Coming soon: SampoMedia reports

Borrowed TimeSampomedia has spent the last six weeks on the road at events from Montreal to  Brussels to Zagreb, examining new models and leading workshops and events.

We are now preparing to share the findings of that work in a series of reports, which will be available in the weeks around this year’s Cannes Film Festival.

We are also able to offer the benefits of our research and analysis through our own workshops, or at your festival or event. Contact us for details.

Our previous in-depth free reports, including evauations of the innovative releases of  A Field In England, A Late Quartet, and What Maisie Knew.

The new Insight reports, supported by the British Film Institute, include Borrowed Time (pictured above) and Nymphomaniac.

Borrowed Time is a low-budget UK film, whose ‘direct distribution’ release was both crowdfunded and featured the first use of US cinema-on-demand service Tugg in the UK.

Direct distribution is a term that describes a release model in which the producer retains the core rights, and buys in expertise for specialist tasks, such as cinema booking and marketing. It explores the possibility that distribution might become a set of services paid for through fees, rather than the primary rights holder.

The Borrowed Time report will offer a candid and transparent producer’s view of this emerging model in practice.

The Nymphomaniac report looks at Curzon Film World’s one-night-only ‘event cinema’ release of both volumes of Lars Von Trier’s controversial film in the UK. It looks at the performance data and audience response to what might become an important release model for independent film.

Another new report from SampoMedia, to be released shortly, takes a look at audience sentiment about new Video On Demand (VOD) release models, including Premium VOD (in which a film is released day-and-date on VOD and in theatres), and Ultra VOD (in which a film is released first in cinemas).

The report is based on four focus groups in the UK, two in metropolitan centres and two in rural areas, without access to an arthouse cinema. The result offer a useful insight into how consumers are thinking about new models, and particularly the relationship between theatres and film in an on-demand age.

Finally, will serialise a report by Michael Gubbins – Audience In The Mind – supported by Cine Regio and sponsored by the Film Fonds Wien (Vienna Film Fund) and Filmregion Stockholm-Malardalen.

It looks at changing patterns of audience behaviour and the impact they are having now – and might have in future – on an evolving film industry.

If you want to speak to Michael Gubbins or Peter Buckingham at Cannes, email

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