Not Every Film Needs a Distributor
And chasing one blindly might hurt more than help.
A lot of filmmakers assume the final step after finishing a film is to “get a distributor.”
But that’s not always the smartest move.
Because here’s the truth:
Distribution is not a finish line — it’s a strategy.
And when you chase it without clarity, you can end up signing away control, profit, and long-term potential.
Let’s Break a Few Common Myths 👇🏾
✖️ Myth 1: Distribution = Success
✔️ Reality: Distribution is a tool, not a trophy.
It only works if it aligns with your actual goals — whether that’s revenue, reach, or recognition.
A deal that looks great on paper can still leave you invisible (and unpaid) if it doesn’t fit your audience or genre.
✖️ Myth 2: Every Good Film Deserves Distribution
✔️ Reality: Only positioned films get acquired.
Quality is important, but strategy wins.
Distributors buy films they can sell, not just films that are good.
If your marketing, audience profile, or genre focus isn’t clear, it’s a hard pass — even for excellent work.
✖️ Myth 3: Distributors Will Help You Find Your Audience
✔️ Reality: You need to know your audience before you approach a distributor.
If you can’t define who your viewers are, where they watch, and what moves them — you’re not ready to sell.
A distributor amplifies momentum; they don’t create it from scratch.
✖️ Myth 4: Festival Laurels Will Attract Offers
✔️ Reality: Most distributors care about sales projections, not festival selections.
Laurels build credibility, but they’re not currency.
What they really want to see is traction — demand, engagement, or strong press that signals potential buyers.
✖️ Myth 5: A Film Without Distribution Has Failed
✔️ Reality: Some films make more money and impact through self-release, community screenings, or niche platforms.
Self-distribution can outperform traditional deals when handled strategically — especially for filmmakers who understand their audience and own their rights.
Why Self-Distribution Might Be the Smarter Move
For many independent filmmakers, self-distribution isn’t the backup plan — it’s the better plan.
When done right, it gives you:
✔️ Creative control — You decide how and where your story lives.
✔️ Higher revenue share — No middlemen eating into your profits.
✔️ Direct audience relationship — You own the data, the engagement, and the loyalty.
✔️ Full ownership — You control the timeline and pricing strategy.
✔️ No gatekeeping — You don’t wait for permission to be seen.
It’s not easier — but for the right film, it’s far more rewarding.
The Hybrid Route
Some filmmakers now go hybrid — using distributors for select regions or platforms, while self-releasing elsewhere.
For instance:
- Partnering with a regional distributor for Africa or Europe
- Managing direct digital sales or community events in your home country
- Selling educational or festival licenses independently
The goal is to own as much of your value chain as possible while still benefiting from professional reach where it counts.
Before You Chase Deals, Ask Yourself:
❓ What does success actually look like for this film?
❓ Is it revenue, recognition, impact, or long-term brand positioning?
❓ Does a traditional distribution deal bring you closer to that — or further away?
Because distribution, like every business move, has to serve a purpose.
And purpose comes from strategy, not assumption.
Where Strategy Beats Assumptions
The best distribution decisions start before the emails and contracts — they start with positioning.
Understanding your audience.
Designing your pitch.
Mapping your territories and timing.
That’s the foundation of smart film sales — and that’s what we help filmmakers do.
Written by Michael Osheku
Creative Director | Film Sales & Distribution Strategist | CreativeTech Entrepreneur
