ith representatives from AfricaDoc, the Berlin International Film Festival, CineMart, Dubai Film Connection, Durban International Film Festival, Göteborg International Film Festival Fund, Jan Vrijman Fund, CinemAfrica and IDFA, Monday’s Producer’s Forum provided an overview of the life of a film on the festival circuit.

Although 10 feature films are to be launched during the Durban International Film Festival, Peter Rorvik – director of the Centre for Creative Arts and DIFF, is quick to point out the constraints which face a film participating in a festival circuit.

“It all depends on the season and the reach of the film,” he says. “For instance, a film which is specifically for children needs to be released during school holidays. We were interested in ‘Themba’, but because of its relationship to soccer it was released on the main circuit before the festival and therefore couldn’t be a participant.

“The value of a festival like DIFF, however, provides a much-needed media burst, while the booklets and catalogues remain on the circuit long after.”

Lucas Rosant of the Dubai Film Connection/ Dubai International Film Festival adds: “The aim of a festival is to bring in decision-makers and your film is therefore exposed to a much broader market other than your own country. It’s all about networking, finding finance and promoting your film. You might have a SUPER film, but everything is dependent on finding the right sales agent.”

One of the main points which emerged was that research into the festival is paramount and the preparation of a strategy is imperative. According to Dorothee Wenner, representative of the Berlin International Film Festival, there are 40 film festivals in Berlin alone. In fact, there is a film festival somewhere in the world each day of the year. Some focus on feature films, others on documentaries or short films, animation and more. Not all film festivals cater for all genres.

Even looking at a website such as www.filmfestivals.com one can see the immensity of the festival circuit and the degree of specialisation. For instance the Berlinale is the biggest audience festival in respect of drawing local viewers, whereas when it’s time for Cannes the locals hire out their homes and move to others shores for the duration of the festival.

“Basically, there’s no recipe,” says Lucas. “A strategy has to be thought out before a film is finished and you have to know your target audience before you talk to sales agents. Come to a festival bearing at least 15 copies of your film, biogs, profiles and synopses (not a 40-page script).  And remember that Class A festivals such as Cannes, Berlin, and Venice, for instance, only want premieres.”

“The time factor is critical,” adds Dorothee. “From the time of the first release, the festival circuit is only a year. This must be taken into consideration. Each festival has a different advantage and a big festival doesn’t have large audiences.”

“Don’t under-estimate the smaller festival,” says Katarina Hedren of Sweden’s CinemAfrica. “It might be easier to access and less restrictive, while still looking for good quality films. There’s an atmosphere of intimacy making it easier to interact and one invite can even lead to another.”

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