Micah Groenevelt Talks American Film Market

Each year, independent filmmakers flock to the American Film Market with their projects and pitches, hoping to secure a distribution deal—or at least forge useful contacts that will help them move forward. It can be overwhelming (to say the least), but if you do your homework and go in with reasonable expectations, AFM can be an enlightening and helpful experiences.

We spoke with Colorado-based filmmaker Micah Groenevelt, who is currently fundraising for his debut feature film Starfish, about his recent trip to AFM in November 2025. He shared some of his key takeaways from the market. (And check out the investing campaign for Starfish, linked here.)

15 Lessons from the American Film Market 2025

From guest contributer Micah Groenevelt

My producer and I have spent the last four months deep in the business side of the film industry. You’ve probably heard someone say, “It’s called the film business for a reason.” Most filmmakers focus almost entirely on production, but since we are searching for investment on our debut feature film, we wanted the strongest possible business plan and distribution strategy.

We ended up learning far more than expected in those four months. As we got on calls with Hollywood producers at various levels, we realized how much we didn’t know about how this industry has operated over the last decade and beyond. That led us to the annual American Film Market in Century City, Los Angeles.

We had no intention of striking a mediocre pre-sale or locking in a distribution deal for a film that isn’t finished. Our only goal was to understand how indie films are currently being evaluated, how distributors think, and what types of sales reps are out there. Half my time was spent in scheduled meetings with reps, filmmakers, and LA contacts, and the other half attending panels from established producers on subjects I knew I needed to learn.

These are the key insights we walked away with:

1. Stars don’t guarantee success. They serve as downside protection.

There have been several major box-office flops recently that included huge stars. This confirmed something my producer and I had been thinking for a long time: Audiences seem to care less about faces and names than they once did. A star still helps, but think of them more as momentum for financing or insurance against total failure, not a magic key to success.

2. Never change your financial ask after making it. Inconsistency scares investors.

Once you present a plan, stick to it. The moment you change numbers, even by a thousand dollars, people lose confidence. A shifting plan signals uncertainty and weakens your credibility.

3. Share documents openly with investors. Total transparency builds trust.

Openly share your projections, money in and out, decks, data, and updates. Many investors will never dig into the numbers, but the act of transparency makes them feel safe and respected. Clear communication keeps them aligned with your plan.

4. Always leave every meeting with three new contacts.

You never know who knows who. Even if a contact goes nowhere, the exponential growth of your network can open surprising doors. Think of the six-degrees-of-Kevin-Bacon idea. Someone might know someone with a wealthy uncle who has been looking for the right project. And of course, new friendships and new collaborators can come from anywhere.

5. Films made for the right budget and the right audience should make money.

This was one of the most valuable confirmations from AFM. Filmmakers who succeed think about distribution and marketing before production even begins. The biggest differentiator I saw at AFM was whether a filmmaker had a marketing plan. Smarter budgets reduce risk and increase creative freedom. As Robert Rodriguez says, you can solve problems by throwing money at it or by being creative.

6. Vertical dramas (soapy character-driven dramas) are selling extremely well right now.

It may be a temporary trend, but it is worth paying attention to. I haven't done a deep dive into this style of storytelling yet and, honestly, I probably won't go in very deep as it's not the modality for storytelling that I prefer. That said, it's always worth exploring new avenues for success and filmmaking and China is spending big bucks on them.

7. Make your film uniquely attractive to distributors. Give yourself negotiation power.

A practical example: In smaller territories, much of a distributor’s PnA (Prints and Advertising) money goes toward creating a language dub. You can negotiate better deals by offering an affordable pre-made dub.

8. Understand psychographics, not just demographics.

I foolishly had always thought only about age, gender, location, and maybe financial background when thinking about demographic marketing. Psychographics are about how people think, what they value, and why they behave the way they do. Understanding that mindset helps you tap into the communities most likely to embrace your story.

9. Consider a family-friendly TV edit for broadcast sales.

It might feel like a creative compromise, and you have to decide what is right for your film, but many broadcast channels will never consider a movie unless it has a version that can play on television. If removing a couple of F-bombs means more people can see your story, it may be worth considering.

10. Use Reddit early to test ideas, gather speculation, and build community.

Find out what elements of your story resonate, what people are talking about, and what sparks conversation. This helps build a loyal audience long before the film is finished. The Terrifier films’s early Reddit fandom is a great example. Marketing starts in early development.

11. Withhold footage until the timing is right. A first look is not a trailer.

Releasing material is like playing poker. Do not reveal your hand too early. Build suspense with strategic pieces: first looks, teaser glimpses, small reveals, and only then a trailer. The more you give away, the less people want. Momentum is everything, and timing matters.

12. For bigger-name actors, consider traveling to them to shoot.

Minimize friction. Many actors will consider working on a passion project, but that willingness increases dramatically if they do not have to travel. If your scene or schedule allows, consider going to them.

13. If you create content people genuinely want, the film will sell.

This may seem obvious, but many mediocre films still succeed because they tapped into something people wanted to watch. Ask yourself the hard questions: Is this story worth making? Are people excited about this? Am I excited to spend years with it? This last one is incredibly important: If you're going to make a film succeed, it's going to take years longer than you think. Producing the final film isn't the end of the job, you have to get it to audiences and make sure they're primed to receive it.

14. Foreign distributors should not be using YouTube. It cannibalizes the U.S. market.

Be extremely thorough about what a distributor plans to do with your film. Some distributors upload films online as part of their strategy, which essentially hands them worldwide rights without your awareness. Some producers are buying films outright to train AI models with zero intention of actually releasing the film. Protect your movie by understanding their release plan. When in doubt, hire an attorney.

15. Studios like NEON are buying fewer films and producing more in-house.

Many filmmakers dream of NEON or A24 picking up their finished movie. The reality is that these companies are acquiring far fewer indie films and are instead producing their own. Do not put your hopes solely on being discovered. Build your own strategy, talk to producers and EPs and get your own lay of the land.

Knowledge is power and the more tools in our belt as filmmakers will make the difference in how we help push forward this new generation of filmmaking. I'd love to hear what you agree, disagree, or have to add to this list. I'm still learning and doing my best to wade through the complicated aspects of this industry that I love so much and the aim is to never stop getting better every day.

Micah Groenevelt is an Emmy-nominated film director. Based out of Denver, he has owned and run his production company, RedMane Entertainment, for 8 years. A 2017 Colorado Film School graduate, Micah has directed acclaimed short films such as Sisters and Honey Bee, and garnered over a dozen awards. Known for his creative vision in fantasy and sci-fi, Micah takes on multiple roles in filmmaking, including directing, producing, editing, and delivery. Through RedMane, he produces high-quality content for both narrative films and commercial clients, establishing himself as a rising leader in the film industry with a focus on innovation and collaboration.