This year at the London Short Film Festival, we took the opportunity to host a ‘town hall’ style meeting where we invited both filmmakers and festival programmers/directors to come together for a frank discussion about the film festival experience.

While the film industry still isn’t equal for women, I’m looking at the positive changes that have been made in the industry — and I found a wonderful connection.

Are programmes specifically screening the work of female filmmakers antiquated or important? And do we need dedicated programmes to focus on women’s stories? I reached out to a mix of female filmmakers, festival organisers, and others in the industry to see what they think.

Clermont-Ferrand International Short Film Festival is a rare event on the worldwide festival circuit that is as much for filmmakers as it is short film festival directors and programmers. It’s an annual hub of a global community that comes together each year on the Short Film Market, and we on the Festival Formula team were once again delighted to play our part.

Sometime last year the news broke that the celebrated short film festival held annually in the French town of Clermont-Ferrand was in trouble. One of the major funders of the festival announced a surprise 50% cut in their subsidy for the 2023 edition - that had already taken place.

So why exactly are short films important? We asked our new friends attending the Clermont-Ferrand International Short Film Festival to find out their points of view.

To wrap up 2023, we reached out to some of our friends across the industry to find out about their most memorable short films and we’re excited to present the official list here for you today.

In the realm of filmmaking, the advent of mobile technology has revolutionized the way stories are told and visual narratives are crafted.

Smartphones have changed how we make and consume media in our daily lives. But how have they impacted areas of the film industry?

Elke Sasse is a filmmaker whose titles include THE CORONA DIARIES, THE WAR ON MY PHONE, and #MYESCAPE - all three documentaries focus on footage shot by real people, taken on their mobile phones.

If you’re as old as I am, you’ll remember the advent of the digital democratisation of filmmaking. That was when, up to that point, only the Gods on Mount Olympus could possibly make films as they were the only ones with access to the filmmaking equipment required to do so. Now, we have all been bestowed the power of the Gods.

With a good story, science fiction, much like horror and fantasy, is a genre that has the capacity to transcend film festival programmes and find multiple homes online when the festival run is over.

You don’t need a budget when you’ve got a beach ball with legs - and other lessons from bargain science fiction films from history.

Speaking to some of our clients (Mike Keaby // The Problem With Time Travel, Heather McQ // A Positive Contribution, Francis Tamburin // IRIS, and Ian Sweeney // Time Tourists) sci-fi scriptwriters are societies modern revolutionaries preparing their audiences with what the future entails. But how do we make it entertaining?

Nurturing the documentarians of tomorrow, filmmaker and LA Times Short Docs curator Nani Sahra Walker shares her wisdom and experiences.

How does the filmmaker and audience interpret documentaries? We ask feature doc filmmaker Riccardo Servini and Oscar-winner Ben Proudfoot.

Academic and short filmmaker Sharon Ryba-Khan shares the importance of audience education in a consumerist world.

Networking these days isn’t just about working a room, it’s also getting the most out of online opportunities too.

You’ve got fresh business cards and you’re ready to mix it up with some filmmakers - where do you go?

Connecting to other filmmakers is paramount on every filmmaker’s journey - but how do you do it?