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IFFR announce new details for video-on-demand platform

Service, called ‘Unleashed’, will launch later this year.

IFFR’s video-on-demand platform Unleashed is set to officially launch in the spring. It will include films from this year’s line-up as well as previous editions.  

The service was soft-launched at last year’s festival, and is currently operating with a selection of IFFR films available for purchase via iTunes and Google Play. 

This year’s six IFFR Live films are also available for viewing for the duration of the festival, with the Q&As available as bonus material. 

Funding

From spring, viewers will be able to see the films direct from the IFFR Unleashed site for a set monthly rate, without the requirement of iTunes or Google Play.

“Established platforms like iTunes and Google Play can pose technical restrictions,” explained IFFR Live and Unleashed programmer Melissa van der Schoor. “It will be easier for us to broaden a film’s online release to more territories with IFFR Unleashed.” 

She continued, “Our aim is to help rights holders release online to the territories of their choice. Having the flexibility of our own platform within the overall IFFR Unleashed framework is of huge importance in making this a reality.”

The specific pay structure for rights holders is still being worked out; however, van der Schoor says it will be in the film-makers’ favour with a better rate than what is currently offered on iTunes and Google Play.   

Financing partners with IFFR include Art of Impact and Prins Bernhard Culture Fund.

Marketing

IFFR Unleashed will offer marketing support through an IFFR branded iTunes store. The festival will further promote across its social media pages and website.                    

A dedicated impact producer will also work with rights holders in developing a marketing plan and finding audiences for their film. 

Brazilian film-maker Marina Meliande, whose feature A alegria/The Joy screened in the festival in 2010, is thrilled that her film could be seen by wider audiences, both in her home country and the rest of the world. 

“We don’t make arthouse films not to be seen. We need to find audiences – to screen to the right audiences.” 

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