Guest Post by Heidi Philipsen 

Picture it: The University of Michigan, Ann Arbor, Fall semester in 1991. I was an omnipotent-feeling Gen X undergraduate student more interested in my independent “Film & Theater” concentration than I was in dating and, therefore, not too impressed when a fellow student out of New York said to me, “Come here. I want to show you something.” What sounded like a pathetic come-on to me was actually the real deal: a little thing called “The Internet.” “Blip on the screen,” I thought to myself.

Fast forward several decades later. That guy is now probably a multi-millionaire, funding films like mine for fun from all the money he made in Silicon Valley. And this older, wiser Gen X female filmmaker now bites her tongue when it comes to passing judgement on new paradigms too quickly.

Enter Blockchain film financing and distribution. The 2018 Cannes Film Market was all about various Blockchain business models and how the technology is going to turn the entertainment industry on its head. A significant proportion of the discussions at the market conference panels focused on the Blockchain market to eager audiences packed with financiers, filmmakers, and distributors.

Remembering full well the life of indie filmmaking before the Internet, I had my own reasons for hope. As an independent filmmaker frustrated over a lack of transparency and control from one index of the industry (film finance) to another (distribution), I’m all for any innovation that empowers filmmakers across the filmmaking food chain. Let’s face it: the current model is not not exactly serving women in film and television to the fullest capacity.

But what, exactly, is Blockchain? How does it work? And how will it serve female filmmakers in their efforts to be fairly represented in the film and entertainment industry? I reached out to three women — a fellow, millennial filmmaker, a seasoned women’s film online distributor, and an international Blockchain company representative — for their take on this new movement and whether it’s here to stay or just another “blip on the screen.”

Stephanie Palacino, writer, director, producer, “Drowning in Sunshine”:
The Blockchain, in its most basic form, is a public ledger. Information can be passed from one address to another and that information is unchangeable, with everyone on the Blockchain being able to see these movements. At the moment, the most popular form of movement is cryptocurrencies such as Bitcoin.

As the records in The Blockchain are unchangeable, no one can replicate, duplicate, or edit the information. This is, of course, a boon for transparency in any industry — which is why some companies seem so keen to spread their Blockchain capabilities to law, medicine, and numerous other record-heavy industries.

In terms of copyright, The Blockchain makes it possible to see who put what where, first, an excellent capability — but as a distribution model? Many — but not all — of these start-ups seem to want filmmakers to throw their work on their site and then ask potential watchers to buy a “token” to access their work. But there is no larger audience waiting or amazing untapped revenue streams. Many of these so-called Blockchain revolutionaries are just asking filmmakers to self-market and promote their “tokens” on the Blockchain.

Adriana Shaw, Founder & President, HERFLIX:
Theoretically, Blockchain technology will help the filmmaker/producer avoid the “middleman” distributor, and control her content’s destiny by opening up access to the hundreds of millions of viewers worldwide accessing this technology and owning the cryptocurrency that will pay for views.

My experience is that filmmakers think they want that control, but it is often a daunting job after years of financing, developing, and shooting their work. I see the potential, but I also see the need for a partner — perhaps more accessible partners than the current system allows — but a manager is still needed.

Presently, 26 million Americans own cryptocurrency, and only 4.27 percent are women. Will many women sign on to this technology? Will more women-produced and -directed films get financed? Will more stories of women get told because of Blockchain? Yes, if — and that’s an if — women become investors in cryptocurrencies and utilize Blockchain technology. The good news is more millennials than baby boomers have invested, so it’s the future.

Meanwhile, if you have a movie ready for distribution today, best to try the traditional avenues first. But keep your eyes on the Blockchain. It’s coming. And cross your fingers that women will sign on. That will be change for the good.

Evgenia Borisova, Cinezen Blockchained Entertainment AB:
In the current model of VOD-distribution, most of the films languish in a mass grave where nobody sees them and they generate virtually zero income. We’d like to create not one store, but a virtual shopping-mall with a lot of video stores managed by independent third-parties.

Any individual or organization will be able to start their own unique store and manage their own collections. In this decentralized marketplace, every film can be featured at any number of stores for many different reasons. This is the option to unite women, directors, producers, journalists — those with a good knowledge of films and an interest in them — and to make a strong and unique community that help make, distribute, and promote the movies.

Whether or not you are aware or care about Blockchain, it’s here and — like the Internet — I believe that it is here to stay. The reel question is whether or not women in the industry will harness and make their mark in its development, or sit back and wait to see how the model develops. I, for one, have already learned from my previous Gen X mistakes — I’m jumping on board with eyes wide open and surfing this wave wherever it will take my movies.

Heidi Elizabeth Philipsen Meissner is a producer, writer, actress, and director with 25 years of professional experience in international film, theater, television, and communications. Her production company’s (Personae Entertainment) first feature film, “Darcy,” is currently traveling the film festival circuit. Philipsen Meissner has written for The Berlin Journal (Founding Managing Editor), Die Welt, All Movie Guide, The New York Times, Bitch Flicks, and many other outlets.  She is a member of the Producers Guild of America, SAG-AFTRA, AEA, the Alliance of Women Directors, Pro Quote Film, The Director’s List, WIFTI, Chicago WIFT, NYWIFT, and Founder and President Emeritus of UPWIFT. You can find her on Twitter @heidiphilipsen.