Press & Industry Screenings: Serving Professionals at Film Festivals
Introduction:
Press & Industry (P&I) screenings are a lifeline for film festivals, enabling journalists and film industry professionals to do their jobs effectively while boosting the festival’s profile. The way a festival handles P&I screenings can make or break critical buzz and industry deals. When organized well, these special screenings lead to timely reviews, robust media coverage, and successful film acquisitions. When mishandled, they can result in frustrated press, missed opportunities, or even negative publicity about the festival’s logistics. To help the next generation of festival producers, this guide distills decades of wisdom into practical tips on scheduling P&I screenings, providing secure screeners, creating press-friendly environments, and tracking coverage. The advice applies to festivals big and small – from international showcases like Cannes and Sundance to regional film festivals – all tailored to ensure that P&I screenings truly serve the pros.
Schedule P&I Screenings Strategically
Align with or Ahead of Public Screenings: Timing is everything. Many top festivals schedule press and industry screenings before or parallel to public showings in a predictable daily rhythm. This gives journalists a head start to craft reviews and industry reps time to evaluate films for potential deals. For example, Sundance Film Festival runs dedicated P&I screenings each morning at a set venue (the Holiday Village Cinemas), allowing accredited press to view competition films early in the day (festival.sundance.org). By the time public audiences arrive for later showings, critics are often ready to share their insights, fueling buzz.
Other festivals choose a different strategy: scheduling press screenings simultaneously with the first public premiere to preserve the element of surprise. The Cannes Film Festival, for instance, famously revamped its schedule in 2018 so that the gala premiere in the evening became the true first screening of each competition film (www.screendaily.com) (www.screendaily.com). Journalists saw the film at the same time as gala attendees, preventing early social media leaks and ensuring that “première” meant no one had seen the film beforehand. While this required press to adjust their routines, Cannes accompanied the change with a clear embargo policy and enhanced press amenities (expanded press rooms and late-night Wi-Fi zones) to help media professionals work under the new timing (www.screendaily.com) (www.screendaily.com). The takeaway is that whatever timing model you choose, communicate it clearly and make it consistent across the festival. Predictable blocks (e.g. daily 9am P&I slots) help the pros plan their schedules and reduce conflicts between must-see screenings.
Use Embargoes Wisely: If press do see films before the public, consider setting review embargo times to protect the film’s big public moment. A time embargo delays when reviews can go live until after the first public screening, preserving audience excitement. The Pula Film Festival in Croatia, for example, explicitly asks journalists at its morning press screenings not to publish reviews until the evening public screening starts at the ancient Arena venue (pulafilmfestival.hr). This way the public audience still experiences the film fresh, without reading critiques beforehand, yet press can write early and be ready to hit “publish” once the embargo lifts. Make sure embargo rules are stated upfront in accreditation materials and remind press in pre-screening announcements. Most accredited journalists will honour a reasonable embargo if it’s applied fairly to all outlets.
Provide Ample Capacity and Multiple Showings: A common pitfall is underestimating how many press and industry guests will want to attend a hot title’s screening. If the theater is too small or only one P&I slot is offered, you risk long queues and turned-away badge-holders – and those frustrated journalists might vent on social media or skip covering the film. Large festivals have learned to allocate big venues or multiple screenings for press. Cannes, for instance, noted that an average of 1,100–1,200 journalists attend press screenings for competition films, so it schedules screenings in its largest cinemas (Lumière holds 2,300 seats, Debussy 1,300) and even adds extra P&I screenings at night when needed (www.screendaily.com) (www.screendaily.com). Mid-sized festivals can take a page from this playbook by offering at least two P&I opportunities for buzz-worthy films (e.g. a morning and an afternoon press screening). For smaller festivals, if resources allow only one press showing, be strategic: schedule it early enough that press can meet their deadlines, and reserve a block of seats for media at public screenings as overflow. Never forget that a journalist shut out of a film is a lost coverage opportunity. It’s worth the extra logistical effort to ensure every accredited press member can see the films they need.
Secure Screeners with Watermarks for Press
Even with careful scheduling, conflicts are inevitable – a reporter might need to cover a panel during a screening, or an industry executive might arrive late to the festival. The solution is to offer secure screeners: on-demand viewing options that accommodate professionals’ busy agendas while protecting your content. Many festivals now provide accredited press with digital screeners that have personalized watermarks and viewing windows. These screeners are often delivered via a secure online platform or private link upon request. For example, the San Francisco International Film Festival (SFFILM Festival) in 2021 made all its films available to accredited press through secure online links (sffilm.org). Each screener was watermarked and provided only after press verification, ensuring that if any footage leaked, it could be traced back to the source.
When implementing screeners, always balance accessibility with anti-piracy measures:
– Watermark and Track: Watermarks can display the journalist’s name or an ID code on the screen, discouraging unauthorized sharing. Some systems also embed invisible forensic marks to trace leaks. Let press know that each screener is individualized – it signals trust but also accountability.
– Time-Limited Access: Use platforms that allow setting expiration times or view limits on screeners. For instance, a link might be valid for 48 hours to prevent long-term circulation.
– Secure Platforms: If possible, host screeners on a platform with strong DRM (digital rights management) and encryption. Avoid easily downloadable formats. Smaller festivals on a budget can use password-protected private streaming links (e.g. Vimeo with password and watermark) and still achieve a reasonable level of security.
– Clear Communication: Make it easy for press to request or access screeners by providing a contact or online portal, and be clear on what films are available as screeners. Also, communicate any embargo on reviews for these screeners if it’s before the public premiere.
By accommodating press who cannot attend in-person showings, you greatly expand your potential media coverage – especially international press who may cover your festival remotely. Industry delegates appreciate screeners too, since they can catch up on buzzed-about titles they missed while in meetings. Just ensure that all these digital offerings are for accredited professionals only, and monitor usage. A proactive approach here shows you respect the press’s role and the value of the content, which in turn builds goodwill.
Create Press-Friendly Work Environments
Covering a festival is hard work – reporters might be writing on deadline, uploading video interviews, or coordinating with editors back home, all while running between screenings. That’s why top festivals invest in press centers or media lounges where accredited press and industry can recharge (literally and figuratively). At a minimum, provide a quiet workspace with plenty of power outlets and strong Wi-Fi. A journalist who can reliably connect to the internet to file a review or upload photos is far more likely to cover your event in depth.
Many major festivals offer exemplary press facilities. The Berlin International Film Festival (Berlinale), for instance, hosts its Press Centre in a hotel near the main venue, complete with information desks, bookable interview rooms, and workspaces for short-term use (www.berlinale.de). Similarly, Cannes expanded its press accommodations by adding a “Journalists’ Terrace” overlooking the venue and extending press room hours until midnight for those late-night writers (www.screendaily.com). These efforts are often applauded by media professionals because they directly address daily needs. Even if your festival budget is modest, consider these press-friendly touches:
– Dedicated Press Room: Set aside a room or tent as a media center. Provide tables and chairs where journalists can set up their laptops. Keep it free from loud music or distractions.
– High-Speed Internet: Invest in the best internet connectivity you can afford at the venue. If Wi-Fi is unreliable, provide a few wired Ethernet connections. Nothing frustrates press more than missing a deadline due to poor internet.
– Comfort and Resources: Little perks go a long way. Provide coffee/tea and water, maybe some light snacks – a caffeinated journalist is a happy journalist! Have charging stations or spare power strips available. If possible, include a printer or office supplies for press use.
– On-site Support: Designate a press liaison or IT support person on-site. If a journalist has trouble accessing the Wi-Fi or needs a last-minute schedule update, having staff ready to assist will be greatly appreciated.
– Quiet Zones: If your venue is noisy, consider soundproofing part of the press room or offering a separate quiet workroom. This is especially helpful for writers who need concentration or for radio/podcast journalists recording audio.
By making the working environment comfortable, you enable the press to produce better coverage more quickly. Industry guests (like film buyers or agents) also benefit from these spaces – an industry lounge adjacent to the press center can encourage networking and deal-making in a relaxed setting. Remember, every positive interaction a critic or executive has at your festival – whether it’s a smooth Wi-Fi connection or a friendly help desk – contributes to your event’s professional reputation.
Cater to Both Press and Industry Needs
It’s easy to lump “press & industry” together, but their needs at a festival can differ. A savvy festival organizer anticipates both:
– Press (Journalists & Critics): They primarily need access to films as early as possible and time/resources to cover them. They value detailed press kits, quick access to filmmakers for interviews, and the ability to see a lot of films on a tight schedule. For example, at Toronto International Film Festival (TIFF), press are given a dense schedule of P&I screenings each morning, which lets a determined critic watch four or more films a day before evening galas. Press also appreciate when festivals provide press & industry libraries – secure digital libraries or on-site video booths where they can watch films on demand if they missed a screening. The key is to facilitate their coverage: supply them with information, screener access, and a conducive environment to write and broadcast stories.
– Industry Professionals (Buyers, Distributors, Programmers): They attend festivals to scout films for acquisition or to network. Their priority is often the quality and convenience of screenings and meetings. Having industry screenings (which might overlap with press screenings) ensures they can view films without having to fight public crowds, often in a low-key setting to concentrate on the film’s market potential. Some festivals run separate industry-only screenings or market screenings for this purpose. For instance, the Cannes Market (Marché du Film) and Berlinale’s European Film Market set up private screening rooms and digital libraries for industry delegates to catch any film at their convenience. Even outside of formal markets, a festival can create an industry-friendly atmosphere by offering a video library station on-site where accredited industry members can cue up festival films on a screen privately. Additionally, provide spaces for meetings – whether it’s reserved tables in a cafe or a dedicated networking lounge as Venice did (setting up networking tents and hotel terrace areas for industry chats) (socialmedia.smartup.com.bo). The easier it is for industry guests to see the films and then have a conversation or negotiation, the more business your festival will generate for filmmakers.
By considering these nuances, you’ll serve the “P” and the “I” in P&I with equal care. A film festival might even assign separate liaisons: one press coordinator and one industry coordinator, both working under the guest management team to cater to these groups’ feedback and needs.
Leverage Technology for Scheduling and Ticketing
Managing P&I screenings for potentially hundreds of professionals can be a logistical challenge, but modern technology can ease this significantly. A reliable accreditation and ticketing system helps keep things orderly:
– Accreditation Badges: Ensure every press and industry attendee has a clearly marked badge. Use badge levels to control who is allowed into P&I screenings (e.g. “Press”, “Industry”, or combined “P&I” badges). This avoids any confusion at the door. Many festivals colour-code badges or use distinct designs for easy identification by staff.
– Digital RSVP for Screenings: Consider implementing an online reservation system for high-demand P&I screenings. Accredited guests could reserve a seat (first-come, first-served or via priority tiers) using a festival portal or app. This way, you can track interest and avoid dangerous overcrowding. If a screening is fully booked, you might add an extra showing or arrange a larger venue. Several festivals have adopted such systems – for instance, Sundance provides a press screening schedule online where press can plan their attendance (festival.sundance.org), and some events even issue electronic tickets for press screenings. Using a platform like Ticket Fairy or similar can streamline this process, by letting you allocate a quota of press tickets and send out scannable e-passes to accredited guests. The right system will prevent unauthorized individuals from sneaking in and will give you real-time data on attendance.
– Efficient Check-In: At P&I entrances, staff or volunteers should quickly scan badges or tickets. Lines should be kept moving. Test your scanners and train staff to handle any glitches (like a QR code not reading). Quick check-in not only makes press happy but also keeps your schedule punctual.
– Communication Tools: Use email or a dedicated press/industry WhatsApp channel to update these guests about schedule changes or added screenings. For example, if a film’s P&I screening gets an encore due to demand, blast that news out so those who missed it can catch the new slot. Timely communication builds trust that your festival values the press and industry experience.
Remember, technology should serve your festival’s needs without adding confusion. Always provide a human backup: e.g., a help desk for press/industry queries, and a manual list in case a device fails. With a solid system in place, even a small festival can appear “big league” in how it smoothly handles professional attendees.
Track Media Coverage and Feedback
One often overlooked aspect of serving press and industry is monitoring the output and outcomes of your efforts. Tracking how P&I screenings translate into coverage or deals can provide valuable insights:
– Monitor Review Volume: Keep an eye on how many reviews or articles are published during and right after your festival. Your press team can use Google Alerts, press clipping services, or simply manual tracking on social media and news sites. Note which films got the most attention and at what times reviews appear. If you notice, for example, that very few reviews are coming out during the festival and only after it ends, it might indicate that press didn’t have enough time or access to write promptly – a sign you might need to tweak scheduling or embargoes.
– Gauge Timing of Coverage: The timing of reviews can often be traced back to your scheduling choices. At TIFF, it’s typical to see a flood of reviews hit the internet just hours after a film’s press screening, indicating the system is working: press see the morning screening, write in the afternoon, and publish by evening. If instead coverage is trickling in days later, perhaps critics only saw the film at a late public screening or via a screener after the festival, which isn’t ideal for momentum. Aim to concentrate coverage in the festival window for maximum buzz – that might mean adjusting P&I screenings earlier or improving press facilities so they can write faster.
– Press & Industry Surveys: Don’t shy away from feedback. After the festival (or even mid-way for a longer festival), survey your accredited press and industry attendees. Ask what worked and what didn’t in terms of screenings and services. Did they find the Wi-Fi sufficient? Were there enough P&I slots for popular films? Did the screeners function properly? This qualitative feedback is gold for refining your strategy. Many festivals conduct a brief online survey or informal conversations to take the pulse of their professional guests’ satisfaction.
– Tracking Industry Outcomes: For the “Industry” side, track how many films secured distribution deals or sales at or shortly after your festival – this is a key metric of success for events like Berlin or Busan. If deals are happening, it means industry attendees found value in those P&I screenings. Sometimes a festival press office will even announce how many distribution deals were struck, as a way to attract more industry participation next year. Even on a smaller scale, if your local festival helped an indie film get picked up by a regional distributor because an exec saw it at an industry screening, that’s worth celebrating and learning from.
– Adapt and Evolve: Use the data you gather. If certain films had zero press turnout, ask why – was it scheduled opposite another big event? If Wi-Fi issues were a top complaint, invest in upgrades for next year. Festivals like SXSW and Locarno have iteratively improved their press handling by listening to yearly feedback, resulting in more media coverage over time. Being responsive to the needs of professionals not only improves their experience but also boosts your festival’s reputation in press circles (leading to more press interest in attending).
Key Takeaways for P&I Success
- Plan Early and Communicate: Develop a P&I screening schedule that aligns with public screenings in a logical way (either earlier or simultaneous) and publish it early so accredited guests can plan (festival.sundance.org). Consistency and clarity prevent chaos.
- Ensure Fair Access: Use appropriately sized venues and multiple time slots for high-demand films. Don’t let capacity shortages shut out journalists – it’s worth arranging an extra screening to get that coverage.
- Embrace Secure Screeners: Offer watermarked digital screeners to accredited press who can’t attend every screening (sffilm.org). This extends your reach while protecting content (via watermarks, DRM, and timed access).
- Support the Press on Site: Provide quiet workspaces, dependable Wi-Fi, and amenities like power, coffee, and information desks. Festivals from Cannes to Berlin have shown that investing in press centers pays off in better coverage (www.screendaily.com) (www.berlinale.de).
- Address Industry Needs: Facilitate industry screenings and meeting spaces. Consider a digital viewing library for industry delegates and make networking easy (e.g., lounges, scheduled networking events). Happy industry attendees lead to film deals and a thriving festival market.
- Leverage Tech for Organization: Implement a good accreditation system and consider online RSVP or ticketing for P&I screenings. Scannable badges or tickets (using tools like Ticket Fairy’s platform) can smooth entry and give you data to manage capacity.
- Monitor and Adapt: Track media output (number and timing of reviews, social media buzz) and solicit feedback. Use this intel to continuously refine your P&I approach, whether it’s adjusting screening times, improving communications, or upgrading facilities.
By treating press and industry professionals as valued partners and anticipating their needs, a festival can dramatically amplify its impact. Well-run P&I screenings create a virtuous cycle: journalists and industry go home impressed with the festival’s professionalism, they produce glowing coverage and solid business for the films, and that in turn raises the festival’s profile globally. In essence, catering to the pros behind the scenes is one of the smartest investments in a festival’s long-term success.
27th September 2025