In September, Christian Gaines wrote a provocative two-part article for Variety speculating on a new business models for film rights holders in terms of how they use film festivals. It's required reading, and certainly got me thinking.
Of course, the film festival model will always serve some film very well. But diverging interests may mean that film festivals necessarily become a much less essential element of a filmmaker’s strategy for promotion and distribution. Just as we seem to be entering a “post-distributor” environment in which filmmakers eschew rotten deals and embrace DIY, we may be witnessing the emergence of a “post-film festival” environment as well.