How to Create a Press Kit for Your Film Festival Submission

A well-crafted press kit can be the difference between a festival programmer glancing at your submission and genuinely engaging with your film. While your film itself remains the primary factor in selection decisions, a professional press kit signals that you take your work seriously and makes the programmer's job easier. Here's exactly how to build one that works.

What Is a Film Festival Press Kit?

A press kit (also called an EPK or Electronic Press Kit) is a collection of promotional materials that provides essential information about your film. Festival programmers use it to understand your project quickly, write catalogue descriptions, prepare for Q&As, and brief press attending the festival.

Major festivals like Sundance, Toronto International Film Festival, and Berlinale expect polished press materials. But even regional festivals like Slamdance, Tribeca, or genre-specific events like Fantastic Fest and Screamfest appreciate submissions that arrive with professional documentation.

Essential Press Kit Components

1. Synopsis Package

You need multiple synopsis lengths ready:

• Logline (25-30 words): One sentence that captures your film's essence. This is what appears in festival programmes and schedules.
• Short synopsis (75-100 words): Expands on the logline with key plot points and tone. Used for catalogue entries.
• Long synopsis (250-400 words): Full narrative arc including ending. This is for programmers only—mark it clearly as containing spoilers.

Write these fresh rather than cutting down from longer versions. Each should function independently and read naturally at its intended length.

2. Director's Statement

This 200-400 word statement answers one question: why did you make this film? Programmers want to understand your artistic intent and personal connection to the material.

Strong director's statements are specific and honest. They discuss what drew you to the subject, creative challenges you faced, and what you hope audiences take away. Avoid generic statements about "the power of cinema" or vague artistic philosophies.

3. Production Credits

Include a complete, accurately formatted credit list:

• Director, Writer, Producer(s)
• Director of Photography, Editor, Composer
• Principal Cast with role names
• Production Company
• Country of origin, year of completion, running time
• Language and subtitle information
• Shooting format and aspect ratio

Match the formatting style used by your target festivals. Check how TIFF or Venice list credits in their catalogues for guidance.

4. Cast and Crew Biographies

Write concise bios (100-150 words each) for your director, key producers, and lead cast. Focus on relevant credits and achievements. If someone is a first-time filmmaker, frame their background in terms of what led them to this project.

Include longer bios (250-300 words) for the director and any notable cast members. Festival press may pull quotes directly from these.

5. High-Resolution Stills

This is where many filmmakers fall short. You need:

• 8-12 production stills: High-resolution (minimum 300 DPI, at least 2000 pixels on the longest edge), properly colour-corrected images from key scenes
• 2-3 behind-the-scenes photos: Director working with cast, production moments
• Headshots: Professional photos of director and principal cast

Name files clearly: FilmTitle_Still01_SceneDescription.jpg. Festivals like South by Southwest and Cannes specifically request high-res stills for their publications—low-quality images can disqualify otherwise strong submissions from press coverage.

6. Poster and Key Art

Include your official poster in high resolution. If you don't have final key art yet, create a simple, clean temporary design. A poorly designed poster creates a negative first impression before anyone watches your film.

7. Trailer or Clip

If you have a trailer, include a password-protected link (Vimeo works best for this). For films still in post-production, a 2-3 minute scene can substitute. Some festivals like Locarno and Rotterdam request clips specifically for their online platforms.

Optional But Valuable Additions

Press Coverage and Laurels

If your film has already screened at festivals or received press coverage, include this information. List festival selections, awards, and pull quotes from reviews. Be selective—three strong quotes beat ten mediocre ones.

Technical Specifications Sheet

Create a one-page document with exhibition specs:

• Available formats (DCP, ProRes, H.264)
• Sound format (5.1, stereo)
• Colour/B&W
• Accessibility features (closed captions, audio description)

Festivals increasingly require DCP delivery. If you're submitting to major festivals like Venice, San Sebastián, or BFI London Film Festival, confirm your DCP meets their technical standards.

Press Kit Formatting and Delivery

File Organisation

Structure your press kit folder logically:

1. Create a master folder named "FilmTitle_PressKit"
2. Add subfolders: Stills, Artwork, Documents, Video
3. Include a PDF that compiles all text materials into one readable document
4. Add a text file with download links to large video files

Delivery Formats

Prepare your press kit in multiple formats:

• Downloadable folder: Hosted on Google Drive, Dropbox, or your website with a clean, shareable link
• Single PDF: A condensed version with embedded images for quick viewing
• Web page: If you have a film website, create a dedicated press page with downloadable assets

Test your links before submitting. Password-protect sensitive materials like screener links, and include passwords clearly in your submission.

Common Press Kit Mistakes to Avoid

Overwriting: Programmers review hundreds of submissions. Keep text concise and scannable.

Low-quality images: Blurry or poorly lit stills suggest a poorly made film, regardless of actual quality.

Missing information: Double-check that running time, format, and contact details are accurate and present.

Outdated materials: Update your press kit for each submission round. Stale bios or incorrect laurels undermine credibility.

Inaccessible files: Don't use obscure formats. Stick to PDF, JPG, and MP4. Avoid RAR files or formats requiring special software.

Tailoring Your Press Kit for Different Festivals

While your core materials stay consistent, adjust emphasis based on the festival. Documentary-focused festivals like IDFA, Hot Docs, or Sheffield Doc/Fest may want more background on your subject and research process. Genre festivals appreciate comparisons to relevant films. LGBTQ+ festivals like Frameline or Outfest may benefit from statements connecting your work to queer cinema.

Read each festival's submission guidelines carefully. Some specify exact requirements for supplementary materials. Cannes and Berlin have strict formatting standards for official selection materials.

Start Building Your Press Kit Early

Don't wait until your film is complete to start assembling press materials. Hire a still photographer during production. Write your director's statement while creative decisions are fresh. Build your press kit alongside your film so you're ready to submit immediately when opportunities arise.

The festivals you choose matter as much as the materials you prepare. Matching your film to festivals where it genuinely fits improves your chances dramatically. Tools like Festivilia can help you identify festivals aligned with your film's genre, themes, and career goals—ensuring your carefully crafted press kit reaches programmers most likely to champion your work.