All these wonderful things

The Top 25 Film Festivals for Documentaries, 2nd Edition - #10. Los Angeles

Previously: #9. SXSW

#10. Los Angeles Film Festival

Our take: Known for its filmmaker retreat and its hospitality, the LA Film Festival remains one of a handful of major US fests that draws major industry attention.  It also has the richest prize in festival-land - $50,000 for the winner of the Best Documentary award.  LAFF's Westwood location gives the event a contained vibe that's often missing from large, big city festivals and the programming staff was always adept at balancing the needs of LAFF's Hollywood neighbors with its art house crowd patrons and guests.

The downside: Of all the fests in the top 10, the one with the most uncertainty.  This year's LAFF was noticibly scaled-back from previous years, with even the famous filmmaker retreat held in a nearby hotel rather than at Skywalker Ranch as in previous editions.  Transitions (beginning with the ouster of Rich Raddon and last summer's departure of Rachel Rosen - producer Rebecca Yeldham and film critic David Ansen have come in) have led some to wonder what might be next.  And during this year's festival, members of the press began to speculate that the festival may soon depart its Westwood home. 

Important recent premieres: OCTOBER COUNTRY, AFTER THE STORM, BRANSON, BANANAS!*

Selection of US films screened at 2009 Fest: BIG RIVER MAN, ALL TOMORROW'S PARTIES, CONVENTION, THE COVE, FACING ALI, NO IMPACT MAN, WE LIVE IN PUBLIC, SOUL POWER, WHICH WAY HOME

Our coverage of the Los Angeles Film Festival here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #9. SXSW

Previously: #8. Tribeca

#9. SXSW Film Festival

Our take: There is nothing quite like Austin in March and SXSW is most certainly one of the few US festivals to attract such a huge industry component.  They come for the parties, for the music, for the first day of warm sunshine (heaven help you if you're screening at the moment).  Yes, SXSW matters - both as a brand name that's increasingly recognizable to ordinary Americans as well as a stamp of possible/probable quality within the industry.  Make a mark here (particularly if you're playing in competition or can attract the attention of the heavy blogger contingent) and buyers will find a way to see your film...

The downside: ...just don't expect them to see it at the festival.  That combination of sunshine, BBQ and parties are calling their names.  The transition from longtime programmer and SXSW poster boy Matt Dentler to veteran Janet Pierson was very smooth, but the change might have led to folks start to question certain elements about the festival more directly - and there's no question that the biggest problem with SXSW (and the reason it's way down here at #9) is the mother festival's insistence that filmmakers get the same treatment as musicians when it comes to hospitality.  Which means little to none.  Remember this is a for profit enterprise.  SXSW remains the only major American film festival to refuse to subsidize filmmaker travel across-the-board. 

Important recent premieres: 45365, GARBAGE DREAMS, THE WAY WE GET BY, OBJECTIFIED, WINNEBAGO MAN, SWEETHEARTS OF THE PRISON RODEO

Selection of US films screened at 2009 Fest: PASSING STRANGE, BEETLE QUEEN CONQUERS TOKYO, TRIMPIN: THE SOUND OF INVENTION, BROCK ENRIGHT: GOOD TIMES WILL NEVER BE THE SAME, WE LIVE IN PUBLIC

Our coverage of SXSW here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #8. Tribeca

Previously: #7 AFI Silverdocs

#8. Tribeca Film Festival

Our take: By all accounts, the 2009 edition of Tribeca was a complete rebirth for a festival that many feared had invariably lost its way.  The fest, which had spread its wings all over Manhattan, pared down and focused on having a festival neighborhood and most found the result to be a major success.  The Tribeca organization also seemed to quietly weather a series of changes that led to former Sundance chief Geoffrey Gilmore coming aboard to run the Tribeca Institute.  A top-notch, all-star doc slate, financial parity for the $25,000 doc prize (which had been set lower than the narrative) and the Institute's Gucci doc fund all signal that the organization imagines itself as a multi-pronged film organization that supports nonfiction.

The downside: Last year's great slate was mostly in place before Gilmore came above and many of the high-profile titles were films that hadn't been accepted during Gilmore's Sundance reign.  Members of the press report a better fest for them than in previous years (when the festival was outright hostile towards them) but still has a way to go.  Will the Institute's many prongs (a festival in Doha?) suffocate a festival that needs good care and feeding?

Important recent premieres: RACING DREAMS, OUTRAGE, FIXER: THE TAKING OF AJMAL NAQSHBANDI, AMERICAN CASINO, WHICH WAY HOME, SHADOW BILLIONAIRE, ONLY WHEN I DANCE, P-STAR RISING

Our coverage of Tribeca here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #7. Silverdocs

Previously: #6 Berlin

#7. AFI Silverdocs

Our take: The most important US-based documentary festival continues to grow and refine as it heads into year #8. Does a good job of balancing a program that features both premieres and "best of the fests" titles and is strong in programming of international docs.  Probably one of the most industry-heavy US-based events (although there are some US buyers who, for whatever reason, never come) and one that actually draws some international buyers.  Silverdocs is quite good at using its DC-adjacent location in attracting press attention for its major films and the Capitol and all its attractions are just a short train ride away.

The downside: While we don't mind the location, lots of folks hate it.  Unlike the other US doc fests, there's a bit of a corporate feeling going on - from that outdoor mall-based setting to the proximity of Discovery to the underlying AFI presence.  Much like IDFA and Hot Docs, the fest has yet to reconcile the relationship between the conference and the festival, leading some to wonder whether those buyers are actually going to any of the screenings (like at Sheffield).  Introduced the Good Pitch last year but otherwise lacks a market or Forum component.  Questions about the future in light of sponsorship changes and a potential challenge from Sheffield.

Important recent premieres: GOOD FORTUNE, JUNIOR, DANCING WITH THE DEVIL, CONVENTION

Selection of US films screened at 2009 Fest: OCTOBER COUNTRY, RACING DREAMS, THE HORSE BOY, THE WINDMILL MOVIE, THE NINE LIVES OF MARION BARRY, MORE THAN A GAME

Our coverage of Silverdocs here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #6. Berlin

Previously: #5 Sheffield Doc/Fest

#6. Berlin Film Festival

Our take: Like Sundance (#1) and Toronto (tied for #2), Berlin is one of the few festivals that automatically endows a film with a certain amount of caché and it has been in the doc game for decades.  A screening here grabs the attention of European buyers in a way that few other can and can translate to juice for a possible US deal.  Notoriously well-run (the "trains run on time" mantra is heard often).

The downside: Like Toronto, it's huge, and it lacks the singular focus that spotlights documentaries above narratives.  It's often difficult to know what docs are screening in Berlin, even months after the festival.  Also feels like the festival needs a more specific curatorial voice as it relates to nonfiction.

Important recent premieres: RACHEL, SWEETGRASS, KASHMIR: JOURNEY TO FREEDOM

Selection of US films screened at 2009 Fest: EVERY LITTLE STEP, FOOD, INC., IT MIGHT GET LOUD, THE YES MEN FIX THE WORLD, WHEN YOU'RE STRANGE

Our coverage of Berlin here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #5. Sheffield Doc/Fest

Previously: #4 Hot Docs

#5. Sheffield Doc/Fest

Our take: Sheffield kicks off what is becoming a nonstop month of European festival activity in November with top-notch programming, great panels and a MeetMarket that's being talked about as one of the best opportunities to interact with industry on the entire circuit.  This year, it seemed like almost everyone - certainly everyone from the UK doc world - had made the 2 hour train trip from London.  Best of all, it's one of the most contained festivals around - the theatres, filmmaker HQ, party spaces, host hotels, even the train station - are all within a 4-block radius.  Although competitive with IDFA (and preceding it by mere weeks), the festival shares IDFA's accessible feeling.  The power players and doc legends are at the next table and sometimes even working the bar.

The downside: The timing of the fest (in terms of the calendar) is not fantastic (although a rumored move to summer may change that).  Possibly too much to do?  You can get the sense that 100 different things are happening at the festival at any one time.  Some folks find Sheffield to be gray and industrial (we didn't).  Some folks partied so much that they got swine flu (no comment).

Important recent premieres: KINGS OF PASTRY, I'M DANGEROUS WITH LOVE, HORSES, MOVING TO MARS, BLOOD OF THE ROSE

Selection of US films screened at 2009 Fest: SEPTEMBER ISSUE, CAPITALISM: A LOVE STORY, OCTOBER COUNTRY, WINNEBAGO MAN, JUNIOR, BEST WORST MOVIE, SOUNDTRACK FOR A REVOLUTION, P-STAR RISING, THE COVE, WOODSTOCK THEN AND NOW

Our coverage of Sheffield here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #4. Hot Docs

Previously: #2. (tie) IDFA and Toronto

#4. Hot Docs

Our take: The biggest doc-only fest in North America draws buyers, industry and doc community from all over the world.  Even if you premiered at Sundance this may be the first time European buyers take a good look at your film.  The fest takes advantage of its rich history and Toronto's notorious love of documentaries as screenings are usually packed - even a late night series instituted by the fest last year.  Over the past couple years, the fest has sought to revitalize and re-think the panel format, leading to a feeling that the fest is on the cusp of doing something really different.  Programmer Sean Farnel is a stalwart on the international documentary circuit and often is the first to shine a light on new and important international filmmakers and trends.

The downside: Like many fests, there's a big divide between the festival and the Forum, the latter of which probably needs the same re-imagining that's going on with the panels.  The Canadian slate can be seriously uneven - approach at your own risk.  Toronto is a great city, but it can take some time to get a handle on, which can be a challenge for a festival that is as spread out as this one.

Important recent premieres: ACT OF GOD, THE RED CHAPEL

Selection of US films screened at 2009 Fest: BIG RIVER MAN, OBJECTIFIED, WE LIVE IN PUBLIC, OUTRAGE, THE WAY WE GET BY, TYSON, 21 BELOW, FIXER: THE TAKING OF AJMAL NAQSHBANDI, BEST WORST MOVIE, SERGIO, WHICH WAY HOME

Our coverage of Hot Docs here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #2. (tie) IDFA & Toronto

Previously: #1. Sundance Film Festival

#2. (tie) International Documentary Festival Amsterdam and Toronto International Film Festival

Why a tie at number 2?  Because it depends on what kind of film you've made.  Have you made a film with a dynamic (and possibly famous) lead character that begs for theatrical distribution?  Head to Toronto.  Is your film a natural for a 50 minute slot on European television?  Go to Amsterdam.  Below, the pros and cons of each.

First up, IDFA

Our take: The most important all-documentary festival in the world keeps its reputation primarily by continuing to bring together more buyers and industry players than any other event.  Everyone goes to IDFA and almost everyone is accessible (although you might have to get in line), with a lack of exclusive parties and more focus on festival-wide cocktail hours and mixers.  It remains the top place to introduce your film to European buyers and American TV.  The competition still means something, particularly for international titles (which may be getting their Sundance invite in the midst of the festival)...

The downside: ...but if you're not in competition, you may get lost.  A huge (huge!) slate of films means that you're competing for attention with films from around the world.  A deep divide between those who love IDFA and those who think it's best days are behind them (see comments below) Among the latter there's a sense that IDFA may be resting on it's laurels, particularly as a host of European documentary festivals have sprung up in the weeks preceding Amsterdam.  Many think the Forum needs to be re-imagined, a sign of changing thoughts on the whole pitching forum concept.  The fest's crackdown on premiere status this year struck many as a sign of panic at the festival and not helpful to filmmakers.

Important recent premieres: AFGHAN STAR, ROUGH AUNTIES, LAST TRAIN HOME, ENEMIES OF THE PEOPLE, EPISODE 3 - "ENJOY POVERTY"

Selection of US films screened at 2009 Fest: THE MOST DANGEROUS MAN IN AMERICA: DANIEL ELLSBERG AND THE PENTAGON PAPERS, THE COVE, COLONY, WINNEBAGO MAN, THE HORSE BOY, SOUNDTRACK FOR A REVOLUTION

Our coverage of IDFA here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - #1. Sundance

Previously: Introducing the Top 25 Festivals for Documentaries, 2nd Edition

1. Sundance Film Festival

Our take: The Cannes of documentary.  As this year proved, Oscar winners and nominees want their films to premiere in Park City.  It's a massive showcase for North American buyers and audiences - one of the few film festivals that means something outside of the insular indie film community.  People come here to see movies, not just attend parties and panels (although there is that too) and what plays at Sundance will soon play out at many (if not all) of the other festivals on this list.  Plus, the prevailing wisdom - often true - is that the documentaries at Sundance are far superior than the narrative slate, which leads to lots of press attention and key reviews that can, if good, boost a film's distribution chances.  Finally, Sundance takes care of its filmmakers: being invited into the Sundance family is a long-term relationship and can pay dividends over years.

The downside: Slots are limited, particularly when all those A-listers want in.  European buyers don't come (they find it too expensive and figure that filmmakers are looking for big theatrical deals, not smallish European TV ones).  The slate has - at least in past years - heavily focused on activist, campaign films and what we've come to call "bleeding heart" docs, some of which originate in Sundance's Documentary Fund.  Last year's Temple Theatre location felt like the doc ghetto, leading to many folks skipping screenings there.

Important recent premieres: THE COVE, MAN ON WIRE, TROUBLE THE WATER, THE ORDER OF MYTHS, WE LIVE IN PUBLIC, BIG RIVER MAN, THE SEPTEMBER ISSUE, THE BETRAYAL (NERAKHOON), ANVIL! THE STORY OF ANVIL, EL GENERAL, ROMAN POLANSKI: WANTED AND DESIRED, SERGIO, NO IMPACT MAN

Our coverage of Sundance here.

The Top 25 Film Festivals for Documentaries, 2nd Edition - Introduction

Nearly two years ago, we posted a list of what we perceived to be the best film festivals for documentaries.  This list had far more impact than we ever imagined and has proved to be the most trafficked feature we've ever done here.  Just try searching "top film festivals" or "best documentary festivals" and you can guess that we get scores of hits everyday from filmmakers who are wondering where they should debut their film and using the guide as a resource in planning their festival strategy.

This time of year, as filmmakers are finding out whether or not they are going to Park City in January (and revising/planning their festival strategy accordingly), it's particularly valuable.

As we wrote in our first edition:

"You've just completed your film.  Now it's time to decide which festivals to target.  Maybe all along you were planning on Sundance.  Hell, you built your entire post-production schedule around the Sundance deadlines!  Maybe you get in.  Maybe you don't.  Either way, you're about to make your next festival decision, and another and another.  And beyond the big ticket festivals, the ones where acceptance is supposed to be worth its weight in distribution gold, there's an endless stream of festivals to navigate.  Where should your second screening be?  Should you wait to hear from Tribeca?  And what about that random festival that you've never heard of but assures you a great time and a free ride?"

Since that first list was posted, we've had the opportunity to visit even more festivals and talk to filmmakers and industry members about what's good and what needs improvement at the top fests.

Those voices are essential to the process.  We reached out to lots of folks in the community and have received more than 75 responses from filmmakers (nearly all of whom have been on the circuit in the past two years) and members of the industry (from distributors to press, publicists to programmers, producers and commissioning editors).  We've kept these responses anonymous so that everyone could feel free to talk about what works and what doesn't, at least for them.  We couldn't have put this together without everyone's input and we're greatly appreciative of their time and their contributions.

A caution when reading these comments: we think it's best to look for consensus where it exists.  If there's one lone wolf saying "x town is a hell hole" when everyone else says it's great, then maybe the wolf had a uniquely bad experience.  But if everyone is saying, "it's impossible to meet anyone here", you might take that as something closer to gospel.

Since our audience is primarily from the US, this list certainly has a regional bias.  While we have included a number of international film festivals, we will note that some/many of them only screen a handful of American films.  Feel free to weight your experience differently if you work in London, Prague, Rio or Tokyo.

This year, we've changed the way we look at festivals somewhat.  We are going to be examining festivals based on three criteria: