What Is a Film Aggregator — and Why It Matters for Your Revenue

For a complete grounding in how the aggregator model works within your broader distribution strategy, our deep dive into the aggregator model for film distribution covers the full fee waterfall in detail.

How We Compared These Digital Aggregation Services

Each service below was evaluated across five criteria that actually move your bottom line: platform reach (how many streaming services they deliver to), fee structure (flat fee vs. revenue share vs. hybrid), minimum guarantees or advances (if any), reporting transparency and frequency, and active marketing support (does someone actually pitch your film, or does it just get uploaded?). These are the same criteria that matter when you’re modeling whether an aggregator deal clears your recoupment threshold.

Filmhub — Best for Maximum Platform Reach Without Upfront Fees

Filmhub (formerly Bitmax, later absorbing Kinonation) has become the largest pure-play film aggregator by platform count, currently delivering to over 150 streaming services globally. Their model is genuinely different from the competition: zero upfront submission fee, with Filmhub taking a 20% revenue share on all earnings. If your film earns nothing, you owe nothing. That’s a meaningful structural advantage for filmmakers without the cash to pay $1,500-$2,000 in upfront aggregation fees.

But here’s the honest caveat: Filmhub’s model works best when your film can generate volume across many smaller platforms simultaneously—Tubi, Plex, Peacock, Pluto TV, Revry, and dozens of FAST channels. Their platform relationships with Netflix and Apple TV+ are more limited than their headline numbers suggest. If your primary goal is landing on the top 3 SVOD platforms, Filmhub may not be your shortest route.

Reporting is handled through their online dashboard, updated regularly—which puts them ahead of several competitors on transparency. And their non-exclusive model means you can simultaneously pursue direct deals or other aggregation partnerships, which is increasingly important as the streaming landscape fragments further.

Filmhub Verdict

• Best for: Documentaries, shorts, niche genre content targeting AVOD and FAST channel revenue across 100+ platforms
• Watch out for: Limited leverage with premium SVOD platforms; 20% rev share compounds over a long tail
• Revenue model transparency: High — dashboard reporting updated per-platform

Quiver Distribution — Best for Films That Want Theatrical + Digital Together

Quiver Distribution operates as a hybrid distributor-aggregator—one of the few services that genuinely manages both limited theatrical releases and digital streaming distribution under the same roof. That matters. Why? Because theatrical release, even a 10-city limited run, dramatically affects your film’s visibility on SVOD platforms. Apple TV+ and Prime Video both respond to theatrical performance signals. A film that opened theatrically—even modestly—gets better placement, better marketing support, and sometimes better licensing fees than one that went straight to digital.

Their fee structure is a hybrid: a flat submission fee plus a revenue share that varies by deal type. They’re selective—they don’t take everything. But if they do take your project, you’re getting an active partner, not just a pipeline. Quiver’s team pitches your film to platforms and negotiates placement rather than passively uploading and waiting. That’s a fundamentally different service than pure aggregation.

Kirsty Bell (Founder & CEO, Goldfinch) discusses how independent films can build financially sustainable distribution strategies across multiple revenue streams in today’s streaming landscape:

1091 Pictures — Best for Mid-Budget Indies with Theatrical Ambitions

1091 Pictures (the former digital distribution arm of The Orchard, now independent) occupies a meaningful middle tier between pure aggregation and full distribution. They acquire on a selective basis, which means they’re choosing projects they actively believe in—and that selectivity translates into genuine marketing effort. Their platform relationships span 50+ premium streaming services, with particular strength in Prime Video, Apple TV+, Google Play, and Vudu placement.

For mid-budget indie films—roughly $500K to $3M production budgets—1091 offers something most aggregators don’t: the possibility of a minimum guarantee (MG) on strong projects. Not every film will qualify. But if yours does, that upfront recoupment changes your entire financial model. Their revenue share is competitive, and their reporting timeline (quarterly) is standard but reliable.

The honest limitation: their international reach outside North America is thinner than Filmhub’s volume approach. If you’re targeting European SVOD or APAC streaming platforms as primary revenue windows, you’ll likely need a separate international sales agent alongside a 1091 domestic deal. That two-partner model is common—and often smart.

Gravitas Ventures — Best for Genre Films, Horror, and Sci-Fi

Gravitas Ventures has carved out a genuine specialty in genre film digital distribution—horror, thriller, sci-fi, and action. They distribute to over 75 platforms, including cable VOD networks like Comcast, Dish, DirecTV, and digital platforms simultaneously. That cable VOD component is worth noting: it’s a revenue stream that pure digital-only aggregators often miss entirely, and for genre films it can represent 20-35% of total digital revenue.

Gravitas also offers MGs on projects with clear market appeal, which makes them worth pitching to even if you’re not certain they’ll say yes. Their team understands genre audiences specifically—they know what Shudder wants versus what Tubi horror content looks like versus what gets licensed onto Peacock’s genre tile. That specificity of knowledge is what distinguishes them from generalist aggregators who treat a horror film the same as a family drama. As our comparison of film distribution services for independent filmmakers illustrates, genre-specific expertise consistently outperforms generalist approaches on ROI.

Freestyle Digital Media — Best for US Commercial Release Focused Films

Freestyle Digital Media focuses almost exclusively on the US market—SVOD, AVOD, and TVOD—with a selective acquisition model that prioritizes commercial genre content, family films, and faith-based features. Their concentrated US focus means deeper relationships with domestic platforms and more active pitching to platforms like Lifetime, Hallmark Channel, and AVOD services that many global aggregators treat as secondary.

Revenue share terms run competitively, and their quarterly reporting is detailed. But be clear-eyed about the scope limitation: if international SVOD revenue is part of your recoupment model, Freestyle isn’t your solo solution. They’re best used as your primary US digital partner while a separate international sales agent works European and APAC platforms in parallel.

Indie Rights — Best for Ultra-Low Budget and First-Time Filmmakers

Indie Rights is one of the most accessible entry points for ultra-low budget films—under $50,000 production budgets—that need a legitimate pathway to Amazon Prime Video, Tubi, Peacock, and similar platforms. Their flat fee is low relative to competitors, and their revenue share is reasonable. They’re not going to negotiate an MG for you and they won’t run a theatrical campaign. But for a micro-budget horror film or a first-time feature that just needs to exist on the platforms where its niche audience actually watches, Indie Rights does the job reliably.

Think of Indie Rights as the democratization layer of digital film aggregation—the service that makes it possible for a film made for $30,000 in upstate New York to sit alongside studio content on Tubi. That’s genuinely valuable. Just don’t expect editorial placement, platform marketing support, or active pitching into premium SVOD. Those are different conversations with different partners.

Aggregator vs. Direct Deal: When to Upgrade Your Strategy

As reported by Variety, independent film streaming revenues have become increasingly concentrated among the top-tier SVOD platforms, with films that secure direct licensing deals earning substantially more per title than those distributed purely through aggregation pipelines. And according to Deadline, platforms are increasingly relying on data-driven acquisition models that favor films with demonstrable audience signals—festival awards, social traction, or prior streaming performance—over unknown titles regardless of quality.