So, What’s the Point of All Our Hard Work in Making Films?

Creating a film is an incredible achievement. But it means nothing if no one watches it. Sadly, this is often the case for many of us young filmmakers our films end up collecting dust after the production phase simply because we didn’t plan our distribution well. In fact, film distribution is a crucial bridge. It’s not just the producer or director who feels proud; the entire crew finally sees that their hard work has paid off when the film reaches an audience.

“The Film Was Great, Relatable, and Hit Home!”

There’s nothing quite like receiving positive feedback from viewers. It creates a drive to make more, again and again. As filmmakers, we all long for that sense of impact that our films have touched people. And when that happens, it brings joy. So why don’t we take one big step to ensure our work gets seen by more people?

Afraid to Distribute Because the Film Isn’t “Good Enough”?

It’s a reasonable thought on the surface but let’s dig deeper. The notion of a film being “bad” is subjective. We never really know how a film will be received until it’s shared, and distributing it opens the door to multiple perspectives. What if you’re hoping for praise, but the audience feels otherwise? That’s not a failure in your film, but rather a sign of a mismatch between the film and its intended audience. That’s why identifying your target viewers before you start shooting is essential.

As filmmakers, we need feedback whether it’s praise or critique. Honest criticism is valuable for reflection and growth. Of course, harsh comments can hurt. But the truth is, no film is perfect or capable of satisfying everyone. Every work has its own strengths and weaknesses, shaped by the viewer’s taste, expectations, and interpretation.

Distribute Your Film Far and Wide Until It Finds the Right Audience

We can take a page from the 1990s, when young filmmakers used the “busking” method not playing music on street corners, but self screening their films through grassroots networks, campus events, communities, and alternative spaces. Back then, students built peer networks across campuses to organize independent screenings.

Today, the distribution landscape is even broader. There are over 90 film festivals in Indonesia alone that are publicly accessible such as Sewon Screening, Minikino, and the Student Film Festival. Digital platforms have also created new channels, making it easier to share films with a wide audience. The future of film distribution, especially for students and emerging filmmakers, is bright.

The challenge, however, lies in ourselves. Young filmmakers often struggle with the fear of misaligned audience expectations. But as the generation destined to carry the torch, we must understand that making a film should also mean creating impact. A film should not just exist it should connect with society.

Learning to Distribute a Film is as Important as Learning to Make One

We, as young filmmakers, need to think strategically: How do we build distribution networks? How can we access film festivals, form cross-community collaborations, and leverage digital platforms and social media? There are already so many avenues out there we just need to learn how to use them.

Because a film should live. It should be watched. It should spark discussion and become a tool for evaluation and growth. If we stay silent, our films will mean nothing. And neither will we.