AUDIENCE DATA
Where our numbers come from, and what they're worth
Every claim we make to a buyer about how a film played rests on something. This page is that something.
We run live screenings in Tbilisi and online through our Festival Channel. Real viewers watch, then fill in structured forms — scores, open questions, written response. That data becomes the Audience Feedback Report, and it's the only audience data we will ever put in front of a buyer.
We publish this page because a claim you can't inspect isn't worth making.
WHO WATCHES
Our audience isn't a panel we bought. It's the LSN Audience Network — viewers and readers who applied to join, get free access to our Festival Channel and Screenplay Contest library, and give structured feedback in exchange.
They tell us their age bracket, country, viewing habits and genre preferences when they join, which is how we match films to viewers who actually watch that kind of work — and how a report can say who responded, not just how many.
What we know about them: age bracket, country or region, how often they watch independent cinema, genre preferences.
What they get: free access, and screening invitations matched to their taste.
What we ask: honest, written feedback. Not a thumbs up.
Scores and reviews are anonymised in every report. We don't share viewers' personal data with clients or buyers — ever.
HOW THE DATA IS COLLECTED
Live screenings, Tbilisi. Films are shown to a seated audience at our venue during each festival edition. Viewers complete forms during and after the screening.
Festival Channel, online. The same programme runs simultaneously online for our verified viewers worldwide, with the same feedback structure.
Screenplay Contest. Scripts are read by verified readers, who complete a parallel form covering characters, plot, pacing, tone, atmosphere and engagement.
Jury. Every selected project also receives a written jury statement. That's expert opinion, not audience response, and we label it as such.
Numbers are useful. Written response is what actually tells you something. Our forms ask open questions — what stayed with you, what lost you, how would you describe this to a friend — because "7 out of 10" doesn't tell a filmmaker what to change or a buyer what to market.
THE AUDIENCE FEEDBACK REPORT
A structured document you can attach to a pitch deck or send to a buyer.
What's inside:
✅ Recommendation score (NPS): Promoters, passives, detractors — with what drove each group.
✅ Component breakdown: Directing, visuals, music, performance, engagement, story — scored and read against market expectation. For scripts: characters, plot, pacing, tone, atmosphere, engagement.
✅ Emotional profile: Which emotions dominated, and what that means for how the project should be marketed.
✅ Qualitative insights: What worked and what didn't, in viewers' own words, grouped into hooks and friction points.
✅ Audience segments: Who this actually connected with.
✅ Positioning challenges and tips: Each obstacle paired with a concrete response.
✅ Pull quotes: Selected lines ready for a poster, a deck, or buyer outreach.
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Price: $150 · Free for festival selections in exchange for a FilmFreeway review of your festival experience.
Preparation typically takes 5–7 days.
WHAT WE WON'T DO WITH THIS DATA
We never generate audience data for a project that wasn't screened. If a film wasn't shown and a script wasn't read, there is no audience response to report, and we won't manufacture one. Projects that weren't selected receive a Reviewer Note instead — our own expert read, clearly labelled as ours.
We don't inflate. A report showing a mixed response is worth more to you than a flattering one, because you'll act on it, and because the first time a buyer catches a number that doesn't hold up, every report we've ever sent them becomes worthless.
We don't confuse expert opinion with audience response. A jury statement is four people. An Audience Feedback Report is an audience. A Market Read is an AI assessment of submitted materials with no audience at all. These are three different things and we label them as three different things.
We don't share personal data. Reports carry anonymised responses. Viewer identities stay with us.
FOR BUYERS
Every project we present to you as actively represented has been through four checks: audience validation, technical QC, legal clearance warranted by the rights holder, and market positioning. That's what "Verified Content" means, and nothing else.
Projects in our catalog carry a lighter check — technical watchability and a rights warranty. We present them to you as catalog content, not as verified. We keep the distinction because it's the only reason the label is worth anything to you.
Available on request:
Audience Testing, pre-acquisition — we screen a film or read a script you're considering, to our audience, and deliver an independent structured report. Reduce acquisition risk before you decide. Film $500–800 · Screenplay $400–600.
Market Analytics Report — analysis by genre, theme or region drawn from our audience data across 159 countries, for buyers sourcing to a specific market. $500–1,500 depending on scope.
GETTING AUDIENCE DATA ON YOUR PROJECT
Through a festival. Submit to any LSN festival. If selected, your project is screened, the audience responds, and the report is free in exchange for a FilmFreeway review.
Independently, outside a festival. We arrange a private screening or reading to our audience on request, on your schedule. Short film $300–500 · Feature $500–800 · Screenplay $400–600.
Not sure it's the right step yet. A Market Read costs $149 and tells you where the project sits in the market. It's an AI read with no audience behind it — but it will tell you whether audience data is the thing you actually need next.