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Back in March, Vimeo created a new distribution model for filmmakers by offering a ridiculously attractive 90/10 revenue split and access to a 100-million-strong audience. Now, they want to use Vimeo On Demand to deliver Toronto International Film Festival movies to the world. According to Variety, the company is offering a flat $10,000 to each of the 146 premieres happening at TIFF in exchange for exclusive digital distribution rights for 30 days (or until Vimeo recoups the 10k) followed by the standard VOD revenue split. This kind of open-door distribution offer is equal parts exciting and risky, and it shows an incredible (well-earned) trust in the discernment of the TIFF selection committee. This will undoubtedly be a great option for the large number of films that will find success on the festival circuit while never securing traditional distribution, but there’s definitely an experimental tilt. Vimeo might end up eating losses for movies that never earn back the cash, and filmmakers who put their work online (even at such a respectable venue) may injure their chances for larger-scale theater distribution in the future. It’s the ancient choice between small, immediate satisfaction and the potential opportunity for bigger success further down the line. Regardless of the gamble for Vimeo and for filmmakers, this is excellent news for fans. We’ll gain access to movies that would normally require a passport, and as this is offered to more fests, it’ll be as if entire indie lineups will be at our fingertips instead of at […]


Euphonia Vimeo

“Danny Madden‘s Euphonia is a love story between a boy and his digital recorder. It’s an experimental work with plot momentum that intensifies imagery through pristine, almost violently clear sound design. With moments of zen-like beauty and maddening disorientation, it might just be the most inventive coming of age story since Never Let Me Go. Exploring the idea of replacing a boring world with exactly what you want to hear is a fascinatingly relevant one — and here at least, we get a glimpse of how that can block out elements of surprise, discovery and growth. A device has created a new way to connect with the world, but as soon as it becomes the obsession, the world starts to take a backseat.” That’s what I wrote in my review of this hour-long, experimental character study back when it played SXSW, but now Euphonia is out of the festival cycle and running freely into the wild. It’s a very cool movie, and its creators are doing something just as experimental with its distribution by giving it away. Naturally it doesn’t fit into the mold most distributors go after, but it’s encouraging to see Madden and company offer it to the world despite not making their money back. If the responses are any indication, fans are happy they did, too. You can see it at Vimeo, it’s embedded below if you hate clicking links, and if you only want a taste, the trailer is below that.


Vimeo On Demand

In their press release and in their presentation at SXSW, Vimeo has announced a new distribution platform for indie filmmakers that — at first glance — looks like it has the potential to change the game. The urge to decry hyperbole here is understandable, but the new Vimeo on Demand program (VOD?) shows true paradigm-altering potential for two reasons: A realistic incentive for filmmakers in the form of a 90/10 revenue split A broad releasing platform that covers desktop, mobile (Android/iOs/Windows) and connected (Apple TV/Roku/Google TV/Xbox Live) and smart (Samsung/Panasonic/Phillips) TVs That combination can provide real incentive and real returns for self-distributing filmmakers who are either trying to avoid or can’t find love from traditional models. It gets the work to a lot of channels, and the revenue share is fantastic considering that iTunes famously splits 70/30. In this cheesy video, they show how it all essentially works:


Fantastic Fest

What is Movie News After Dark? After a few days of not posting, who even knows anymore. As many of you have seen, this week began Fantastic Fest. And as I’ve done every year without learning any important lessons or growing as a person, I made the mistake of thinking I could take on the first few days of Fantastic Fest and publish a few entries into the Movie News After Dark series. Several alcoholic beverages, seven films and a half-bottle of ibuprofen later and I’m once again in a position to learn a powerful lesson about overcommitment (I won’t). Fear not though, good friends and beloved readers, as Movie News After Dark has a hero. He just doesn’t start until Monday.


This week, on a very special episode of Reject Radio, Associate Editor Kate Erbland drops by to play Best/Worst and talk Found Fauxtage Films. Plus, we speak with author Ray Morton to get the whole story of why The Beatles made A Hard Day’s Night and we get a special announcement directly from Vimeo that will sound like sunshine to weary independent filmmakers. That is, the filmmakers who want to save some money. Download This Episode

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published: 04.17.2014
published: 04.17.2014
published: 04.17.2014
published: 04.16.2014

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