Film festivals are not fancy — Here’s why you should go
COVID-19 update: theaters have individual rules for proving you’re vaxxed. Look them up before you go. Onto the original article…
The association of swanky red carpets and famous actors with film festivals must end. True story… I was leaving a party early once, and after I thanked the host she replied “I heard you’re fancy.” She was implying that because I was going to a film festival screening, that I was fancy. Why is this conclusion inaccurate? Because:
1) Good people work hard on these films, and this is their big moment
2) Film fests are the unicorn scenario of movie watching in today’s streaming subscription-saturated world
3) I want people to stop thinking film festivals are all fancy and stuff
My goal is to get more people supporting independent film, so I really hope this article is insightful and serves as a guide for newbies. This all starts with how the media talks/writes about these festivals. You don’t go to ‘The’ Tribeca Film Festival like it’s an all-day extravaganza (i.e. Coachella). Film festivals at their core are a curated blend of screenings in regular-old movie theaters. You could conceivably see a movie as part of a film festival and not even know it. But it depends on a few details that I explain below. And, you can go alone. Maybe you should go alone. More on that below too.
ORIGIN OF THE FANCY-ASSOCIATION
This country’s obsession with celebrity is the reason for this misconception. Mainstream press is more likely to show photos of beautiful actors on red carpets than of on-set shots of directors clothed in over-pocketed couture. Ergo, you think film fests are fancy and lack regular Joe social substance and craft. I’m not immune to an occasional ScarJo stiletto-saunter, but at the Toronto Film Fest (TIFF) I would have rather seen her on-screen in Jojo Rabbit. Tickets sold out quick, fam.
Back to the filmmakers. Some of them may have been anticipating this film fest premiere their whole lives. Even crazier, some are in New York (or your town) for the first time ever. Shit, I finished my first script in 2012 and I’ve still not been part of a film fest premiere. I’ve been a screenplay finalist at a film fest, which is way, way less cool. Are you a filmmaker and attend fests ‘for work?’ Cool! I recommend this podcast episode by the folks at No Film School. Of note, men confuse ‘buzz’ with romance when meeting women repping films. Don’t do that.
If you work in an office, imagine your big ‘work moment,’ probably a presentation in the big conference room, maybe with senior leadership on the roster. You get there and it’s only a few low-level colleagues. I equate it to the Griswolds excitedly arriving at Wally World…only to find that it’s closed for repairs. This is what it’s like when a filmmaker’s premier is poorly attended.
The unicorn experience is this: a film fest world premiere audience is likely to have actors, producers, directors, production designers, lawyers, gaffers… people whose life was consumed by this thing you’re about to see. It may be the first time they’re seeing the final cut from start to finish. It creates a buzz in the that’s — if I may mansplain — like a sports playoff game seven. This shit counts. Depending on the film, it may only show at that festival and 1) never again anywhere else or 2) a year later it’ll be on some platform you don’t subscribe to. Either way, your unicorn has ridden off into the sunset. Or into the rainbow, if that’s where they ride.
I repeat. Film festivals are not fancy. Stop saying in a dreamy tone “Ohhh I’ve always wanted to go to the Tribeca Film Fest!” if you live in New York. It is not some mystical experience with a prestige prerequisite, it’s a bunch of movie screenings open to regular people who prop bags on seats they’re saving for significant others.
Now that I’ve completely swayed your mind, here are my top tips about film festivals. I’ve tried my best to prioritize, but feel free to ‘find’ a keyword/topic you’re interested in (e.g. badges, which are not required for 99% of festivals— there’s a badges section below).
LOCATION — “There’re no film fests in my town!”
If you’re in this segment, Google “your town” + film festival and something will turn up. Maybe it’s not in your exact neck of the woods, but it’s wherever you call ‘the city.’ If it is in your super small town, consider reaching out to the festival staff. They’re probably nice and can give you tips on films to see, screenings with Q&As, etc. Got a friend in Boise or Boston but no specific time frame to visit? Go during a film fest, buy ’em a ticket as thanks for letting you crash. The smaller the fest, the more emphasis you should put on attending the opening and closing night ceremonies. More on them below.
VOLUNTEERS — the lifeblood of festivals
Always be nice to volunteers! Most are college film students that work a set number of hours to see films for free. This is their craft, they’re in their element, Donnie. Volunteers are typically smart and helpful but on occasion not informed and literally working the first ‘shift’ of their entire lives. Moral here is that what one volunteer says may not be accurate and it never hurts to verify the location of a screening or the correct line to stand in. When I was at TIFF, I chatted up a volunteer who let me know that the outdoor movie — Look Who’s Talking— was gonna start a half hour late. This allowed us time to buy (legal!) weed beforehand. To avoid any hate mail to the TIFF programmers, do not confuse this film with Look Who’s Talking Now, a rare zero percent on Rotten Tomatoes.
FEST WEBSITES/APPS — Have some patience
Websites and apps of festivals run the gamut from efficient to a UX designer’s nightmare. The checkout process can be unwieldy — they may use Eventbrite, Ticketmaster, SquadUp or some other product… have patience and know that if they had the time and money they would have an amazing website with an intuitive interface that caresses your every keystroke. You don’t have to download the app but I would recommend. Some brighten your screen when you display the ticket QR/barcode, which volunteers appreciate.
’Cause I love tangible advice, here’s my plan for the 2020 Tribeca Film Festival (TFF). I’m already subscribed to their newsletter, so I’ll get alerts when all their films are selected. I’m going to buy their 8-ticket package which is usually ~$200. This gets me advance pick of shows before the general public (but after badge holders, more on them below). I’ll maybe go to four films alone and invite someone to two others.
GENERAL PUBLIC ON-SALE DATE AND TIME — plan ahead
The importance of this category relates to the popularity of the film(s) you want to see. If you know in advance you’re interested in one or two screenings, set a calendar reminder to be in front of a laptop computer with good wifi (consider setting idle devices to airplane mode) at the on-sale date and time. Make sure you’ve already registered and logged into the fest website. If the site uses Eventbrite or Ticketsmaster, log in to those sites in the same web browser. Do not try to buy TIFF tickets on your phone while at a Labor Day parade in suburban Connecticut, okay?
Advanced planning could conceivably make or break your festival experience; early birds will save the time and hassle of endlessly browsing unappetizing leftovers. This is especially true if you’re traveling to a festival.
Old faithful — Craigslist tickets by owner. Recent highlight, I went with some dude whose girlfriend bailed to the Linda Rondstat doc premiere which was followed by a Sheryl Crow performance. I’ll admit this night was a little fancy but awesome nonetheless:
Side note, tickets by owner has also netted me cheap tix for other events — women’s US Open final, David Gilmour at at MSG, a Rangers game, etc. Again, if you roll solo, there’s a good chance you’ll get in.
WHAT TO WATCH
Don’t know what type you like? First, decide on your ideal format. Narrative features are full length (90–120 minutes) movies that essentially tell a story. Documentaries are fact-based films of actual events and/or people. Mockumentaries are a fun blend, I fondly remember seeing Becoming Bond premiere at SXSW 2017. Now on Hulu.
Most festivals have a category called Main Slate or allow users to only see films in competition which means they’re a bit higher-caliber than others. Use these filters wisely. Below is TFF’s site, Spotlight is their main slate:
Read film descriptions carefully and go with your gut. Hell, roll the dice and see an international film like Parasite which won the Palme d’Or at Cannes and is an incredible masterpiece. All films should have a hero image though.
MOVIE HERO IMAGES
Images are worth a thousand words BUT don’t let them be your sole content of consideration. This is just an example I’ve seen recently (Nov. 2019) — the Honey Boy hero image is a kid with splattered pie all over his head. I’ve seen the film, this image is not a persistent theme. After my screening, Shia spoke for a half hour and he didn’t mention it. Either way, director Alma Har’el is certainly one to watch.
MORE ON DOCUMENTARIES
Docs have the power to force social change and legislation. This process has become known as the Blackfish Effect and is best described in this NYT article by Mihir Zaveri. These docs need attention, and attending their screenings is a simple way to thank the filmmaker. This may be a person who spent their time and money exposing political corruption, for instance, rather than writing a draft of another fucking Spider-Man movie. All-time, Alex Gibney is boss of this genre. Ava Duvernay is blazing her own powerful path too.
SHORTS BLOCKS
Shorts are ~8–20 minutes long, and film festivals usually group them into thematic blocks, meaning you’ll sit through five or six in a row. I’ve seen a lot of shorts blocks and my reaction is usually:
- Hilarious!
- Eh, kinda funny
- Weird or just straight up bizarre
- Scary…ish?
- Amazing
My most memorable shorts block was the 2017 New York Film Fest’s (NYFF) “New York Shorts” which “showcases work from some of the most exciting filmmakers living and working in New York today.” It was programmed by Dan Sullivan and included the amazing Oscar-nominated My Nephew Emmet by Kevin Wilson Jr.
TRAILERS
Everyone loves trailers, right? Well, this is a tricky thing with film fests, especially premieres. First and foremost, they’re expensive. Remember that filmmakers may be looking for a distribution deal at the festival. A bad trailer on the fest website can turn off would-be viewers. Trailers are film marketing, and indie filmmakers may prefer to let their eventual suitor studio create this rather than DIYing it.
MONEY
Film fest ticket prices are carefully set. Rarely if ever is there a corporate scumbag on the other end of this transaction. Paying for a film fest ticket is akin to supporting local business rather than buying from Amazon. That’s a bold analogy but it’s a mindset I’ve found helpful when coughing up $25 for a single screening. I recently broke my record with a $60CAD ticket (~$45USD) to see the North American premiere of Pain and Glory at TIFF. But it was followed by a Q&A with Antonio Banderas and Pedro Almodóvar. I justified the cost as I’m recruiting Antonio as the antagonist lead in my feature spec script Denominations. Hey @UTA, I’m the very same Joe Esposito whose unsolicited email is sitting in Antonio’s agent’s inbox. Please have him get back to me RE: Antonio. Thanks!
THE BUSINESS OF FILM FESTS
Shout out to the author(s) of the Film Festival Wikipedia page whom I will honor with the age-old tradition of copy/paste: “most festivals operate on a nonprofit membership-based model, with a combination of ticket sales, membership fees, and corporate sponsorship constituting the majority of revenue. Unlike other arts nonprofits (performing arts, museums, etc.), film festivals typically receive few donations from the general public and are occasionally organized as nonprofit business associations instead of public charities.”
RESERVED SEATING
A lot of theatres will have rows of seats marked “reserved” for the premiere. This is where your volunteer can come thru — “Excuse me, if a reserved seat is still available at showtime, may I sit in one please?” Some volunteers may already know that a few are free and seat you right away. In one instance, writer/director Pat Leahy actually gave me his reserved seat. Remember, film fest attendees are typically nice and helpful. They’re not the same crowd that’s gonna be at a 9pm Friday night Fast and Furious screening. Just saying.
GO SOLO
This is a big one. I’ve been to more screenings alone than +1. This is coming from a guy who was married for five years and had a girlfriend most other years. Use the content above as reason why you’re going with or without someone. Yes, you can plagiarize my words as your own. There are a few strong think pieces on this but I’m partial to Matthew Monagle’s Yolo Go Solo. He discusses buying one ticket on instinct knowing that “each was a gamble I was willing to take, mostly because if I were wrong, the only time I’d wasted was my own.”
Here’s a fun little test. Ask your significant other if they’re interested in a film fest screening. If they say no, tell them you’re going alone. If this upsets them and they’d rather you also not go, thereby denying you cinematic enjoyment, break up with them immediately. Hinge is ripe these days, my friend.
YOU MAY HAVE TO MATINÉE IT
This one is for the 9–5ers (I’m in this boat too, folks). While most films will have a few screenings at night, there’s usually one at e.g. 2:30pm on a Thursday. Just once, go for it. Buy the ticket, mark your calendar as OOO so no one invites you to a meeting. Play hooky or take a half-day vacay if necessary. If you have kids, this may be your only opportunity. This tip especially goes out to people who eat lunch at their desk everyday ’cause they’re super busy (*cringe*). You’re not that important.
PARTIES
You’re also not invited. But if you chat up the right person while waiting in line, they may have a +1 and can get you in. Parties are a mixed bag as it depends on the occasion and host. You could be welcomed because you’re an outsider or immediately outed since the crowd is crew-only. If you do get in, tip the bartenders generously, no starfucking, and before you take photos, read the room. If no one else is snapping pics, neither should you.
Quick shout out to the cast and crew of Rolling Papers with whom I raised a glass after they closed a deal at SXSW.
BADGES
I’ve had several people tell me they thought ALL film festivals are badge-only affairs and that broke my heart cause it’s just not true. They’re not that fancy. Some festivals have several badge tiers, others just offer one level for all-access. Most badges allow the beholder to walk into any screening shortly before showtime and yes, they might be fancy and/or just lucky. Or they’re a filmmaker or someone who works in the industry.
I feel like the statute of limitations is up so I can finally admit a trick I pulled once. I work in ‘tech’ so I had my former employer pay $1,000 for the SXSW Interactive badge. When I got to the festival, I upgraded to a Platinum badge (grants access to tech, music and film events) for $200 cash. In one week, I probably went to a dozen films and a few concerts.
RUSH TICKETS
The rush line exists if a screening is close to sold out but there may be a few empty seats come showtime. Rush is the lowest-tier category for filmgoers, I recommend not taking a significant other in the rush line. Even if you get in together, you may not find two adjacent seats. Once you’re in, you then have to pay for your ticket at the box office— make this as quick a transaction as possible. Consider cash if you have exact change.
If spontaneity is your thing though, rush it. Again, here’s where a volunteer could keep you posted, and if you’re alone you may get the literal last seat in the house. True story, at the Hamptons Film Fest, some guy came up to the rush line and just started handing out free tickets. Bless you, random dude.
PREMIERES AND GALA SCREENINGS
These will always be the platinum unicorn (trademark pending) scenario, I’ve had some really memorable experiences with filmmakers I’d never heard of until that day. Some were on stage and in New York City for the first time, you can feel their good vibes pulsating into the audience. There are so many I want to mention but most recently I saw the premiere of Plus One at TFF by NYU alum Writer/Directors Jeff Chan and Andrew Rhymer. I’m calling it now, Maya Erskine will be a ‘star’ within the next 5 years.
Premieres may also be listed as ‘gala screenings’ and be a bit more pricey. Here’s a recent one: I saw the HBO doc premiere of Spielberg at Lincoln Center, screened by the New York Film Festival. And guess who was in the audience?
Q&A– you don’t have to go just yet!
After the film, a moderator or film-fest employee may run a Q&A with filmmakers and actors. Try to stay as sometimes what the speakers reveal may never be published. A lot of times the filmmaker will simply narrate the journey they took to get this thing made, which is often not what you’d expect. If you have to use el baño, go while credits roll rather than once the house lights turn on. And when you get back, go to the front row or sit closer. Etiquette is to not make the same people in your row stand up twice. If the filmmaker is nice and has time, this is when you can chat them up. Again, no starfucking.
MEDIA WALLS– the fancy exception
Media walls are sometimes set up in theatres for anyone to snap a pic. I don’t like having my picture taken, and I’ve never snapped a selfie. But the media wall might be worth it…as you’ve heeded my advice and you’re there, man!
FOOD AND DRINK
There are full service (food and drink delivered to your seat) cinemas like Alamo Drafthouse and Metrograph. They’re worth experiencing once and gauging whether it’s your thing. Then there all the other theatres — by all means bring in your own food. I’ve never seen someone get busted for bringing in their own food and drink. If you see back-to-back screenings, this is almost necessary. Personally I like beef jerky or whatever meatless jerky version is trending. For more on this, follow Anna Goldfarb’s 10 Commandments of Smuggling Food into the Movie Theater. If you’re in my screening I will enforce #4: Thou Shalt Eat Quiet Foods Quietly.
On the other hand…
Film festivals frequently celebrate their neighborhoods, and local businesses look forward to the customer influx. This inspired Robert De Niro and Jane Rosenthal to create the Tribeca Film Fest: “as the dust and acrid smell from the Sept. 11 terror attacks weeks earlier still clung in the air in their neighborhood, the pair scrambled to help keep Tribeca businesses open at a time when New Yorkers were staying away. So they pitched a film festival — and pulled it off in just 120 days.” Read my former colleague Ethan Sacks’ full article here.
To that end, if you catch a screening at AMC Battery Park, I recommend El Vez and their enchiladas. Make a reservation, even for two people.
GETTING AROUND — you’re there!
This section is more for on the ground multi-day fest-goers. I live by my calendar so fest websites with add-to-calendar features like AddThis are wonderful. The 1–2 punch of Gmail and Gcal sync well. Frequently, people will just say a screening is ‘at the Alamo’ (an area of Austin, TX) or ‘at the SVA’ but rarely know the exact address. If you’re doing back to back screenings in different theatres, you may only have a short window to shuttle in between. It’s a bit manual but I recommend saving (while on WiFi) each theatre in Google Maps so you can tap and go. Save the map for offline use. The pinnacle of digital footprinting is Sundance’s custom Google map. Filter by theater, venue, box office, etc. It’s just one part of Sundance’s How To Fest page.
LATE NIGHT/MIDNIGHT HORROR SCREENINGS
The most charged audience I was ever part of was at Sundance’s Park City at Midnight showcase defined as “horror flicks to comedies to works that defy any genre, these unruly films will keep you edge-seated and wide awake. Each is a world premiere.” A fest programmer revved up the crowd, telling us the Egyptian Theatre (built in 1926) was haunted. During the film Grabbers, I could feel the energy flowing through the crowd of strangers. Nothing like sharing a good cinema shriek when someone’s head gets eaten.
SPONSORS/PROGRAMS
Most if not all festivals have sponsors of various levels. Sponsors pay to get their brand noticed, and sometimes it’s pretty glaring. But they also typically offer perks. Two examples I can think of — AT&T sponsors TFF and coordinates ‘free film Friday’ that requires people to go into AT&T stores to register for free tickets. At Sundance, Chase Sapphire cardholders get advanced pick of films from the box office.
Programs are still printed for most festivals — grab one if you can. It’ll list sponsor events and maybe have discounts to other stuff. At the very least it’s a nice souvenir.
WRAPPING UP
Film festival attendees are among the most friendly people I’ve ever met. Even in New York. Especially in Toronto. This is a wonderful community that accepts film-lovers from all walks of life. If I may walk the walk — the first person who replies below with “I’m in” can be my +1 to a Tribeca film in 2020, no strings attached. Except you have to follow everything above.
Did I forget anything? Tag it below. Happy to work on a second part.
About me
I’m a screenwriter who needs an outlet for writer’s block, hence I occasionally write things other than screenplays. This should go without saying, but I’m not currently managed or repped. Read more about my projects here.
Find me on Twitter @JWEsposito where my average post gets 0.1 likes.
I’ve yet to receive any Oscar noms but here’s a partial list of my achievements, all are of equal merit:
Screenplay Finalist, 2013 Beverly Hills Film Festival
Screenplay Finalist, 2017 Scriptapalooza
Screenplay Finalist, 2018 Madrid “International” Film Festival
League honors, 1997 New York State Cross Country
Winner, 2018 JPMC Halloween costume contest
Champion, 2014(?) Zog Sports Intramural Ultimate Frisbee
