11. IFC Films
“We cast a pretty wide net when it comes to the content we acquire as we are actively programming for three distinct labels with different brand identities. IFC Films is predominantly English language, cast-driven narratives; our Sundance Selects label focuses on documentaries and foreign language titles; and IFC Midnight is a genre label. The scope of our brands as well as our ability to release films in a variety of ways has given us the flexibility to not only provide a platform for new, emerging voices, but to also be a home for internationally acclaimed and established directors.”
12. Indie Rights
“Great story, great acting, great production value.”
13. Juno Films
“We acquire films that bring a new perspective and new voices to audiences with an emphasis on aesthetics. We prioritize cinematic films, especially for our theatrical releases, as opposed to journalistic docs or action films. Recent acquisitions include Barbara Rubin and the Exploding NY Underground, Arcadia, the classic Indian film Shiraz: A Romance of India, Sew The Winter to My Skin from South Africa and Ever After, a German feminist zombie film that premiered at TIFF. We like to acquire films before their festival premiere in order to work with filmmakers to shape an effective festival strategy.”
14. Magnolia Pictures
“We have a remarkably eclectic slate spanning all genres. Generally, beyond strength of storytelling and filmmaking, we’re always looking for unique voices.”
15. Music Box Films
“Music Box Films is dedicated to curating a diverse repertoire of films and television from around the world. In partnership with the iconic Music Box Theatre, Chicago’s premier independent cinema, it is our mission to engage audiences with exciting alternatives to mainstream entertainment. Among the things we look for in an acquisition prospect is an identifiable audience that we are confident we can reach and motivate through a creative and cost-effective marketing campaign. Other factors we consider are originality, critical reaction, festival history, and our passion to share the artist’s vision with an appreciative audience.”
16. Neon
“We’re totally agnostic to things like budget, scale of release, genre, and language. If I can describe it to a room full of non-film industry people and it generates conversation, that’s a good start.”
Segments of this information was originally released in a article by Liz Manashil and producer Rebecca Green through the Sundance Institute.
17. The Orchard
“We’re looking for unique voices and viewpoints, innovative filmmaking, inspiring storytelling—films that we’re excited to work on and filmmakers that we’re eager to collaborate with. We work with established auteurs as often as up-and-coming filmmakers, and we’re always looking to expand our brand and push ourselves to release content that energizes and impassions audiences.”
18. Prolific Pictures
“We have two criteria for acquiring a film: 1) we feel the film is of high enough quality, which includes production value, directing, performance and above all storytelling, and 2) we feel we can help the filmmaker recoup what they spent to make the film. We are interested in longterm partnerships, and the success of our filmmakers is as important to us as our success.”
19. Roadside Attractions
“A film that speaks to us on multiple levels. We are seeking artistic and commercially minded acquisitions with a strong point of view. We must feel like we can identify the audience for a film and have confidence that we know how to reach that audience. Positive reviews are also important, or films we anticipate will be critically embraced.”
20. Samuel Goldwyn
“We are looking for a number of factors when we acquire a film… First and foremost, we look to find films that we feel have an audience that we can reach. But we also like to work with burgeoning talent and on films that we feel have a strong voice.”
21. Seed & Spark
“Production Value – Shot well on a good camera, sound has been mixed well, color correction has been done, writing is nuanced.. Compelling & Interesting Story – avoid tropes; Is the story unique? Have we seen this before? Are you engaged from beginning to end? Inclusion on and/or off screen – Looking for inclusive representation which can mean anything from ethnicity to sexuality, gender identity, socio-economic status, geographic, culture, language. Why this story? Why now? Why is this person the right one to tell it?”
22. Sony Pictures Classics
“Films that are dynamic enough in their storytelling, cinematic quality, execution and performances to draw people to see them in commercial movie theaters; films that reflect the culture in which we’re living and generate conversation among critics, journalists and opinion makers in addition to general audiences.”
23. Strand Releasing
“We look for festival pedigree, critical hits and foreign films. We’re known for foreign films but also have taken on American indie titles such as Spa Night, Puccini for Beginners, The Dying Gaul, Lovesong, and Transfiguration. Regarding American vs. international title acquisition, you never know what is in the marketplace and what film will appeal to us.”
24. Vertical Entertainment
“Commerciality“
25. Virgil
“If it can make money first, the message second.”
26. Well Go Entertainment
“We’re looking for titles that come with a hook we can use in marketing the film. Be it name cast, critical acclaim/festival credibility, or just a strong angle from which we can generate interest. Our core audience is younger, so we do look for films that skew a bit younger. We love genre films, but we regularly pick films up outside of that space- really, at the end of the day, we’re looking for a great movie.”