Every year, film festivals around the world reject far more films than they accept (massive.io). Whether it’s a small indie festival in New Zealand or a major international event in Canada, how organizers communicate those rejections can leave a lasting impression on filmmakers. With acceptance rates sometimes below 1% at top festivals (massive.io), thousands of filmmakers face disappointment each season. Handling those “no” responses with clarity, respect, and genuine care isn’t just kind – it’s essential for maintaining a festival’s reputation. This guide shares seasoned advice on turning a difficult task into an opportunity to strengthen your brand and community ties.
Clarity Over Platitudes: Writing Honest Decline Templates
Many standard rejection emails are filled with platitudes – “competition was stiff,” “we had an unprecedented number of submissions,” “we regret to inform you…” – without saying much of substance. Filmmakers often see through generic language, and a hollow form letter can leave them feeling dismissed. Instead of relying on clichés, craft a template that offers clear, sincere communication. Make it concise but meaningful:
- State the Decision Upfront: Clearly inform the submitter that their film was not selected. Don’t bury the lede. For example: “Thank you for submitting [Film Title]. After careful consideration, we won’t be able to include it in this year’s festival.” This direct approach provides closure without ambiguity.
- Avoid Overused Platitudes: It’s fine to mention the tough competition, but do so authentically. Rather than “We had so many great entries, it was impossible to choose,” give a bit of context or honesty. For instance: “With over 500 submissions for only 40 slots, we had to make very difficult decisions.” This acknowledges the reality without resorting to false praise.
- Acknowledge Their Effort: Let the filmmaker know their work and effort are appreciated. A line recognizing the dedication behind every film goes a long way – e.g., “Our team admires the passion and hard work that went into your filmmaking.” Keep it genuine and avoid patronizing tones.
- Maintain a Respectful Tone: Use professional yet warm language. The note should feel like it’s coming from a real person who respects their art. Personalize it by using the filmmaker’s name and their film’s title; a little personalization shows it’s not just a mass mail-merge. If your festival is smaller or you have the capacity, adding one specific remark about the film (something you liked or a relevant observation) can make the decline feel more human – but only do this if you truly have something to say, otherwise a generic “great film” can ring false.
A clear template might read something like:
Dear Maria,
Thank you for submitting Sunset in Berlin to the Aurora Film Festival. We appreciate the time and creativity that went into your film. Unfortunately, we are unable to include it in our 2024 program.
This year we received over 850 submissions for just 60 slots, so our programming team had to make many tough choices. Please know that this decision is not a reflection on your talents – often it comes down to fitting a cohesive program and scheduling limitations.
We encourage you to continue creating and sharing your stories. Thank you again for thinking of our festival, and we hope to see more of your work in the future.
Sincerely,
[Your Name], Program Director, Aurora Film Festival
This example balances clarity (it plainly states the film isn’t selected) with empathy. It avoids empty lines like “we truly wanted to accept your film” – which can feel disingenuous – and instead gives factual context (number of submissions vs. slots) to frame the difficult odds. Notice it also thanks the filmmaker and encourages them to keep creating, which leaves the door open and the tone positive.
Offering Feedback – With Care and Limits
One of the biggest complaints filmmakers voice about festivals is the lack of feedback on why their film was rejected (filmfestivalsecrets.com). Given that festival programmers watch hundreds (sometimes thousands) of films, it’s impractical to provide personalized critiques for every submission. However, a thoughtful festival organizer can bridge this gap by offering limited, opt-in feedback for select cases.
Why Feedback Matters: Providing feedback, even to just a few filmmakers, demonstrates that your festival genuinely cares about the creative community. For films on the borderline of acceptance, feedback can be especially valuable. These are often well-made projects that just narrowly missed the cut due to programming balance or tough choices, not quality. A brief insight into the decision can help the filmmaker improve or better target their submissions, and it humanizes your festival.
How to Implement Optional Feedback: Clearly state in your rejection template that, due to volume, individual feedback isn’t available for most submissions – but offer a limited opportunity for those who almost made it or who specifically request guidance. For example, you might add: “While we regret that we cannot give detailed feedback to every submitter, we have set aside a small number of feedback sessions for filmmakers whose projects were close to selection. If you would like a brief insight into our decision, you can opt in via the link below.”
To manage this:
– Set a Cap: Decide how many feedback requests you can handle (perhaps 5-10% of rejections or a fixed number like 20 slots). It’s better to offer feedback to a limited few and do it well, rather than over-promise and under-deliver.
– Opt-In Process: Use an online form or email RSVP for filmmakers to sign up for feedback on a first-come, first-served basis. Alternatively, explicitly invite the filmmakers of borderline films (you can identify them during judging) to contact you if interested. This ensures you’re mostly engaging with those who nearly made it.
– Keep Feedback Constructive and Brief: When giving feedback, frame it as helpful observations, not a defense of your decision. Highlight a couple of things that the programmer team appreciated about the film (e.g. cinematography, performances) and one or two reasons it didn’t fit the final lineup. For instance, “Our team was impressed by your lead actor’s performance and your film’s cinematography. Ultimately, Sunset in Berlin wasn’t selected because we had several films with similar themes this year, and we needed to balance the program’s diversity. We encourage you to try us again with future projects.” This kind of insight can be invaluable to a filmmaker, delivered in a positive tone.
– Train Your Team: Ensure those providing feedback (whether it’s you, the programming director, or a small committee) know to be sensitive and constructive. The goal isn’t to critique the film as if you’re a reviewer, but to give a respectful rationale. Emphasize that this is just one festival’s perspective.
By offering a feedback option in a controlled way, you turn a rejection into a chance for dialogue. Even filmmakers who don’t take up the offer will notice that it was provided, which boosts your festival’s image as filmmaker-friendly. Over time, this can set your event apart – especially for emerging festivals in competitive markets (e.g., a new film festival in India or Mexico can build loyalty by showing such personal touch).
Suggesting Alternate Paths: Redirecting to Resources and Allied Festivals
A rejection doesn’t have to be the end of the road – sometimes it can be a redirection. Savvy festival producers know that helping filmmakers find the right home for their work benefits everyone. If a submission isn’t suitable for your festival, consider pointing the filmmaker toward other opportunities, such as partner festivals, genre-specific events, or industry resources that might embrace their film.
Allied Festivals: If your festival has relationships with other festivals (for example, a network of festivals across different regions in Europe and Asia, or simply friendly ties with a nearby festival), mention them. For instance, “While we couldn’t program your documentary, you might be interested in the Barcelona International Doc Fest coming up – their focus is exclusively on shorts like yours.” Be sure these suggestions are relevant; randomly suggesting another festival without regard to the film’s genre or the festival’s focus can seem impersonal. But if the film genuinely suits another festival’s profile (say, a horror short declined from a general festival could be welcomed at a horror-centric festival in Mexico, or a local New York story might fit a regional festival in New Jersey), sharing that tip shows you have the filmmaker’s success in mind.
Resource Pointers: Not every festival will have formal partners, but you can still guide filmmakers to helpful resources. Consider including in your decline letter a brief list of places to turn next:
– Online Festival Directories: Point to an updated, reputable directory or database of festivals (many filmmakers use submission platforms that list thousands of festivals globally). Without naming competitors, you can say: “You can explore other festivals worldwide through online directories or platforms – many great events might align with your film’s style or theme.”
– Local Film Organizations: If you know the filmmaker’s origin (often submissions notes include country or city), you could reference regional film networks or upcoming local festivals. e.g., “If you haven’t already, check out the Singapore Short Film Showcase for opportunities in your area.” This adds a personal touch and practical next step.
– Workshops or Labs: Perhaps the film was close but not quite polished. Recommending script or editing labs (or even festival-run workshops if available) might help the filmmaker improve their future submissions. For example: “The Australian Indie Filmmakers Forum has a great workshop on film festival strategy – it could provide insights for your next steps.”
The key is to keep these suggestions concise and optional. You’re not telling them what to do; you’re gently offering help. One or two well-chosen links or names are enough. By doing this, you transform a rejection email from a dead end into a springboard for the filmmaker’s journey.
Protecting Your Brand: Every Submitter is a Future Guest
Beyond basic courtesy, treating every filmmaker with dignity is a savvy long-term strategy for your festival’s brand. Today’s rejected submitter could be tomorrow’s celebrated director or a future audience member who buys tickets and spreads the word. Reputation matters – in the era of social media and tight-knit film communities, word travels fast about how festivals treat people.
Consider this: a filmmaker who feels disrespected by a festival’s rejection might vent about it on forums or to peers. On the other hand, someone who receives a thoughtful, humane decline letter is likely to speak positively of your festival, even in disappointment. They might submit again next year or attend the festival as a guest. Brand goodwill is built one interaction at a time, and a graceful rejection can turn a painful moment into a relationship-building moment.
Personalization and Professionalism: Using a polite, personalized approach (as mentioned earlier) shows that your festival sees filmmakers as partners, not just entry numbers. Some festivals go the extra mile of having the festival director or head programmer sign the rejection letters personally. If a film was in final consideration, occasionally a short personalized email from a programmer can deeply impress the filmmaker – they’ll remember that “Festival X took the time to personally reach out.” These gestures can convert a disappointed submitter into a loyal supporter.
Think of Rejection Letters as Customer Service: In many ways, filmmakers are your customers – they invest time, money (often submission fees), and hope into your event. Just as a business strives to leave every customer with a good impression, festivals should aim to make even rejection notices a reflection of their values. That means:
– Timely Notifications: Send out decline notices by or before the promised notification date. Leaving filmmakers in the dark past your deadline can cause frustration and harm your credibility. Prompt communication shows respect for their planning and expectations (www.forbes.com).
– No Ghosting: Every submitter, regardless of status, should get an official notice of the outcome. It’s surprising how some events simply never communicate decisions, which can tarnish your reputation quickly.
– Consistent Messaging: Ensure your team is on the same page about the tone and content of declines. If you have multiple programmers emailing, provide them with the approved template or guidelines to avoid mixed messages.
Global Sensitivity: Festivals attract submissions from around the globe. Be mindful of language and cultural tone. Write your decline templates in clear, accessible English (or the primary language of your submitters), avoiding slang or overly local references. If your festival communicates in multiple languages, ensure each version of the rejection letter is courteous and equivalent in meaning. The goal is that an animator from Japan, a documentarian from France, or a student filmmaker from Indonesia all feel the same level of respect and clarity in your response.
Finally, always leave the door open. Encourage them to stay connected – invite them to attend the festival as guests, or to submit future projects. For example: “We’d still love to see you at the festival if you can make it. You’re a valued part of our filmmaker community. Please keep us in mind for your next film.” This turns the rejection into an invitation of sorts. It reminds the filmmaker they’re welcome as part of the festival family, even if this film wasn’t accepted. In several cases, filmmakers who didn’t get in one year improved their craft and succeeded later – and they often credit the festivals that were supportive even in rejection.
Key Takeaways
- Be Clear and Sincere: Craft rejection letters that get to the point respectfully. Avoid empty platitudes – instead, give honest context (limited slots, many submissions) and express genuine appreciation for the filmmaker’s effort.
- Feedback as a Bonus: While you can’t respond to everyone, consider offering opt-in feedback for a limited number of filmmakers, especially those who nearly made the cut. A little guidance can turn a “no” into a growth opportunity and earns your festival goodwill.
- Provide Next-Step Resources: Wherever appropriate, suggest other festivals, events, or resources that might be a better fit for the film. Redirecting filmmakers to new opportunities shows you care about their success beyond your festival.
- Professional and Personable: Treat every submitter as you would a future VIP guest. Send timely, polite declines and personalize them when possible. Consistent, compassionate communication protects and elevates your festival’s brand.
- Global Respect: If your festival draws international entries, ensure your communication is culturally sensitive and easy to understand for non-native speakers. Respect in communication transcends borders and builds a positive global reputation.
By approaching rejections in this dignified, thoughtful way, film festival producers not only uphold their event’s integrity but also contribute to a healthier, more supportive independent film community worldwide. Every submission is a leap of faith from a creator – responding with clarity and kindness is the least we can do in return.
16th September 2025