Awards Season: Strategies and Insights for Success – Zurich Summit
As awards season ramps up, a panel of industry veterans and marketing experts convened at the Zurich Summit to share their insights on navigating this pivotal time in the film calendar. According to Jonathan Rutter, Director of Film at PremierPR, the landscape of awards campaigning has evolved significantly since the early days. In his perspective, awards campaigning has transformed into a major driving force for film releases from September to February. He noted the seismic shift in how campaigns are structured, stating that what used to be a simple launch period has expanded into a complex strategy aimed at maintaining viewer interest all the way through to the Oscars.
The 97th Academy Awards will see final ballots submitted by February 18, 2025, ahead of the ceremony scheduled for March 2. Rutter observed that the extended timeline demands relentless creativity to sustain editorial interest for months after a film’s release: “You’re now looking at three to four months of strategizing in order to keep the buzz alive.”
Tolley Shields, a publicity and marketing consultant with experience on campaigns for critically acclaimed titles, emphasized the delicate balance filmmakers must strike between creating initial excitement at film festivals and sustaining that momentum. She particularly highlighted the challenges faced by films debuting at the Cannes Film Festival in May, referencing notable past winners like The Zone of Interest. Shields advised filmmakers intending to follow the Cannes premiere with additional festival showings to be cautious: “If you premiere in Cannes, you need to hold back for subsequent festivals like Toronto and Telluride, as they select only films that haven’t been overly showcased prior.”
Danish producer Kim Magnusson noted the increasing globalization of the awards circuit, thanks to the Academy’s push for a more diverse membership. He pointed out that, unlike 25 years ago when campaigns were largely L.A.-centric, today’s campaigns must resonate with a more varied and international voting body. This change has prompted campaigns to cater to European and global audiences more effectively.
The discussion also touched on the evolving nature of awards budgets. Shields explained that while substantial budgets can help, they are not the sole determinants of success. She cautioned against campaigns that overwhelm potential voters: “Voters have become quite discerning. A campaign that’s excessively loud or flashy can backfire and alienate audiences.” She emphasized that effective spending is all about strategy and impact.
Moving forward, many filmmakers without the budget for elaborate travel have turned to virtual events, a legacy of pandemic-era innovation. Tomassini pointed out that these digital conversations provide ongoing visibility and engagement. Moreover, non-U.S. awards, like the BAFTAs and Goyas, can create significant buzz for films in the lead-up to the Oscars.
Shifting gears, the panelists discussed the rising prominence of the Best International Feature Film category, with approximately 85 non-English films aiming for this prestigious award. Shields articulated that even films that might not secure a nomination can benefit from campaigns that bring attention and recognition within the industry, thus widening their reach.
Rutter highlighted that Academy voters must watch around 10 to 12 films in the Best International category, suggesting that while visibility plays a role, a standout film can emerge based purely on its own merits. Magnusson shared that Denmark has long capitalized on this trend by announcing a shortlist of three films for submission, which elevates those films’ profiles heading into fall festivals.
In summary, awards season has become an intricate tapestry woven from strategic campaigning, global audience engagement, and the art of timing—all essential components for filmmakers looking to navigate this competitive landscape successfully.