But we have to ask this question: what will the future hold for this distribution model, in a long tail world where small producers can monetize their productions directly, using online platforms such as Netflix? If this alternative market thrives, how long until traditional theaters switch to acquire performance rights directly from the producers, using specialized, low friction marketplaces?
While I agree in principle to the decision of the festival organizers, it's hard not to observe an outdated business model fighting for its own survival.
Distribution is even more important in a long tall world. There is so much great stuff on YouTube now that I rely on blogs and other intermediaries to tell me what’s worth watching. Similarly for movies I look to places that tell me what is worth watching. Distribution is getting the film in front of people through theaters, advertising, reviews, etc.
While I agree in principle to the decision of the festival organizers, it's hard not to observe an outdated business model fighting for its own survival.