When someone says “branded entertainment,” you’re probably picturing awkward product placements or commercials pretending to be movies. Enter Brian Newman, the founder of Sub-Genre, who’s here to blow up that stereotype and replace it with something way better. With decades of experience in indie film, distribution, and branded content, Brian is rewriting the rules by helping brands fund meaningful films that actually connect with audiences—no cringe required.
We’re talking documentaries about indigenous land rights, narratives that dive deep into identity, and stories that brands are backing without sacrificing a shred of authenticity. Brian’s work proves that big-name sponsors and impactful storytelling don’t have to clash—they can thrive together.
In our chat, he broke down how this game-changing model works, shared insights every filmmaker should know, and explained why this could be the future of independent film. Spoiler: it’s a win-win for creatives and brands alike and it just might be the funding source if you’re a filmmaker you’ve been waiting for.
What exactly does Sub-Genre do, and how does it differ from traditional production companies?
We work with brands to help them finance films, but not product placement or advertisements. These are films—shorts, features, or episodic series—that align with the brand’s values. For example, REI Co-op Studios funds films about the outdoors, diversity in outdoor spaces, or indigenous land rights. We strategize with brands, connect them to filmmakers who get creative control, and then focus on distribution and marketing to ensure the films reach their audience.
Can you share a specific example of a branded film that stands out?
One example is Frybread Face and Me, a narrative film by Billy Luther. It’s about a young boy returning to the reservation, exploring his identity and family connections, and touching on indigenous land rights. REI was a sponsor and helped finance the film, but there’s no product placement. When it premiered, it was picked up by Ava DuVernay’s ARRAY and landed on Netflix’s Top 10 for two weeks. REI promoted the film through its channels, showing their commitment to the values behind the story, not just selling gear.
How did your career lead you to this unique niche of branded entertainment?
I started in film school, thinking I’d be a filmmaker, but I realized I loved the business side—getting films to audiences. That led me to run the Atlanta Film Festival, IFP (now the Gothams), and eventually the Tribeca Film Institute. Along the way, I saw two major problems: filmmakers struggling to finance their work and to find an audience. Brands, on the other hand, are great at marketing but weren’t leveraging film effectively. I saw an opportunity to bridge that gap.
What’s the biggest misconception about branded entertainment?
People assume it’s just advertising. But the best projects are about storytelling that aligns with a brand’s values. The brand’s name might be in the credits, but the film stands on its own. It’s not about selling a product—it’s about building a connection with the audience. When done right, it’s mutually beneficial: filmmakers get funding and an audience, while brands build goodwill and visibility.
If a filmmaker wants to approach brands for funding, where should they start?
First, make work. Good work attracts attention, and brands are often drawn to filmmakers whose previous projects resonate with them. Second, research. Conferences like Brand Storytelling or programs like Tribeca X focus on brands and film. Look at who’s sponsoring films you admire and who’s producing them. Often, it’s easier to approach the production companies working with brands than to go directly to the brands themselves.
What are some programs or opportunities for filmmakers to break into branded entertainment?
The Gotham recently launched a program for diverse filmmakers to meet brands. Indeed’s Rising Voices funds filmmakers to create projects. Yeti sponsors a documentary pitch program at the Camden Film Festival. These are great ways to get your foot in the door and connect with brands interested in storytelling.
For brands interested in working with you, what’s the process like?
It starts with strategy. Brands approach us when they want to engage audiences through storytelling rather than traditional advertising. We help them figure out what kind of films align with their goals, connect them to filmmakers, and manage distribution to maximize visibility. It’s about ensuring the project is authentic and resonates with audiences.
Where do you see the future of branded entertainment and independent film?
Branded entertainment won’t replace traditional funding, but it’s a valuable piece of the puzzle for the right projects. As brands look to build deeper connections with audiences, this model will grow. For independent filmmakers, it’s an opportunity to fund passion projects and reach broader audiences while maintaining creative control.
Brian Newman is bridging the gap between art and commerce, proving that brands can play a pivotal role in supporting meaningful storytelling. For filmmakers and marketers alike, his work at Sub-Genre offers a blueprint for navigating this evolving space.
