

So what next?

Personally, I’m optimistic about the future of the industry. There is still film infrastructure in place that will prevent a total collapse of our industry. From what I can see, filmmakers are spending more time during the development stage being strategic about their projects. Regionality is more important than ever as the industry shifts away from Los Angeles and New York. Filmmakers and film workers want sustainable careers and lifestyles, and to not be in survival mode all the time. Yes, studios are consolidating and major festivals are pivoting, but non-profits are still finding funding for emerging and mid-career filmmakers. Micro-budget films are getting made. Filmmakers are finding creative ways to make their films and reach their intended audiences. Film workers are creating their own opportunities and don’t want to face the same abuses their predecessors had to go through.

It’s on us—the industry workers and filmmakers who want a better future for everyone—to cut through the fearmongering to focus on what makes our industry so special: being able to inspire audiences through the magic of media. The appetite for good film and TV is far from dead, and it’s that appetite that will keep us alive. Long Live Cinema!

Leave a comment

LAIKA Studios’ Wildwood trailer

“From the hands that created…” Yes!!! I am so excited about this movie and will be seated in a theater for this one.

Byron Allen Buys Buzzfeed

I am an Elder Millennial who wasted spent hours on Buzzfeed quizzes, so I’m curious how and if Byron Allen will transform the site. But it seems he has his sights set on bigger things that will further build his media empire.

Hope is Not a Distribution Strategy

The title alone is a gut punch. Daren Smith highlights three common pathways producers take towards distribution. If you’re early development on a feature, absorb what Smith has to say as you build your distribution strategy.

If you have a feature narrative or documentary film in development, or a completed short film, then this NY-based speed-meeting-style program is perfect.

Full disclosure, my day job is with The Gotham so I’m very partial to this program. If you plan to submit, please let me know so I can put in a good word.

Cost: $125 Essentials Membership + $45 Submission Fee (Total $170)
Worth It Scale: 3.5 out of 5 stars. It is a competitive program and expensive to submit. But the review process is probably the most equitable in the industry and it will be seriously considered by a vetted group of reviewers.

Genesis House x The Gotham Shorts Fellowship - Due May 21

Following up on other Gotham initiatives, there’s a finishing funds grant for narrative shorts shot in and around NYC with Genesis House. I’m facilitating this program so email my work email if you have questions: aoxendine@thegotham.org

Cost: $0
Worth It Scale: 4 out of 5 stars. It doesn’t hurt to apply (it’s free) if you have an eligible project.

Rideback Rise Fellowship - Due May 30

This incredible incubator is designed for mid-careers creatives to develop and produce commercial film and television with a multicultural lens. In a sea of programs that support emerging artist, Rideback is an island oasis for the truly mid-career filmmakers. Eligibility is strict; must be LA-based and have representation.

Cost: $0
Worth It Scale: 5 out of 5 stars. I love what this program represents and if you are eligible, please apply.

Black Film Space x CliveRd Proof of Concept Short Film Grant - Dur May 31

Black Film Space is collaborating with cliveRd. to support and fund projects made by independent Black filmmakers. This grant is set up to support a proof of concept for a feature film with narratives that prominently features nature (Nature as a setting, character, supporter and/or obstacle for the characters in your project

Nature as a theme. The winning project will receive $8,000 and an opportunity to shoot at a private estate in Jamaica.

CostL $35 | Free for Black Film Space Members
Worth It Scale: 3.5 out of 5 stars. Great opportunity

Palmtrees Incubator - Due June 1

An annual incubator for screenwriters from Africa, South Asia, Southeast Asia, Latin America, the Middle East, the Caribbean, and Oceania. The incubator is open to writers at all stages of their careers. Writers receive a $5,000 grant towards, 9 months of mentorship from a story analyst, and a first-look consideration from NEON (!!)

Cost: $0
Worth It Scale: 3 out of 5 stars. It’s a new program and I’m not sure of the review process. If you qualify, I recommend applying.

Subscribe now

A little about me

Hey there, my name is Alece. I’ve been working in the film industry for almost 20 (!) years with a focus on marketing, distribution, film festivals, and general support for filmmakers. I want to see a better future for all of us, so thanks for joining me on this journey.

Going to Cannes? Here’s what you need to know?

After going to the…

Read more