10 Reasons Filmmakers Can Thrive in 2025

As we dive into 2025, even with all the uncertainty, we see many reasons for hope in US market. Below, you will find 10 of them, and there are plenty more to discover.

The Audience is Ready

We all know the industry has faced its share of challenges these past few years. Streaming as altered the landscape. Covid was very destructive. Strikes were devastating. Production is down. We also know that indies can struggle to compete with the major studios, largely due to a lack of marketing muscle. And while we will always face challenges in finding our audience, it was reassuring to learn from Keri Putnam’s study that there IS a larger addressable market than we understood. There are opportunities to inspire these film fans.

Innovative Filmmakers Continue to Breakthrough

There are some terrific films playing in theaters and on streaming platforms right now. Of course, a few of the standouts are festival darlings, since that’s where all the best movies find their audience, right?

Three of the highlights include innovate visual styles, from Cinematography (Nickel Boys) to musical numbers (Emilia Perez) to bold storylines (Anora). These movies all demonstrate how creative freedom for visionaries is still alive and kicking.

AI Support to Save Time

There has been a lot of negative talk about AI in Hollywood, and I agree with much of it. We don’t want people replaced by machines, or to reduce the creative power or craftsmanship connected to filmmaking. But the reality is, time is money; and there are plenty of tasks that can be more streamlined with the help of AI.

A category often overlooked, in terms of emerging AI tools, is in the writing and pre production phases. Of course, the screenwriter should be developing the characters, writing the dialogue and structuring the movie, but AI can be a partner to bounce ideas, or support synopses, taglines and other chores. There are also casting, storyboarding and budgeting tools at the ready. This is one article that offers some examples. Worth a look.

Post Production Tools

Additionally, there are a number of new tools that can help support the pre-production process, but let’s not forget about post. Cinecolor has developed an amazing suite of 6 film stock looks. The company provides filmmakers with a collection of digital tools, primarily in the form of Look Up Tables (LUTs), that allow them to apply whatever film look to their digital footage, simulating the color characteristics and aesthetic of traditional film stocks, adding richer colors, grain, and subtle contrast variations, essentially giving videos a more cinematic appearance.

Streaming Platforms Emerge

Maybe Netflix won the streaming wars, and Disney has grabbed a strong market share, but for indie filmmakers, it’s the independent platforms that are leaning into alternative fare. Binge does charge up front fees, but in addition to featuring content on their own streaming platform, they act as a sales agent and can get films on dozens of other streaming platforms.

Alternative Distribution Proves Models

We all know the traditional theatrical business is struggling, and though there have been some highlights for independent releases, it’s still a challenge to have financial success with a movie playing in a theater several times a day. What we do know, however, and you can read all about it in Keri Putnam’s report above, is that there is an audience for independent film. The big question is “where” they do they find the movie? Whether it’s a live in person event screening, on a college campus, or a virtual screening with Q&A to follow, there are a few companies providing amazing services in this alternative space. Gathr and Kinema are leading the charge, with user friendly websites and alternative exhibition models.

A Film Festival Solution To Support Filmmakers and Festivals – FINALLY

With over 7,500 film festivals worldwide, filmmakers struggle to identify the events that align with their goals and help them reach wide audiences. Filmmakers need better tools to reclaim their power in festival submissions. And film festivals need a better management system to optimize efficiency and scale.

Thankfully, two organizations have been building new systems to provide these solutions and more. Better yet, we are merging operations and launching in 2025.

Hiike is a film festival research and submission platform that simplifies the process of connecting filmmakers with the right festivals. By leveraging data and machine learning, Hiike helps filmmakers discover festivals aligned with their projects, streamlining submissions and enhancing their potential for success.

For festivals, Hiike provides a management dashboard with advanced submission, discovery, and organization tools, as well as a database to drive stronger sponsor engagement.

Film Markets Evolve

Thanks to a combination of a shifting business model, the internet and covid, the film market paradigm shifted. Yes, it’s great to be able to travel to international sales markets, reconnect with peers and make deals. But we’ve entered a new era, and sales agents realized they could save thousands of dollars to NOT have to travel to international markets, and deals could be done virtually. Most films were not seen on the big screen, or with an audience anyway. It was tough for indie filmmakers to have real penetration in these markets, without the right representation. And they could attend a few panels and crash some parties. But the volume of meaningful connections was low.

Then the American Film Convention came along. The event brought a few thousand filmmakers together in Los Angeles (while AFM temporarily moved to Vegas), and present 30+ panels and seminars. Yes, I helped bring in many of the industry players and panelists, so I’m a bit biased, but the bottom line is filmmaker positive audience feedback is though the roof. They learned a lot, developed meaningful relationships and are looking forward to the next one.

Global Opportunities Continue to Expand

In 2025, the global film market will be more connected than ever before. Streaming platforms and digital distribution provide opportunities for independent films to be seen worldwide, reaching audiences in countries that may have been previously out of reach.

“Filmmakers can now tap into emerging markets, especially in regions like Southeast Asia, Africa, and Latin America, where demand for original content is growing.” Michael Hayes

In addition to the streaming, distribution and social media expansion, there are more partnership opportunities. Grants, co-productions, affiliate marketing, and equity crowdfunding are all growing internationally.

Slamdance Comes to Los Angeles

Most indie filmmakers know about Slamdance. We started this Festival in 1995 when our film didn’t get into Sundance. We didn’t know we would come back for year two, but the event struck a nerve and the community asked us to continue. As a co-founder, I was thrilled to lead the event for years 2 and 3 before moving on to AFI Fest, and I’ve certainly remained supportive, cheering on from the sidelines for a festival “by filmmakers, for filmmakers”. They have stayed true to their mission and become one of the most popular and influential film festivals (and screenplay competition) in the world. Yet, in Park City, they would always be sharing space with Sundance, and there were always limitations to the audience capacities and venues.

After celebrating their 30th year, they finally decided to move the event to the film capital, where they will have even greater impact, and be able to expand their initiatives. Their first event in Los Angeles is next month, and we’re all looking forward to this next chapter.

By:Jon Fitzgerald