Inside the Selection Room: Selection is Subjective

What really happens after you submit your film to a festival? Why do some great films get rejected, while others that seem less polished make the cut? We spoke with Kris De Meester, an experienced curator behind multiple international film festivals, to lift the veil on the selection process and offer honest, practical guidance to filmmakers navigating the world of festival submissions

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Q: Let’s start with the big one—are submissions actually being watched?

Kris De Meester: Yes. At least in the festivals I curate, every single submission is being watched. I know that’s not the case everywhere. Some of the big names—without naming names—have massive submission numbers, tens of thousands of entries, and they reserve 90% of their spots for big names or industry contacts. So yes, your film might be competing for one of just a handful of open slots. But in our case? Everything is looked at. We don’t pre-fill the lineup with friends or agencies. Our selections are made from the submissions.

That’s the thing—there’s no universal “best” film. Selection is subjective

Q: So what does a film really need to stand out?

De Meester: That’s the thing—there’s no universal “best” film. Selection is subjective. It’s not about ticking boxes or winning some abstract contest. Curating is like composing a playlist. Or cooking a menu. You’re balancing tone, length, intensity, politics, humor. You’re thinking of the audience’s attention span. Of what fits together. Sometimes an incredibly powerful film doesn’t get in—not because it isn’t good—but because it throws off the rhythm of the program.

Q: Can you walk us through the selection process itself? How do you go from 2,000 submissions to just 50 selections?

De Meester: It starts with a tasting session. I don’t start by watching every film from start to finish in one go—that would be inefficient and, honestly, a disservice to the films. The goal at that stage isn’t to judge what’s 'best', but to get a strong first impression—enough to understand the tone, the pacing, the cinematic voice. I’m not here to grade papers. I’m curating an experience for the audience, and that starts with identifying the films that might contribute to that. I start by sampling: watching random scenes, skimming through the film, reading the synopsis, checking the stills and the poster. From this, I create a ‘maybe’ batch—films that show some promise or intrigue.

Then I go deeper. I re-watch those films from the ‘maybe’ pile with more attention and critical focus. That narrows things down to around 100 contenders. The final step is where it gets even more strategic: I look at runtime, general appeal, locality, and the quality of the artwork. Before locking in the final selection, I also screen the shortlisted films on the big screen in our company’s private 26-seat movie theatre. This changes everything—some films that worked well on a laptop fall flat in a cinematic setting, while others unexpectedly come alive. It's the best way to make a confident, audience-minded choice. A brilliant film that’s too long, or that won’t resonate with our audience, might lose out to a shorter film that fits better within the flow of the program. Curation is not just evaluation—it’s orchestration.

Q: Are there any red flags when it comes to choosing where to submit?

De Meester: Yes. If you can't find past selections on a festival's website or anywhere else, think twice. It might be a scam, or a vanity operation. Legitimate festivals proudly show their past work. Look at those selections—do you see yourself there? Are they showing student work, social docs, experimental hybrids, slick narrative shorts? That’s your compass.

Q: Let’s talk about runtime. How big of a deal is duration, really?

De Meester: Huge. Probably one of the most underestimated factors. A 30-minute film has to justify taking up a lot more space in the lineup. A 6-minute short can slip into almost any block. I once had a Canadian filmmaker email me asking if his 4-hour feature would stand any chance in the Brussels Independent Film Festival. In theory, sure. But I told him honestly—not likely. It’s almost impossible to program a film like that. Months later, I’m working through the selection and I stumble upon this 4-hour monster. I remember muttering, “Seriously?”

I clicked play out of some guilt or curiosity. At first, I was barely watching. But then… it started to work on me. The quality, the confidence, the pace. I watched more. I rewatched sections. I couldn’t shake it. It ended up being selected. We screened it with a 10-minute toilet break. The film won Best Film that year. So yes, runtime matters—but if your film demands that time and earns it, exceptions can happen.

Q: That’s a great story. So aside from runtime, what makes a submission easier to program?

De Meester: Honestly? Make life easy for the selection team. Include a clear synopsis. Upload a few strong stills—don't just give us one blurry frame. Don’t make us chase basic info. We’re not responsible for how your film gets presented. Also, always subtitle your film in English—even if the dialogue is already in English. Burn them in. Don’t rely on separate SRT files that might get lost or load wrong. Subtitles are a gift to your international audience.

Q: Should filmmakers try to tailor their submissions regionally? Think local?

De Meester: If your film connects to the place the festival is in, that can help. If you're from the city or region, even more. Why? Because local filmmakers bring their friends, family, press. It builds buzz. We don’t program for that reason alone, of course—but it helps. That said, don't fake it. Don’t pretend your LA-shot short is “universal” because you threw in a character named Luca. Just be authentic.

Q: What’s the worst mistake filmmakers make when submitting?

De Meester: Thinking their film will speak for itself. I get it—it’s art, it’s personal. But festivals are also logistical machines. We’re planning Q&As, tech runs, press kits, print deadlines. If you don’t subtitle, don’t add stills, send dodgy links, write one-word synopses—it’s like showing up to a job interview in pajamas. You might still get the job, but the odds just dropped dramatically.

Q: What’s your last piece of advice for someone trying to break into the festival circuit?

De Meester: Don’t chase prestige blindly. You’re better off screening at a respected, well-run mid-tier festival that supports your work and screens it well, than being one of 10,000 ignored submissions to a top-tier fest where you don’t fit. Festivals are communities. Look for the ones that speak your language. And be generous. Watch the other films. Make connections. That’s the real prize.

The truth is: behind every curation lies intention, limitation, and care. It's not about “winning”—it’s about connection. And when filmmakers approach the process with empathy and professionalism, the rewards are often much greater than just selection.