Film Industry
10 Ways Filmmakers Are Building Careers Without Waiting for Distributors
The old indie playbook is officially dead.
For decades, filmmakers followed the same script: make your film, submit to festivals, wait for a distributor to pick it up, and hope for a theatrical release that leads to streaming. But in 2026, that model barely exists.
Investment from distributors in independent film dropped 31.6% last year, and indie films now represent just 1.4% of theatrical revenues in major markets. Meanwhile, 70% of independent projects never secure a traditional distribution deal at all.
But here’s the part the doom-and-gloom think pieces always miss: filmmakers aren’t waiting around anymore. They’re building new models from scratch—models that let them own their audiences, control their releases, and actually make money. From vertical video and four-walling to merch ecosystems and filmmaker-run distribution companies, independent creators are proving that you don’t need a distributor to build a career. You just need a strategy.
Here are 10 ways filmmakers are taking control in 2026—and what you can learn from them.
1. Self-Distribution: You Are the Distributor Now
Self-distribution used to be what filmmakers did when no one else wanted their film. In 2026, it’s a core strategy—and often the smartest one.
Canadian filmmaker Sasha Leigh Henry made Dinner With Friends on a $100,000 budget and is handling the entire release herself: digital rentals, social media marketing, and event-style screenings with cast members in multiple cities. Her reasoning? “I create without the conventional players because, in my experience with them, they failed to connect me with a new audience.”
She’s not alone.
The shift toward self-distribution is being driven by simple math: distributors are pickier, advances are smaller, and the traditional model often leaves filmmakers with nothing after expenses. By going direct, filmmakers keep control—and keep the revenue.
What it takes: A clear release plan, a marketing budget, and the willingness to treat your film like a business asset. Platforms like Vimeo On Demand, Gumroad, and your own website let you sell or rent directly to fans, with higher revenue retention than traditional deals.
2. Four-Walling and Theatrical Touring: Own the Room
Four-walling—where you rent a theater and become your own distributor—has been around for decades, but filmmakers are flipping the model in 2026. Instead of using it to manufacture legitimacy, they’re using it to build community, generate buzz, and create real revenue.
Sook-Yin Lee’s Paying For It had a staggered release across 48 Canadian cities, partnering with independent cinemas, community organizations, and local media. The team hosted Q&As with cast and crew at nearly every stop, turning each screening into an event. Lee says the tour “attracted more viewers than my previous films, which were distributed by major industry players to empty chain theaters.”
The key to successful four-walling? Flexibility. Single weeknight screenings, targeted geographic regions, and partnerships with local businesses or advocacy groups all increase your chances of filling seats. And don’t forget: you can sell merch, build your email list, and create content from every stop on the tour.
What it takes: Upfront capital to rent theaters, a target geography that matches your film’s audience, and the hustle to promote each screening like it’s opening night.
3. Vertical Video: A Whole New Format
Vertical dramas aren’t a gimmick anymore—they’re a legitimate format with dedicated platforms, investment, and audience demand.
In 2026, vertical video has moved from niche experiments in China to a global ecosystem with its own creative grammar: layered depth, asymmetric compositions, and movement designed for a portrait frame. Social platforms are optimized for vertical content, making discovery and sharing easier than traditional widescreen films. And because vertical video is native to TikTok, Instagram, and emerging SVOD platforms, it’s accessible to audiences who would never sit down to watch a feature film on their laptop.
Vertical storytelling is broadening the definition of independent filmmaking and lowering the barrier to entry for creators who don’t have access to traditional production infrastructure.
What it takes: A willingness to think differently about composition and pacing, and an understanding that vertical isn’t just “a different crop”—it’s a different visual language.
4. Build Your Audience During Production, Not After
This is the shift that separates filmmakers who succeed from filmmakers who struggle: start building your audience before your film is finished.
In 2026, the smartest filmmakers are designing distribution from the script stage, knowing their release path before they shoot a single frame. They’re starting email lists, engaging communities, and creating content during production—not waiting until the premiere to ask people to care.
Filmmaker and educator Noam Kroll built his audience over five years through blogs, social media, and email marketing. Today, his audience funds his projects, spreads the word when he drops a trailer, and purchases his films outright. “Your true fans will support your efforts at fundraising, distribution, and serve as a powerful source of motivation,” he says. “As a filmmaker, they are your greatest asset.”
The key: your email list is your home base, not Instagram or TikTok. Social media is the net you cast to find new fans, but your email list is where you actually communicate, sell, and build long-term relationships.
What it takes: Consistency, a content strategy that provides value (not just “please support my film”), and patience. It takes time to build a real audience, but once you have it, you own it forever.
5. The Ecosystem Strategy: Merch, Events, and Content
Independent films don’t make money from one revenue stream anymore—they make money from an ecosystem.
Filmmaker and YouTube creator who released 31 Candles went from a limited run to nationwide AMC theaters by thinking beyond box office. He built an ecosystem: merch, behind-the-scenes content, events, and a documented process that kept fans engaged long after the premiere. “The way that independent films will make money, I believe, is from merch, brand opportunities around the movie, licensing, and when you sell the movie online. It’s from everything. It’s not from one thing.”
And audiences are responding. As Neon’s Chief Marketing Officer Christian Parkes puts it: “People, and particularly younger people, want to be a part of something. Wearing a shirt for a movie is no different from wearing a shirt for the band you just went to see. There’s a cachet to it. There’s a value to it. It’s a sign of who I am.”
Indie film merch has become a hot commodity in 2026—not just as additional revenue, but as a way to keep fans engaged with your film long after it leaves theaters.
What it takes: A brand mindset from day one. Merch, events, and content should be baked into your production plan, not afterthoughts.
6. Eventizing Your Release: Make Every Screening an Experience
In 2026, filmmakers are treating each screening like a live event—and it’s working.
One Toronto screening of Paying For It partnered with the sex-worker advocacy organization Maggie’s and featured a Q&A with community activists. The goal wasn’t just to fill seats—it was to create an experience that felt meaningful, gave audiences a reason to show up, and reached demographics beyond the typical festival crowd.
Eventizing works because it turns passive viewing into active participation. Show up to the theater. Bring your cast. Host a Q&A. Partner with a local organization. Sell merch in the lobby. Document the whole thing for social media. Every screening becomes content, community, and connection.
What it takes: Hustle, local partnerships, and the willingness to show up in person. You can’t eventize from your couch.
7. Community-Centered Distribution: Serve Your Audience First
Inuk director Zacharias Kunuk has been self-distributing his films for years through his company, Isuma Productions—not because he couldn’t find a distributor, but because traditional distributors wanted him to overdub his films in English.
“I want our language to be heard in our beautiful way,” Kunuk says. So he created his own path: screenings in gyms, community centers, and schools across the Arctic, reaching students, elders, and local organizations directly. “If we adhere to the system, we aren’t supposed to show it here,” he explains. “But we love to do these things. It benefits our community.”
Community-centered distribution isn’t about maximizing revenue—it’s about maximizing impact. And in doing so, filmmakers often find more sustainable, loyal audiences than they ever would through traditional channels.
What it takes: Deep knowledge of your audience, a commitment to serving them first, and the infrastructure to organize screenings outside the traditional theatrical system.
8. Filmmaker-Operated Distribution Companies: Build the System You Want
If the traditional distribution system doesn’t work, build a new one.
That’s what Sherry Dias and Jansen did when they founded Big Picture, a filmmaker-operated distribution and marketing company focused on shorter licensing agreements, equitable revenue sharing, and transparency. Instead of running a “distribution factory,” Big Picture works on one project at a time, building releases around community involvement, event-style screenings, and proactive marketing.
Their first project, Scarborough, was showcased at a dozen Cineplex locations and generated over $100,000 in just 10 weeks—making it the highest-grossing homegrown release during that time.
“We’ve observed numerous Canadian films gain significant attention at TIFF and the Canadian Screen Awards, but when they reach theaters, they often play to empty seats,” Dias says. “I refuse to believe that audiences aren’t interested in these films. They simply aren’t being given a fair opportunity.”
What it takes: Industry experience, capital, a network of filmmaker clients, and the conviction that the current system can be improved.
9. Direct-to-Consumer and VOD Platforms: Cut Out the Middleman
Platforms like Vimeo On Demand, Gumroad, iTunes, Amazon, and niche SVOD services let filmmakers sell directly to audiences—no distributor required.
The trade-off? You have to build your audience yourself. But if you’ve already done the work (see #4), DTC and VOD platforms offer higher revenue retention and a direct relationship with your viewers. TVOD (transactional video on demand) lets you keep a bigger slice of each rental or purchase. SVOD licensing (Netflix, Hulu) often comes with upfront fees. AVOD (ad-supported platforms like Tubi) builds revenue over time as your film finds its audience.
And here’s the reality: 70% of indie projects never secure a traditional deal anyway. DTC and VOD give you a path forward even when the gatekeepers say no.
What it takes: A finished film, a marketing plan, and an audience strategy that drives people to the platform where your film lives.
10. YouTube as an Intentional Strategy, Not a Backup Plan
YouTube isn’t just for vlogs and tutorials—it’s a legitimate distribution platform for filmmakers who know how to use it
David F. Sandberg’s two-minute no-budget short Lights Out went viral on YouTube, attracting Hollywood’s attention and leading to four major studio feature films. His career didn’t start at a festival—it started online, where millions of people could watch, share, and talk about his work.
In 2026, serious filmmakers are using YouTube intentionally: as a strategy, not a backup plan. They’re releasing shorts, behind-the-scenes content, and full features, building audiences that follow them from project to project.
Think about how many short films screen at festivals but never have a life beyond a few small in-person engagements. Now contrast that with the reach, longevity, and discoverability of YouTube. If you’re not using it, you’re leaving opportunity on the table.
What it takes: Consistent uploads, an understanding of YouTube SEO and thumbnails, and the willingness to treat the platform as seriously as you’d treat a festival premiere.
The Bottom Line: Two Tracks Are Emerging
The independent film world has split into two tracks in 2026: filmmakers waiting for deals, and filmmakers making their own.
The filmmakers who wait are struggling. The filmmakers who build—who own their audiences, control their releases, and think like entrepreneurs—are winning.
“No audience plan equals no leverage,” says industry strategist Michael Osheku. “2026 will reward filmmakers who build the audience, position the film, and open the right windows.”
Sherry Dias and the team at Big Picture put it even more simply: “The audiences are out there, eager to see your work. They simply aren’t being reached effectively. I truly believe that if you build it, they will come.”
What This Means for Comedy Filmmakers
If you’re a comedy filmmaker, you already have an advantage: comedy travels. It’s shareable, quotable, and built for social media. The ecosystem model (merch, events, content) is a natural fit. Vertical video works for comedy sketches and short-form content. And audiences will show up to laugh together—if you give them a reason to.
At Houston Comedy Film Festival, we’re building a launchpad for filmmakers who are serious about comedy as a career—not just a hobby. HCFF connects you with producers, industry professionals, and an audience that actually cares about funny films. We offer real feedback, networking that leads to collaborations, and a platform where your work can find the people who will champion it.
Because in 2026, the filmmakers who win aren’t the ones waiting for permission. They’re the ones building their own path—and laughing all the way to the bank.