Film festivals are not only about screening great films – they are launchpads for those films to get noticed by the wider world. A festival can premiere a brilliant movie, but without publicity and the right press materials, that film might not reach beyond the festival’s own audience. Successful film festival organisers understand that helping films get seen means actively supporting media coverage. This involves working closely with publicists, preparing EPKs (Electronic Press Kits), and creating an environment where journalists can easily discover and cover the stories that festivals present.
One of the biggest roles of a festival producer is to connect films with media buzz. From small indie film festivals in local communities to juggernauts like Cannes or Sundance, festivals thrive when their films garner attention. Securing reviews, interviews, and news articles can propel an unknown gem into the spotlight or even spark distribution deals. The following strategies – from encouraging comprehensive press kits to coordinating interviews and embargoes – are practical steps any film festival can take to amplify their films’ visibility on the global stage.
Encourage Filmmakers to Come Prepared with EPKs, Stills, and Clips
Electronic Press Kits (EPKs) are a film’s media calling card. Festival organisers should urge every film team to arrive with a polished EPK that includes key assets like high-resolution still photographs, a trailer or clean video clips (clips without any on-screen graphics or captions), a synopsis, cast and crew bios, and contact information. For example, at the Toronto International Film Festival (TIFF) it’s common for filmmakers to have a full EPK ready – major outlets and trade magazines will request these materials within hours of a film’s premiere. Even mid-sized festivals now make press kits a standard requirement. Festival of Cinema NYC, for instance, asks all selected films to submit a PDF press kit along with separate high-quality still images weeks before the event (www.festivalofcinemanyc.com).
Providing stills (production photos or film still frames) is especially important. Journalists and bloggers love to include images in their coverage, and high-resolution, watermark-free stills from the film or behind the scenes can dramatically increase a story’s appeal. Likewise, having a “clean” clip or trailer available means TV stations or online media can air a snippet of the film – free of timecodes or subtitles – which can entice viewers without spoiling the movie. Many festivals include guidelines in their acceptance packets detailing the press materials needed. Cinequest in California, for example, provides filmmakers with a checklist that covers everything from aspect ratio of images to the preferred format for video clips, ensuring consistency in what the press receives.
By encouraging robust EPKs, festivals not only help the media – they ultimately help the filmmakers. A well-prepared press kit could be the difference between a film getting a featured review in a top publication or being passed over due to lack of info. As a best practice, communicate early (right after film selections) to all filmmakers about what press materials to prepare, and set a deadline to receive them. Some festivals even share sample EPKs from past films as a guide for newcomers. The goal is to set everyone up for success: when the festival kicks off, every film should have materials ready for any journalist who asks.
Guiding Teams Who Lack Press Materials or Experience
Not all filmmakers, especially those new to the festival circuit, know how to create an effective press kit or handle publicity. Great festival organisers take on an educator and mentor role here. If a film team doesn’t have an EPK or a publicist, the festival can step in with guidance. For instance, the Raindance Film Festival in London often hosts pre-festival workshops for indie filmmakers on topics like marketing and press engagement. Similarly, Sundance Film Festival’s team provides a “Press & Industry Guide” to help first-time feature directors navigate media attention – covering everything from writing a director’s statement to how to talk about their film in interviews.
Practical support can be as simple as a press kit template or checklist that the festival shares. Outline the must-haves (synopsis, director’s bio, key stills, etc.), and the nice-to-haves (like behind-the-scenes anecdotes or an official poster image). Festivals such as the Sydney Film Festival have been known to pair less experienced filmmakers with volunteer publicists or film school students who assist in assembling basic press materials. The idea isn’t to do the work for them, but to empower the film teams to promote their story effectively.
Another tactic is creating a press materials portal on the festival’s website. Smaller festivals in particular have found this useful. For example, the Guanajuato International Film Festival in Mexico set up a simple online folder for each film in its program, where filmmakers could upload photos, trailers, and press releases. Journalists covering the festival were given access, so even if a filmmaker couldn’t afford a personal publicist, their film’s assets were still readily available to media professionals. By offering this kind of lifeline to those without a PR team, festivals ensure no film falls through the cracks due to inexperience or lack of resources. It’s an empathetic approach – remembering that the success of each film’s publicity is a success for the festival as a whole.
Press Rooms and Organized Interview Opportunities
Creating a press-friendly environment on-site at the festival is crucial. One key step is to provide a quiet press room or media lounge where journalists can work comfortably, conduct interviews, and recharge (both their equipment and themselves!). At large festivals like Berlin (Berlinale) or Cannes, dedicated press centres equipped with Wi-Fi, printers, and workstations are standard, serving hundreds of reporters on deadline. Even if you’re running a smaller festival, it pays to designate a calm, quiet space away from the bustling screenings. This could be a conference room in a nearby hotel, a sectioned-off area backstage at a venue, or even a trailer or tent for outdoor festivals. The goal is to give media a place to write, upload photos, or interview talent without the distraction of crowds and loud music.
Scheduling interviews in advance is another pro move. Rather than leaving press interactions to chance, wise festival organisers will set up interview blocks and communicate them to both filmmakers and media outlets. For example, you might reserve two hours each afternoon where key cast and directors are available for interviews in the press room by appointment. The Busan International Film Festival in South Korea is known for its well-organised press schedule – they publish a daily grid for press-junket style interviews and press conferences, so journalists can plan their day and catch the talent they need. On a smaller scale, the Pula Film Festival in Croatia has a press centre that even accepts interview request forms and coordinates one-on-one meetings between media and filmmakers (pulafilmfestival.hr). This level of coordination not only maximises coverage (because more press get access to do stories) but also keeps filmmakers from being overwhelmed by ad-hoc requests while they’re trying to enjoy the festival.
It’s also wise to host press conferences or media Q&A sessions for films that are in high demand. Many big festivals hold official press conferences for competition films – think of the morning-after press conference in Cannes where directors and stars field questions from dozens of journalists at once. If your festival has a local celebrity attending or a film that’s generating buzz, organizing a short press conference can efficiently satisfy many media outlets in one go. Just ensure the room is equipped with microphones and a moderator to keep things orderly.
A recent cautionary tale comes from the 2024 Venice Film Festival, where over 50 international journalists publicly criticized the lack of press access to major talent – some high-profile premieres offered no interviews at all – and warned that “cinema journalism is at risk of extinction” (www.screendaily.com). This dire warning underscores how important it is for festivals to facilitate press interactions with filmmakers and cast. The lesson for any festival producer is clear: make your filmmakers accessible to the press (within reason). If you have guests of honour or notable directors attending, consider carving out special media meet-and-greet sessions for them.
By taking the initiative to provide structured interview opportunities and a welcoming press area, you signal to journalists that they are valued partners in the festival ecosystem. In return, they are more likely to produce great coverage that shines a spotlight on your films and event.
Working Hand-in-Hand with Publicists
Publicists – whether they are part of the film’s team or on the festival staff – are invaluable allies in getting films noticed. Many films, especially larger productions or those with stars, will arrive with their own publicist or PR agency representative. Festival organisers should reach out early to these publicists to coordinate efforts. Share the festival’s press schedule and ask about the film’s publicity plans: Are they aiming for interviews with specific media? Do they have press releases or stories embargoed for a certain date? Establishing a rapport with film publicists ensures everyone is on the same page and prevents double-booking or missed opportunities.
For films without a dedicated publicist, the festival’s own press team often steps in to fill that role on-site. For instance, at Tribeca Film Festival in New York, the festival’s press office often acts as the go-between for independent filmmakers and journalists, introducing the former to media contacts who might be interested in their film’s subject. A festival press team can also help by pitching noteworthy films to local and industry press – for example, alerting a horror movie blog about a new indie horror gem in your lineup, or telling a community newspaper that a hometown filmmaker is debuting work. This kind of matchmaking between films and the right outlets can dramatically boost a film’s media presence.
One practical tip is to hold a meet-and-greet event for publicists and filmmakers at the start of the festival. Some festivals host a “press kickoff” cocktail or breakfast where accredited media, PR folks, and filmmakers mingle informally. This helps break the ice and can lead to spontaneous coverage. It also humanizes the festival’s press staff – if journalists and publicists know who you are, they’ll be quicker to loop you in or ask for help if any issue arises (rather than operating in silos).
Finally, recognize that publicists are juggling tight schedules and multiple clients during a fast-paced festival. Be flexible and accommodating with them. If a publicist requests a slight schedule change to get their filmmaker an interview with a top-tier outlet, see if you can adjust the queue. By being a facilitator rather than just an enforcer of schedules, the festival builds a reputation as press-friendly. This goodwill pays off: media will be eager to return next year, and filmmakers will appreciate the professional support.
Coordinating Embargoes and Strategic Coverage Timing
In the age of instant online news, timing is everything for coverage. Festivals should consider if and when to use embargoes – agreements with press to hold reviews or news until a specified time – to maximise buzz. Done correctly, an embargo can concentrate media attention at a strategic moment. For example, if your festival’s big award winners are decided on Saturday night, you might embargo the announcement until Sunday morning and give select journalists an early tip, so that a flurry of articles about the winners hit the internet and newspapers all at once. This can magnify the impact of your awards and the films that won them.
For film premieres, coordinating embargoes usually means working with the film’s publicist or distributor. Some high-profile films want no reviews published until after their first public screening, to avoid spoilers or premature buzz. The Cannes Film Festival addressed this by synchronizing press screenings with public red-carpet premieres, effectively preventing reviews from coming out before the audience sees the film. On the other hand, many festivals – especially those championing indie filmmakers – choose not to enforce review embargoes at all. Major festivals like Sundance, SXSW, and Toronto historically have not used embargoes, allowing critics to share reactions immediately (www.firstshowing.net). They believe that open, real-time discussion creates more excitement and doesn’t stifle conversation.
If you do decide to use embargoes, communicate the rules very clearly to both press and filmmakers. Distribute a written notice of any embargo date and time, and what it covers (for example, reviews vs. social media reactions). It’s wise to also explain the reasoning – press are more likely to respect an embargo if they understand it’s intended to benefit the film’s rollout, not just to wield control. And always remember to enforce embargoes evenly. An unfair situation (like one outlet breaking the embargo while others hold back) can breed resentment. For instance, if you give an exclusive story to a media partner, be transparent about when others can publish their pieces. A well-coordinated embargo can create a big splash for a film, but a poorly handled one could alienate the very journalists you depend on.
Lastly, remain flexible with timing as situations evolve. Sometimes a film might pick up distribution mid-festival, and the new distributor might request a change in publicity strategy – including embargo timing. Or breaking news might shift media attention. Stay in close contact with publicists and key media to adjust as needed. The ultimate goal is to have coverage “drop” at the moments when it can have the highest impact for the film and the festival’s profile.
Fast Solutions: Sharing a Dedicated Press Contact
During a festival, things move quickly and issues will inevitably arise – a download link in a press kit might not work, a journalist might need last-minute access to an event, or a filmmaker might get double-booked for interviews. That’s why it’s essential to provide a dedicated press contact (or team) who can solve problems fast. From day one, every accredited journalist and filmmaker should know exactly who to contact (and how) for any press-related concerns. Usually this is the festival’s Press Coordinator or Communications Director and their staff, reachable via a special phone number, WhatsApp group, or a help desk in the press room.
Having a responsive press contact can turn potential crises into minor blips. Imagine a reporter can’t find a film’s clip or still image when they’re on deadline – if they know who to call, the festival can quickly email them the needed file or fix the link. At one Asia-Pacific festival, the press manager kept a spare hard drive of all film trailers and images under the desk; when a network outage hit the press room, she simply lent it to journalists so they wouldn’t miss their deadlines. Prompt assistance like this earns gratitude and positive word-of-mouth among media professionals.
The press contact should also proactively check in with key journalists and publicists throughout the event. A quick daily round of “How are you doing? Need anything for your coverage?” can surface issues before they blow up. For example, at Melbourne International Film Festival (MIFF) in Australia, the media team sets up a centralized email that goes to several staffers at once, ensuring that any incoming press question — whether it’s about an interview location or a ticket for a photographer — gets a rapid reply, even if one person is busy.
Crucially, empower your press contact to make decisions on the fly. If a TV crew shows up unannounced needing a power outlet and an interview slot, the press team should be able to accommodate them or find the next best solution without a bureaucratic delay. The faster and more decisively the festival addresses press needs, the more coverage those press will be able to produce. It’s a classic win-win: the media gets their story, and the festival’s films get seen and talked about.
Conclusion: Building Buzz that Benefits Everyone
In the end, a festival’s success is intertwined with the success of its films in the public eye. By investing effort in publicity logistics – from coaching filmmakers on press readiness to providing spaces and schedules for media, and from timing the news cycles to putting out fires for journalists – festival organisers create the conditions for films to truly shine. Festivals like TIFF in Canada or San Sebastián in Spain didn’t become renowned just by curating great films; they also earned a reputation for being media-savvy events where every premiere can become an international headline.
For the next generation of festival producers, the message is to treat the press and publicists as partners in storytelling. Be proactive, be organised, and also be empathetic – remember that a filmmaker seeing their work mentioned in Variety or a local newspaper can be just as thrilling as winning a festival award. And a journalist who has a positive experience covering your festival is likely to cover it again (and tell others to do the same). The result? More eyes on the films, more buzz for the festival, and a richer cultural impact overall.
By sharing these lessons – successes and the occasional cautionary tales – the hope is to inspire festival organisers everywhere to make press and publicity a top priority. It’s one of the most rewarding parts of the job: helping deserving films get seen by audiences far beyond the festival’s own screens.
Key Takeaways
- Encourage Every Film to Have an EPK: Require or strongly recommend that filmmakers provide a complete Electronic Press Kit (stills, clips, synopsis, bios) so the media has everything needed to cover their film.
- Help Those Who Need Guidance: If some filmmakers don’t have press materials or experience, step in with templates, examples, or even partner them with volunteer publicists to ensure no film is left behind in publicity.
- Press-Friendly Festival Facilities: Set up a quiet press room or area with Wi-Fi and power, and schedule dedicated interview blocks or press conferences so journalists can easily meet with filmmakers and cast.
- Coordinate with Publicists: Work closely with film publicists (or act as one for films without) to schedule interviews, share press plans, and pitch stories to the right outlets. A collaborative approach gets better coverage.
- Strategic Timing (Use Embargoes Wisely): Time the release of news and reviews for maximum impact – whether through informal coordination or formal embargoes. But don’t overuse embargoes; open dialogue often builds more excitement.
- Be Responsive and Solution-Oriented: Give media and filmmakers a direct press contact for any issues, and resolve problems (like missing materials or scheduling snafus) quickly. A festival that is press-friendly will reap the benefits in positive coverage.
16th September 2025