We are accepting submissions for Genre Feature & Short Films, Web/TV Series, Screenplays, Teleplays, Music Videos, Trailers and Art & Design. -Horror, Thriller, Dark or Quirky Comedies, Experimental, Grindhouse, etc.,all genres are welcome. The festival programming staff will place your film in the appropriate category.
All entries will be judged on content, creativity, imagery, story and skill of the filmmaker or screenwriter. Productions produced from 2015 to November 2026 may be submitted. Works in progress will be accepted. All films must be submitted on DVD (Region 1), Blu-ray, external hard drive or online screener for consideration by our Jury.
All entries must be sent to FAME, LLC. Videos, discs and hard drives submitted will not be returned unless accompanied by SASE. Film and Video maybe also be submitted or shared via links online via YouTube, Vimeo, Dropbox, Google, WeTransfer, or similar. Submissions selected for The GO DC Fest will be announced no later than October 02, 2026.
All presentation materials for The DC After Dark International Film Festival must arrive no later than October 19, 2026 (post marked by October 19, 2026). Please notify us by mail or email of any address changes.
**** Please read our DCP Policy before submitting. NO EXCEPTIONS****
GO-NOVA Film Festivals – Live Screening Policy
As we resurface back into Live events, new screening policies have been instituted in terms of content delivery and platform presentation. Going forward, The GO Independent Film Festivals will screen Live. Live screenings will take place in the best venues. Dependent on the festival region, we have selected the LOOK Dine-In Cinemas and Angelika Film Centers. We require film content to be in DCP format for all venues.
DCP stands for Digital Cinema Package, which is the industry standard for distributing and projecting movies digitally in theaters. DCPs are a collection of files that include audio, video, and metadata, and are encoded separately and combined at playback. (Google - AI Overview)
In concert with both format upgrade and returning to accepted cultural norms (travel, attendance, etc.), the following are our policies for screening Live, Accepted film content going forward.
1. We require a DCP File of your content. The DCP must be produced by the festival for a fee. We exclude ALL EXTERNAL DCP files without exception. Your submission fee only covers your submission curation, and is separate from DCP fees. Thank you.
2. The DCP File is produced by our, internal production house, from your submitted h.264 file for a fee. Fees cover encoding, quality check, and efficient, film transfer and communication with our venues.
a. Fee (under 25 minutes): $150
b. Fee (between 25 and 55 minutes): $350
c. Fee (between 60 and 90 minutes): $600
d. Fee (between 90 and 105 minutes): $850
e. Fee (between 105 and 120minutes): $950
3. We handle all Quality Checks and Communication with the venues.
4. The DCP file is yours to keep, after the festival. Please note that DCP files are notoriously fragile and corruptible. If using the files, we've produced for you, for other screenings, transfer the file in accordance with the venue protocols and technical specs. It is very strongly recommended to delver files via a hard drive, unless the venue has a solid reputation of receiving DCP files via internet transfer. And ALWAYS have them QC your film before live screenings. Have them green light all aspects of video, sound level quality, and Audio/Visual sync.
5. If you have submitted, and are accepted to more than one of our festivals, only the One (1) DCP file, which we produced, is required.
a. A 50% charge is still required to screen Live for each, individual festival.
6. DCP files are OPTIONAL for those wishing to screen in theaters. All accolades, winning titles, laurels, etc, remain in place. DCPs solely affect live screenings.
7. DCP orders have zero impact on award nomination(s) or win(s). Judgements are solely based on the quality of your submission(s).
“I did not attend, so can't comment on some categories, but they were very nice in their emails, and even though I did not pay for a dcp conversion, my film won several awards.”
- Joyce Porter
Frequently Asked QUESTIONS.
1. Why are DCPs so expensive?
Answer: Standard DCP encoding rates range from $125 -$30K+, depending on its length and quality. (Please Google it).
Furthermore, DCP files are both massive AND can only be Quality Checked on site, and on the venues systems. Currently the technology to check DCP content anywhere else is unavailable, unlike an .mp4 file. Both producing and sending multiple, and extremely large files to and for the venues is laborious at best, daunting at worst. A transfer system has already been established with our theater partners.
Please understand that policies and protocols will adapt in accordance with factors within and beyond our control. We will do our best to share, with as much notice as possible, any changes in schedule, venue, or procedures.
Please stay tuned for any updates. We will do our best to maintain as much stability, as we have control over. Thank you for your patience and understanding. As always, we will make every decision based on what is best for our artists.
2. May we submit a DCP that has already screened in specific theaters?
Answer: We have a system in place, that all but guarantees your film will screen. There are multiple, delicate moving parts in coordinating with the venues. Over the many years, we have developed a protocol that works best and is time tested.
NO EXCEPTIONS. Thank you.
LIVE Screenings are dependent on 3 Criteria beyond our control.
1. State/City/Regional Restrictions
2. Venue Policy and Availability
3. Filmmaker Content Submission (by required Deadline)
The DC After Dark International Film Festival is hereby granted the right to utilize footage and promotional materials supplied by the submitting agent from any film submitted, film accepted, video, or project for exhibition at the GO Independent Film Festivals for promotional purposes. All accepted filmmakers agree that The DC After Dark International Film Festival may use footage from their projects in order to promote the festival, their film or The DC After Dark International Film Festival Event and F.A.M.E. related promotion via print, web, theater and broadcast television. Rights are further extended to any media recorded at F.A.M.E. events. The individual or corporation submitting the film hereby warrants that it is authorized to commit the film for screening, and understands and accepts these requirements and regulations. The submitters shall indemnify and hold harmless The DC After Dark International Film Festival and F.A.M.E. LLC related entities, it's vendors, sponsors and supporters from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney's fees, and costs of the court) which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, and loss of or damage to the screening videos entered. The submitter acknowledges that all content submitted is approved, licensed, owned, or otherwise authorized to exploit, under the jurisdiction of standing copyright and trademark law, as determined by regional, county, state, United States, and international law.
If 'Nominated', presence at the Awards Ceremony is NOT required to Win.
By attending our events, you accept that any media produced (Video, Photography, Audio, etc.) with your image or voice may be used in marketing or promotional collateral.
