Independent films deserve better.

Transparent distribution. Fairer deals. Real results.

What’s Broken

For 70+ years, the traditional distribution model has buried filmmakers under:

  • Endless P&A recoupment

  • Opaque revenue splits

  • Delayed and confusing reporting

Independent producers often never see profit – even when their films succeed.

The Difference

  • Capped P&A spend – fixed upfront, max £20,000, not recouped before splits.
  • Clear exhibitor splits – negotiated site-by-site (50/50, 60/40).
  • Transparent reporting – no hidden deductions, no surprises.
  • Optional packaging services – box office projections + strategy at development stage.

Our Mission

To create a fair, transparent space where filmmakers, cinemas, and audiences thrive together.

Rewriting the rules of distribution.

 

Proof of Concept

  • Released across multiple UK sites
  • Fully verified reporting by Comscore
  • Producer received clear, detailed revenue breakdowns

Packaging Services (Upfront Fees)

  • Flat fee: £5,000 per project.
  • Delivered before release (at development or pre-production stage).
  • Includes:
    • Preparing box office projections against the film’s proposed budget.
    • Offering market positioning insights (release window, cinema type, audience targeting).
    • Advising on P&A strategy and realistic return scenarios.
  • This fee is not recouped later; it’s a consultancy/service product.

Theatrical Revenue Share (Post-Release)

  • Aggregated cinema share is negotiated (commonly 50% of box office, but can vary).
  • BUFF pools the remaining agreed percentages to form its Distributor Share.
  • BUFF/Producer split applied from the Distributor Share (e.g. 62.5% Producer / 37.5% BUFF).
  • Producers also cover capped P&A recoupment upfront (£20,000), so BUFF revenues aren’t delayed by cost recoupment.

The Model (Producer-led P&A upfront, capped at £20k)

  • Producer pays P&A upfront (minimum £20,000).
  • Because this is already covered and capped, there is no recoupment taken out of box office receipts (i.e. the traditional model).
  • When box office money comes in:
    1. The exhibitor split happens as usual (e.g. cinema 50%, distributor 50%).
    2. The distributor’s share is then split between producer and distributor according to the agreed revenue split (e.g. 62.5% / 37.5%).
    3. Producers start earning immediately from day 1 of revenue flow, instead of waiting for P&A recovery.

Advantages for Producers

  • Transparency – no “mystery” marketing costs or distribution fees, ballooning beyond expectations.
  • Certainty – capped at £20k, so no unlimited liability.
  • Immediate participation – producers don’t wait until P&A is recouped before seeing their share.
  • Shared risk – distributor isn’t carrying P&A risk, so is incentivised to push the film but doesn’t overburden the producer later.

Considerations / Risks

  • Producers must have liquidity upfront to cover P&A.
  • If the film underperforms at the box office, the producer eats that £20k loss directly.

    Historical example 1: Using the Model  

    Babymother (1998) grossed £62,928 in UK cinemas.

    • Cinemas/Exhibitors keep 50% = £31,464.
    • Distributor’s share = £31,464.
    • Split of Distributor’s share = 62.5% producer (Channel 4) / 37.5% (BUFF Studios).

    Producer gets £19,665  (after theatrical run ends and all box office reports are declared. Producer submits invoice and revenue is paid within 45 calendar days).

    BUFF gets £11,799.

    Producer has already spent £20,000 on P&A, so their net return = £335 loss after P&A.

    In a traditional model, that £20k (traditionally uncapped) would first be clawed back by the distributor, delaying producer returns. Some distributors take a flat distribution fee (usually 25-35%) on top of recouping the P&A BEFORE the producer receives any money. For this example, Channel 4 was the actual producer and distributor (the traditional studio model).

    In the BUFF model, the producer receives £19,665 once the theatrical run ends; all box office reports are received by BUFF; BUFF delivers a report to the producer and asks for the producer to raise an invoice for £19,665; money is settled within 45 calendar days.

    Historical example 2: Using the Model  

    Half of a Yellow Sun (2014) grossed £151,784 in UK cinemas.

    • Cinemas/Exhibitors keep 50% = £75,892.
    • Distributor’s share = £75,892.
    • Split of Distributor’s share = 62.5% producer (Soda Films) / 37.5% (BUFF Studios).

    Producer gets £47,432.50  (after theatrical run ends and all box office reports are declared. Producer submits invoice and revenue is paid within 45 calendar days).

    BUFF gets £28,459.50.

    Producer has already spent £20,000 on P&A, so their net return = £27,432.50 profit after P&A.

    In a traditional model, that £20k (traditionally uncapped) would first be clawed back by the distributor, delaying producer returns. Some distributors take a flat distribution fee (usually 25-35%) on top of recouping the P&A BEFORE the producer receives any money.

    In the BUFF model, the producer receives £47,432.50 once the theatrical run ends; all box office reports are received by BUFF; BUFF delivers a report to the producer and asks for the producer to raise an invoice for £47,432.50; money is settled within 45 calendar days.

    Transparent distribution. Fairer deals. Real results.

BOOK A MEETING

The Trade-off (with BUFF’s £20k P&A cap)

  • Theatrical priming uses more of the budget on events, PR, and presence (press screenings, posters, premieres). That can eat most of the £20k quickly.
  • Digital priming uses more of the budget on ads and online content, giving measurable ROI but less cultural cachet.
  • The current BBFC fee tariffs are known upfront (except in the Republic of Ireland). 

As lead distributor, BUFF Studios retains flexibility on all theatrical priming, digital priming & outlay on DCP logistics – common in indie releases. This ensures the following: 

    • Weekly “priming” theatrical run in select London sites + regional hotspots.
    • Lean PR campaign to get reviews + press.
    • Bulk of spend reserved for social/digital ads around release date.