Film Buyers: How Indie Films Get Sold and Distributed

When you watch an indie film on Netflix or discover a foreign drama at your local cinema, someone called a film buyer, a professional who acquires rights to distribute films for platforms or theaters. Also known as acquisitions executive, it plays a critical role in deciding which stories reach audiences beyond film festivals. These aren’t just gatekeepers—they’re matchmakers between creators and viewers, and their decisions shape what gets seen worldwide.

Film buyers work at companies like Netflix, Amazon, Hulu, and specialty distributors like A24 or Neon. They attend markets like the American Film Market (AFM) and Cannes, where hundreds of films are pitched in just a few days. What do they look for? Not just good stories—they want films with clear audiences, strong festival buzz, and realistic marketing potential. A film might win awards, but if no one knows how to sell it, buyers walk away. That’s why sales agents, who represent filmmakers at these markets, are so important. They know what buyers need: clear genre labels, comparable titles, and a plan for how the film will stand out in a crowded streaming landscape.

Film buyers also care about rights. They don’t just buy a movie—they buy the right to stream it in certain countries, release it on DVD, or license it to TV networks. A film might sell for North America but not Asia, or only for SVOD (subscription video on demand), not theatrical. That’s why slate financing and catalog sales are growing: producers bundle multiple films to spread risk and make portfolios more attractive to buyers. Meanwhile, the rise of virtual festivals and hybrid releases means buyers are watching more films online than ever, often before they even hit a red carpet.

For indie filmmakers, understanding film buyers isn’t optional—it’s survival. You can make a brilliant movie, but if you don’t know how to pitch it, who to talk to, or when to show it, it might disappear into the noise. The posts below show real strategies: how to get noticed at markets, what streaming platforms really want, how sales agents close deals, and why some films sell for millions while others never find a home. These aren’t theories—they’re the steps filmmakers are using right now to get their work seen.