When you watch a movie on film distribution platforms, the digital and physical channels that get movies from studios to viewers. Also known as movie release channels, these platforms now control everything—from when a film drops to who sees it first. Ten years ago, you waited for a theater release, then a DVD, then maybe a streaming service. Today, the path is messy, fast, and fragmented. A movie might premiere on Netflix, then show up on Pluto TV six months later, while a distributor in Japan licenses it for a theater run in Tokyo. It’s not about where the film was made—it’s about who owns the rights to show it, where, and when.
Behind every film you stream or see in a theater is a web of AVOD, ad-supported video on demand services that let viewers watch for free, supported by ads and FAST, free ad-supported television channels that stream linear content like cable TV. These aren’t side gigs—they’re major revenue streams. Studios now earn millions from old films sitting in their vaults, simply by putting them on Tubi, The Roku Channel, or Crackle. Meanwhile, streaming rights, the legal agreements that let platforms like Disney+ or Apple TV+ lock down exclusive films have become more valuable than box office numbers. A $50 million film might earn less in theaters than it does in its first year on a single streaming deal. And it’s not just Hollywood—international film distributors, companies like MUBI, Janus Films, and Curzon Artificial Eye that specialize in bringing global cinema to local audiences are quietly shaping what we think of as "art house" or "foreign" film by deciding which ones get seen where.
It’s not just about money. Distribution platforms shape culture. When a film is locked to one service, you’re forced to choose: pay for another subscription, or miss it. When a small indie film lands on a platform like MUBI, it finds an audience that never would’ve walked into a theater. When a horror movie skips theaters entirely and drops on Shudder, it builds a cult following before anyone even talks about it. The old model—wide release, then home video, then TV—doesn’t exist anymore. Today, films are born into a patchwork of deals, rights, and platforms. What you see isn’t random. It’s the result of contracts, budgets, and strategy. Below, you’ll find real stories from filmmakers, distributors, and studios breaking down how this system actually works—what succeeds, what fails, and who’s really calling the shots.
Platforms like Filmhub let indie filmmakers bypass traditional studios and sell their movies directly to audiences on Apple, Google, and Roku. Learn how to choose the right platform, avoid common mistakes, and start earning from your film.