Is the best what they say it is?
The topic of “The Best” arises with the issue of choice in the context of supply and demand. What does “the best” mean in the rich palette of film festivals today? Let’s break down what the criteria might be in the ranking. What types and kinds of film festivals play this game. This article targets filmmakers, festival organizers, and agents.
So go to figure out who messages about the best film festivals?
International Federation of Film Producers Associations (FIAPF) / British Academy of Film and Television Arts (BAFTA)
These reputable organizations have lists of accredited festivals. Such festivals are commonly referred to as Class A festivals. Participation and winning provide film distribution opportunities and worldwide recognition. This refers to the European Film Academy, which also has a list of qualifying film festivals.
The Academy of Motion Picture Arts and Sciences
It is possible to check out the Academy awards short films qualifying festival list here. Selecting or winning at these festivals allows you to qualify for an Oscar.
The Filmfreeway is the largest global platform for filmmakers and film festivals. Today there are over 10 thousand registered film festivals. However, not all festivals have an account. For instance, the Cannes, Berlinale, Locarno, and other “Class A” festivals are not there.
Filmfreeway has provided the following filters for rating film festivals:
TOP 100 best reviews festivals
The top 100 festivals according to the reviews left by the participants on the platform. Updated monthly.
The most popular film festivals
However, the platform does not disclose the criteria for popularity. We can only assume that we are talking about popularity among filmmakers. Along with this, one should not confuse curated sections such as “Trending Now” and “In The Spotlight”, which are advertisements.
Filmfreeway provides a unique opportunity to choose a festival that strikes your fancy. The criterion for the best one is the choice of the filmmaker himself.
There are a large number of medias’ lists. Often there is a dilemma. It is due to the fact that is a fee to submit a film to festivals. Very few festivals are an exception. For example, Clermont-Ferrand or Zineby, where the submission is free of charge. However, even a minor festival with free entries receives several thousand movies for consideration. The problem for festivals now is not where to find films as it was twenty years ago. Now you have to review this colossal number and put together programs. As for the prestigious festivals, they receive up to ten thousand or more films a year. The acceptance rate is less than 1%. However, it costs money to apply. For example, submitting a short film to the Toronto International Film Festival (TIFF) can cost up to $95, and Sundance up to $85. That’s why there are publications like which festivals with a fee are worth submitting. Otherwise, the promoting budget can exceed the expected limits.
On the one hand, film festivals have become an integral part of the film industry. We are also talking about short film festivals. Festivals play the role of filters, gates into which creative talent enters. Festivals are not the only way to enter the industry, of course.
Recognition at a festival becomes only a stage, an episode in a career path. In this sense, festivals are a communicative platform where you can look around, understand your place, and get support for future projects.
On the other hand, a festival is a celebration of the creative spirit, an opportunity to get acquainted with other works, communication, travel, impressions.