Monday, September 1st, 2025

Rejection Doesn’t Mean You’re Not Good Enough

It’s that time of year for us at NFF – filmmaker notifications. Just a week or so ago we reached out to the hundreds and hundreds of people who had submitted a film to us this year to let them know if they had been accepted into our Official Selection or not. It’s hard for us, but we know it’s hard for you too.

You’ve made your film. You’ve put yourself out there. You’ve hit submit and paid the fee. And then one day – maybe months later – the email lands: “Thank you for your submission… unfortunately…”

It stings. We know it does.

But rejection from a film festival doesn’t mean you’re not talented. It doesn’t mean your work isn’t worthy. And it certainly doesn’t mean you should stop making films. Here’s what we wish more filmmakers knew about the other side of the submission process – and why ‘no’ isn’t the end of the road.

It’s Not Always About Quality

Let’s start with the obvious truth: great films get rejected all the time. Films that moved us, made us laugh, made us think. Sometimes we simply don’t have room. Other times, a film doesn’t quite fit thematically with the programme we’re building that year. And occasionally, we receive multiple excellent films that are just too similar in subject matter, tone, or length.

This isn’t unique to us. As one programmer wrote in Stage32: “Festivals will always send out a rejection letter saying so many amazing films couldn’t fit… None of which had anything to do with the overall quality of the work.”

We’ve had years where we wished we could build two or three festivals just to accommodate the calibre of work. But when you’ve only got 90 minutes per screening and hundreds of films to consider, tough decisions have to be made.

The Behind-the-Scenes Complexity

Film programming isn’t a competition where the best film wins. It’s a curation of multiple artistic creations for an unknown varied audience – a careful balancing act of tone, theme, pacing, and diversity. A brilliant 25-minute film might be edged out by a brilliant 5-minute film simply because it’s easier to programme.

We also aim to reflect a wide range of voices and styles. That means making space for different genres, formats, countries, perspectives. If we’ve already accepted three strong dramas about grief, a fourth – no matter how excellent – might not make it.

At Norwich Film Festival, each film is watched by at least three or four people, including members of our executive team. Films are discussed, debated, re-watched. Our team includes filmmakers, programmers, critics, and ordinary film lovers from all walks of life. The process takes months.

So when you get a no, know that your film wasn’t dismissed or ignored. It was considered, and someone likely championed it, even if it didn’t make the final list.

Even the Pros Get Rejected

You’re not alone. Rejection is a rite of passage for almost every filmmaker – from students to Oscar winners.

Indie filmmaker Kelly Pope shared in Forbes that she received more than 20 festival rejections before her documentary All the Queen’s Horses found success: “Those rejections taught me all about resilience.”

Quentin Tarantino, before launching his career with Reservoir Dogs, famously received a brutal rejection from a Hollywood agent: “How dare you send me this fing piece of s…” He kept going.

As filmmaker and festival expert Jason Tostevin wrote in FilmFreeway’s BetterFesting blog: “Congratulations – you’ve been rejected! How you react to rejection can either accelerate your successes or wreck your fest run.”

These stories aren’t rare. They’re normal. And they underline something we wish every submitter understood: rejection says more about our current needs than your ability.

What You Can Do With a ‘No’

The most important thing is to keep going. But beyond that, take the opportunity to reflect. Ask yourself:

Is this the right festival for my film?

Am I telling a story that needs a specific audience?

Could I re-edit or reposition it for a different strand?

And above all: do your research. Read up on each festival’s past selections. Follow their social media. Get a feel for their tone and values.

As we said in a recent blog: finding the right fit for your film is far more valuable than submitting to hundreds at random. Tailored submissions are strategic submissions.

Final Thoughts

We get it. It hurts. You’ve worked hard. You want your story to be seen.

But rejection isn’t a verdict on your worth. It’s part of the process – frustrating, yes, but also clarifying. Because when a door closes, it can force you to look for a better one.

The films we’ve loved most over the years – the ones that made us laugh or cry or sit in stunned silence – weren’t always the slickest or most expensive. They were the ones with something to say, and the passion to say it well.

So if your film doesn’t get selected, let it sting. Then get back to work.

We’re rooting for you.

Want more programming insights? Browse our latest blogs at norwichfilmfestival.co.uk/blog.

And if you found this helpful, share it with another filmmaker. The better informed we all are, the stronger the work gets.

See you on the circuit.

Submissions to NFF2025 are currently closed.

Posted in: Advice