9:00 AM: “We’re looking for unique voices and compelling narratives.”

• What they say: This is the standard, aspirational line you’ll hear at every industry panel and in every submission guideline. It sounds inclusive, encouraging, and open to artistic innovation.
• What they mean: “We’re looking for unique voices and compelling narratives that also fit our festival’s brand, appeal to our core audience, have some market potential, and ideally, come with a bit of buzz or a recognizable name attached.“ They truly do want good art, but they also have mandates, sponsors, and ticket sales to consider.A truly “unique” film that alienates everyone might be celebrated in theory, but rarely makes the cut for a prime slot. They’re seeking the sweet spot where artistic merit intersects with strategic fit.They’re sifting through thousands of submissions, and while a truly groundbreaking, never-before-seen style might catch their eye, it needs to be packaged in a way that makes sense for their specific event.Is it a niche genre festival? A major international showcase? The definition of “unique” shifts dramatically.

11:00 AM: “We loved your film, but it just didn’t quite fit into this year’s programming.”

• What they say: A common rejection line, delivered with a sympathetic tone. It implies that your film is good, just not for them, right now.
• What they mean: “We probably liked your film, yes, but we had 20 other films that were a slightly better fit for the specific slots we had available. Or, perhaps, your film was good, but not great enough to displace something else we were already excited about.It might also mean we already have too many films with a similar theme, or from your region, or in your genre.It’s not a personal attack on your artistry, but a logistical reality of building a cohesive program from an overwhelming pool of talent.”This is the programmer’s polite way of saying “no” without crushing your spirit.They often genuinely appreciate the effort and quality, but the mosaic of a festival program is complex. Every film chosen means another film wasn’t, and those decisions are often agonizing, based on a myriad of factors beyond simple quality.

1:00 PM: “We’re really excited about the buzz around [X film/talent].”

• What they say: An enthusiastic declaration, often heard in internal meetings or casual conversations with press.
• What they mean: “The industry press is already talking about [X film/talent], which means it’s already pre-vetted for audience interest. If we program it, we get to ride that wave of excitement, attract more media attention, and potentially boost our attendance figures.It also makes our jobs easier because a significant portion of the marketing is already being done for us by the industry at large.”While programmers are passionate about discovery, they are also acutely aware of the commercial realities.A film with existing buzz, whether from a previous festival, a strong sales agent, or a well-known cast/director, offers a tangible benefit.It’s not just about the film itself, but the ecosystem it brings.

3:00 PM: “We encourage filmmakers to be present and engage with our audience.”

• What they say: A warm invitation for filmmakers to participate in Q&As, panels, and networking events.
• What they mean: “Your presence adds immense value to the audience experience. It legitimizes the film, provides unique insights, and makes the festival feel more dynamic and interactive.Frankly, it also helps us sell tickets and enhance our reputation as a filmmaker-friendly event. We also need you to help promote your screening and engage on social media, because every little bit helps our overall reach.”A programmer knows that a film doesn’t end when the credits roll. The Q&A, the post-screening discussions, and the chance for audiences to meet the creative minds behind the work are crucial elements that elevate a screening from a mere viewing to a memorable event.They are looking for engaged, articulate filmmakers who can be ambassadors for their work and, by extension, for the festival itself.

5:00 PM: “The selection process is incredibly rigorous and competitive.”

• What they say: A statement often made to justify the low acceptance rate and manage expectations.
• What they mean: “We received thousands of submissions, and we only have a limited number of slots. We have a small team, and we’re often working long hours, watching countless films, debating endlessly, and making incredibly tough choices.There are many fantastic films we simply cannot take due to capacity, balance, or other strategic reasons.Please don’t take it personally if your film isn’t selected; it’s a numbers game as much as it is an artistic one.” This isn’t just hyperbole.The sheer volume of submissions to major festivals is staggering.Programmers are often overwhelmed, and every decision is a trade-off. They are trying to build a coherent, diverse, and appealing program, which means making difficult cuts even for films they admire.

7:00 PM: “We’re committed to fostering new talent.”

• What they say: A noble and often genuine sentiment, highlighting their role in nurturing emerging artists.
• What they mean: “We are committed to fostering new talent, especially if that talent shows commercial promise or aligns with our funding priorities. We might create specific sections or grants for emerging filmmakers, but even within those, the competition is fierce. We’re looking for the next big thing, and being the first to showcase them is a feather in our cap.It also helps us maintain our reputation as a relevant and forward-thinking institution.” While there’s a sincere desire to support new voices, the “fostering” often comes with an implicit expectation of future success or industry recognition.Festivals are, in many ways, talent scouts, and identifying rising stars benefits everyone involved.

Key Takeaways:

• It’s a Balancing Act: Festival programmers are constantly balancing artistic integrity with logistical constraints, audience appeal, industry trends, and financial realities. Their decisions are rarely purely subjective.
• Context is King: A film’s “fit” is as crucial as its inherent quality. Understand the specific festival’s brand, history, and target audience before submitting.
• Buzz Matters: While not the sole determinant, existing industry buzz or a strong sales strategy can significantly influence a programmer’s interest.
• Engagement is Valued: Filmmaker presence and active participation enhance the festival experience for everyone, making your film a more attractive proposition.
• Rejection Isn’t Always a Judgment: A “no” often reflects the overwhelming competition and complex programming puzzle, rather than a definitive statement on your film’s merit. Keep submitting!