Indie Horror Filmmaking: Launching The Baby in the Basket amidst a difficult environment

      Flickering Myth’s initial venture into filmmaking is making its way into the world, but the challenges of the indie film scene are significant…

      In case you haven’t already heard enough about Flickering Myth’s first attempt at filmmaking, our film The Baby in the Basket has officially premiered, starting with its cinema release in the Philippines last week, followed by streaming and physical releases in the UK and US on February 17th. More releases will certainly follow. We’ve previously shared the journey of transforming this concept (development) into production, and since our last update (pre-production), we have filmed, edited, and secured distribution for the movie.

      Production in brief

      After navigating a tough crowdfunding campaign and various issues before shooting, we finally brought our skilled cast in front of the camera. During production, the cast and crew faced an actual storm, which, while theoretically could have added some value, ultimately stretched our budget even thinner.

      This is a common reality for nearly every film production. We could have benefited from more time and significantly more funds. If a $250 million Disney blockbuster can look like it’s making compromises, it’s inevitable that a film with a budget less than a major studio's catering costs would also feel the strain.

      Fortunately, despite all the compromises and reshoots, the shoot itself went smoothly. It appeared that the cast gave strong performances and the crew captured some excellent footage, but the true outcome won’t be clear until editing is complete.

      Post-shooting typically leads to a lengthy and demanding post-production phase. Although the film doesn't rely heavily on visual effects, the process was still time-consuming. Things may not always turn out as envisioned, and if even Disney encounters disappointing moments despite their enormous budgets, then working on a limited budget can be immensely more challenging.

      Still, we were particularly satisfied with the impressive color grading (which complemented Andy Crane’s outstanding cinematography and a fantastic location) and sound mix, along with a great 40s-inspired score from Christopher Belsey. After completing the final cut, we were thrilled to find that the cast was uniformly exceptional.

      Distribution in a Declining Market

      Now that we have a finished film ready to be viewed, we enter a phase where expectations (oh, we’ll make millions) are higher than reality, as the film industry is in a precarious state (let’s temper those million-dollar dreams). Across the board, from high-budget to low-budget films, significant issues persist. Many films simply aren't generating revenue. Various factors contribute to this, with the streaming model being a notable one.

      For independent filmmakers with budgets below $5 million, and especially for those working with smaller budgets, the opportunities for distribution have never been greater, but this saturation has made it challenging to achieve financial returns. Moreover, it requires a bit of luck to attract enough attention to generate interest so that people will actually watch the film. Sometimes, the algorithm works against you or barely acknowledges your presence, despite your hard work.

      The core issue remains how little the major streaming platforms actually compensate filmmakers. For most indie filmmakers, Netflix is virtually inaccessible. Unless you have connections with key executives or individuals in acquisitions, their increasing focus on original content means they’re less inclined to consider smaller films, let alone buy them to display the Netflix logo. Even in the rare case that they do, if your film doesn’t feature major stars like Dwayne Johnson, the compensation is minimal.

      Physical media is somewhat irrelevant. While it still exists, in almost all but a few (very mainstream) instances, investing in it is akin to throwing money away. We’re fortunate to have a DVD release for The Baby in the Basket, but it feels more like a satisfying extra than a source of substantial revenue.

      The initial phase of rental or purchase on streaming platforms (known as transactional video on demand/TVOD) could potentially offer a decent return if the film performs exceptionally well. Following that, you have subscription placements, such as being featured on Prime Video. Or you might find options in AVOD (advertising video on demand, such as Tubi). It’s in the AVOD space where you’re likely to reach your largest audience numbers, but the payment received per stream from platforms to distributors is minimal. By the time that payment is processed through the distributor and potentially a sales agent (among others), filmmakers are left puzzled as to when any revenue might appear.

      The lack of a lucrative earnings potential also diminishes the appeal of investing in films, leaving filmmakers struggling to even initiate production. We were fortunate enough to secure a few investors along with a successful Kickstarter campaign (which becomes increasingly difficult as the cost of living crisis worsens). External factors such as strikes and natural disasters also disrupt production and delay schedules, affecting even distant locations like Europe.

      This situation represents a problematic business model heading towards a dead end because if filmmakers lack the funds to create films, there won’t be any content produced. Moreover,