Learn about how Sacrebleu, a leading independent production / distribution company, relies on festivals for generating exposure and market awareness for short and feature films, taken from an interview by Chris Donahue, film and TV professor at SCAD and Academy Award and Emmy Award-winning producer, during a Master Class at the recent SCAD Animation Festival in Lacoste, France.
For Gints Zilbalodis’ animated feature, Flow, its improbably Oscar win this past March capped an incredible award-season run filled with multiple nominations and honors. The long path to success was greatly aided by a succession of film festival selections, screenings, and honors that included wins at Annecy and Ottawa. For one of the independent film’s production companies and distributors, Sacrebleu Productions, selling the film into theaters and onto streamers has continued from almost a year.
In an interview shared with AWN, Luigi Loy, Sacrebleu’s distribution manager, discussed how he relies on festivals for generating exposure and market awareness for the company’s short and feature films, and how Flow successfully took advantage of this strategy. Chris Donahue, film and TV professor at SCAD and Academy Award and Emmy Award-winning producer, spoke to Loy during a Master Class at the SCAD Animation Festival, Lacoste, France on April 5, 2025.
Chris Donahue: Why don't you tell us a little about your background and how you ended up in distribution?
Luigi Loy: I did studies in finance for 5 years at university and if someone had told me back then that I would end up in cinema, I wouldn't have believed them. After completing my finance studies, I did an internship and didn't enjoy it, at all. So, I thought, “I like cinema, why not try working in that industry?” I went back to university and completed a one-year program in the economics of cinema at the Sorbonne in Paris. Then I did an internship at Sacrebleu, the company that produced Flow, and I was very fortunate they kept me.
CD: Seneca, the Roman philosopher, says luck happens when opportunity meets preparation. You took advantage of an internship opportunity. Internships often lead to jobs or at least long-term relationships.
LL: Yes, internships are really important. In France, they're a mandatory part of our studies. They're helpful because you can discover different jobs and determine if you like them. Internships are incredibly valuable for your career. The next step after completing an internship is maintaining relationships with those companies and mentors. When you hear about a new movie being released by a company where you interned, send them an email to congratulate them - without asking for anything. I still have friends from internships who are now my co-workers.
CD: Can you talk a little about your current job at Sacrebleu as manager of distribution? Is there such a thing as a typical day?
LL: Sacrebleu produces animated shorts and feature films. There are different ways of distributing them, but our main goal remains the same: ensure as many people as possible see them. As an independent, small company, festivals are very important because that's where people discover our films. That's where they hear about them for the first time. Festivals are crucial because we're not a huge brand, our marketing budgets are smaller, but at festivals, people are like birds swirling around a film, and then they fly away to spread the word. That's the first step.
For us at Sacrebleu, we follow a consistent strategy: first Cannes, then Annecy, then Toronto, followed by many other festivals. It can be tricky though - if your film isn't selected for Cannes but is selected for Annecy, you can't go to Venice because Venice requires premieres. You really need to think carefully before submitting and strategize your festival approach. Showcasing your film at festivals is crucial.
CD: Flow has amazed audiences throughout the world, won countless film festivals and prestigious awards and Latvian director Gints Zilbalodis will now always be introduced as Academy Award-winning director Gints Zilbalodis. But as we know, there is no such thing as an overnight success. Can you share a bit about the movie’s origin story?
LL: Flow began as an idea in 2012. It started as a short film concept about a cat afraid of the ocean. The short film called Aqua with a similar story was released in 2012. It didn't make many festival appearances - it was smaller in scope - but it was the first iteration of the idea. It helped tremendously with developing Flow. At Sacrebleu, when we first discussed the feature, Gints sent us the short so we could see what the story was about and how he wanted to tell it. It was like a first sketch of the film and very useful for us. We already knew him and his work through the film festival circuit.
CD: Let’s talk more about film festivals and short films. How important are festivals?
LL: Festivals are very important for short films. Unlike feature films, which can still find audiences through theatrical release, festivals are where people will see your short films. In France, Clermont-Ferrand is the biggest short film festival - it's like the Cannes of short films. For animation specifically, Annecy is very important, especially for student short films. There's a special competition at Annecy for students, and many producers and distributors attend to discover emerging talent. Some even approach students directly to distribute their shorts or discuss future projects. As a director and producer, getting your film into festivals should be your main goal.
CD: It's easier said than done to get a film into a festival. Let's talk about strategy - how do you get a film into a festival and build those relationships?
LL: Many people on festival selection committees check social media for new talent. They are on the lookout for directors sharing drawings or parts of their films. Create a trailer that you can post on social media platforms like YouTube or TikTok without revealing the entire film. It generates excitement, with many likes and shares, that's also beneficial for festival submissions. You can tell festivals, “Look at my social media - everyone is excited about my film,” which might help your chances of selection.
They make note of these creators so that when they submit films, the committee members remember seeing their work and pay closer attention. For animators, you simply have to try - submit your film. Some festivals will reject it, others will accept it. Build relationships at festivals. Volunteer at festivals.
What's beneficial for student shorts is that festival premiere requirements are often more flexible. You can premiere at smaller festivals before submitting to Annecy. This is advantageous because you can tell Annecy your film has already been selected for two or three festivals, which signals quality and prompts them to take a closer look.
CD: The theatrical and festival run of Flow is ending one year after the film premiered at Cannes. How did your team coordinate the global release schedule?
LL: The UK was the last country to release Flow just a couple weeks ago. The theatrical run for the film lasted almost 10 months since it was released in Latvia, the director's native country, at the end of August. In France, we initially positioned it as an independent film that appeared at Cannes, targeting people who often go to cinema. The French box office has just returned to pre-COVID levels. In the UK, they marketed it as a family film that everyone can enjoy. These are two different communication approaches, but ultimately, we all have the same goal: ensuring the film is seen by as many people as possible. As producers, we engage and pay attention to releases in all countries.
CD: After winning close to 70 awards and receiving so many accolades, how big was it receiving Oscar recognition for the film?
LL: The timing was perfect. It occurred 2 or 3 days before the Blu-Ray and DVD release, and we were able put little Oscar stickers on the packaging.
Chris Donahue is a film and TV professor at SCAD and Academy Award and Emmy Award-winning producer.
