Make the record before making the claim
Finish this guide with two records: where and how your film has been shown, and the evidence supporting the permissions this submission requires. Do not tick “premiere requirements met” or “all rights cleared” first and look for support later.
If the full film is not public yet, pause new public releases while you check your targets. If it is already public, record that fact honestly. Premiere status and permissions are separate: a licence to use an asset does not preserve premiere eligibility, and meeting a premiere rule does not clear the assets.
Read the definition, not just the word “premiere”
World, international, national or regional, and online premieres can refer to different scopes. A call may separately restrict public availability, distribution, other festival appearances or completion dates. Record the edition, section, exact requirement and review date, then apply it to your actual history.
Two historical 2026 examples show why this matters. Cannes’ official Short Films in Competition conditions exclude films previously shown online. Astana AI Film Festival’s terms expressly accept public or unlisted YouTube links. The Cannes example illustrates a release restriction, not confirmation that an AI film is eligible for Cannes. Astana’s provision is not a rule for other festivals. See the Cannes conditions and Astana terms, section 5.
Record a public full film, trailer, excerpt, in-person screening and password-protected screener separately. Unlisted is different from password-protected; neither label automatically satisfies a particular call. Deleting a post or changing its visibility does not establish that it was never public. Keep the original dates and changes, and disclose them when asking the organiser.
Fictional example: a record that exposes the open questions
Everything below concerns the invented film Night Shift Signal. There is no real film, permission or organiser correspondence. These dates are practice facts, not evidence for your entry.
| Record | Fictional fact | Evidence or next action |
|---|---|---|
| Submission version | 04:00 including credits; edit v3 | Record export date and filename; log a later version separately |
| Public trailer | Thirty seconds posted publicly on 20 September; still available | Save URL, date and visibility; ask whether this section permits it |
| Complete screener | Shared with three collaborators behind a password on 22 September | Save access settings; do not describe this as “never shared” |
| In-person showing | Full film shown at a student society event on 25 September | Add venue, audience access, ticketing and programme evidence |
| Original music | Made by a collaborator who agreed verbally | Permission scope unconfirmed; obtain a written record |
| Fonts and assets | Font licence saved; one reference image has no known source | Check each permitted use; replace the unresolved image |
| Likeness, voice and tools | A real-person reference was used; consent and tool-plan records are missing | Document the specific consent and actual model, dates, plan and licence |
This record concludes “questions remain”, not “eligible” or “ineligible”. Replace each row with your own facts and a supporting file or email. Share only what the organiser needs to answer; private contracts and identity documents do not belong in a public record.
What does the submission agreement let others do?
Find the licence clause. Read the recipient, full-film or excerpt use, purposes, territory, duration, exclusivity, sublicensing, payment and withdrawal separately. A screening, a promotional edit, an archive and third-party distribution should not all be shortened to “promotion”.
For example, section 10 of Runway’s 2026 Film rules provides broad non-exclusive, perpetual, irrevocable and sublicensable rights at entry. Checking only obligations for winners would miss that clause. This is a reading example, not advice to accept or reject it. See the official Film rules.
Next check whether you can grant the requested uses. Review music, recordings, fonts, footage, artwork, brands, likenesses and voices individually. A collaborator’s permission to make a film may not cover the rights you are asked to grant. Keep the tool terms applicable to your actual plan, date and version. Runway’s commercial-use guidance allows commercial use of its generated content; it does not establish clearance of third-party inputs, references or the whole film.
Ask a question the organiser can answer
The Chinese and English enquiry templates ask for clarification; neither asserts that the film qualifies. Fill in your actual facts and retain the complete reply for the stated edition and section.
Subject: [Edition / section] — prior availability and permission scope
Hello, I am considering entering [title], version [number], running [time including credits]. Prior availability of the full film: [not previously shared, or dates, route and audience/access settings]. Trailer or excerpt availability: [facts or none]. Does this history satisfy this edition and section’s premiere and prior-release requirements, and which clause applies? Separately, my asset or contributor permission status is [documented scope or unresolved points], while clause [number] requests [specific uses]. Is further permission required, or can a restriction be agreed? I have attached only the necessary factual summary. Please clarify in writing, or let me know what information is missing. Thank you.
An organiser’s reply may clarify its eligibility decision and requested permission scope; it does not replace permission from an asset’s rights holder.
Five checks before submission
- You have the correct edition and section. AI eligibility has been checked separately; an older rule is not being used as the current rule.
- Your answers match the history of the full film, excerpts, screeners and screenings. Unclear cases have been raised with the organiser.
- You have read the requested uses, duration and sublicensing, and checked whether contributor and asset permissions support them.
- Unresolved items remain unconfirmed. “I paid for the tool” or “AI generated it” is not being used as proof of complete clearance.
- You have saved the rules, submitted version, accepted terms and receipt. Any new permission requested after selection will be read separately.
If a material permission or eligibility answer is missing, obtain evidence, replace the asset or adjust the submission plan. A general declaration does not resolve the gap. For a specific dispute, contract interpretation or legal responsibility, seek qualified advice in the relevant jurisdiction.
Original sources and what they establish
Checked on 27 October 2026. These links support the limited examples above; you can complete the record without leaving this guide.
- Festival de Cannes: 2026 submission conditions, Short Films in Competition: prior online availability only; no AI-eligibility conclusion.
- Astana AAIFF 2026 Terms, section 5: public or unlisted YouTube access. This edition’s submission period has ended.
- Runway 2026 Film Official Rules, section 10: submission-licence reading example. This edition’s submission period has ended.
- Runway commercial-use guidance: the provider’s commercial-use position, not third-party clearance or a legal determination.
Apply this to your film
Use the matching questionnaire to narrow your shortlist, then confirm unresolved requirements with each organiser. Public kit previews are open; full ZIPs are free with an account. Reading or downloading does not subscribe you to reminders.