Man With A Van: What The Rejecta Film Festival Says About Power, Access And Making Your Own Beat

A white 15-passenger van parked across the street from the Village East cinema’s red carpet. Film festival crowds streaming between velvet ropes while inside the van, a different kind of screening unfolds with snacks and satirical awards. This was the Rejecta Film Festival – two days in June that turned rejection into opportunity.

The Man and His Method

Jeff Ryan faced the same numbers that crush most independent filmmakers. Sundance accepts roughly 1-2% of feature submissions from over 16,000 films. Tribeca, despite its 15% acceptance rate from 10,000 submissions, still leaves thousands of filmmakers watching from the sidelines.

Ryan’s response was direct. ‘When you get rejected, you can either wait another year – or get a van,’ he said. ‘We decided to make our own opportunity.’

The van wasn’t protest – it was assertion. Parked within sight of Tribeca’s official proceedings on 8-9 June, it hosted back-to-back micro-screenings of Ryan’s dark comedy ‘MOOCH’, complete with custom branding and a functioning red carpet setup. The tongue-in-cheek event drew nearly 100 attendees in its first year, turning dismissal into dialogue.

How to Host a Micro-Festival

Ryan’s setup was methodical. The van screening space, snacks, beverages and promotional materials changed street-level rejection into brand-level visibility. A satirical awards ceremony honoured the lone film in competition, acknowledging the absurdity while maintaining the event’s professional edge.

This approach reflects a broader shift in independent distribution. Grassroots film distribution involves filmmakers creating their own screening circuits, targeting local audiences through community networks rather than traditional channels. Success requires significant investment of time and resources, but it bypasses conventional gatekeepers entirely.

What the Van Really Tells Us About Power

Ryan’s move sits within a tradition of guerrilla tactics by artists between 1967 and 1987, when outsiders used media hijacking and public space interventions as resistance strategies against institutional powers. The van represents modern iteration of this approach – making space where none was offered.

‘Rejecta is partly a stunt, but it’s also a commentary,’ Ryan explained. ‘The festival circuit can feel like a lottery. For every cool indie film getting in, there are dozens that don’t – and most of those filmmakers disappear. We’re saying, maybe don’t disappear. Maybe buy some magnets, rent a van and force the world to notice.’

This resonates beyond film. In industries built on networking and cultural capital, waiting for permission often means waiting indefinitely. Ryan’s van became a statement about creating value rather than seeking validation.

‘MOOCH’: The Singular Star

The film itself – a lo-fi noir with an emo aesthetic – follows Shane, a 29-year-old caddy turned private investigator spiralling through bizarre misadventures in New Jersey. The ensemble cast includes Scott Cohen, Katerina Tannenbaum, Geneva Carr and Will Chase, among others.

The original 10-track soundtrack, co-produced by Aaron Gillespie of Underoath, features guest vocalists from Mayday Parade, Sleeping with Sirens, Hawthorne Heights and other established bands. This collaborative approach mirrors the film’s DIY ethos – building networks outside traditional industry structures.

The Hustle at the Core of Cultural Moves

Micro festivals and pop-up screenings have become viable alternatives to traditional circuits, fostering intimate audience engagement through grassroots community building. Guerrilla filmmaking tactics allow creators to bypass funding restrictions and industry hierarchies, using available resources without permits to avoid costs and gatekeeping.

This approach carries risks. Self-distribution demands significant personal investment with uncertain returns. It also offers control over presentation and direct audience connection that festival circuits can’t guarantee.

Ryan’s van screening represents calculated audacity – understanding that visibility matters more than validation, especially early in careers built on recognition and reputation.

Closing Reflection: Whose Permission?

The Rejecta Film Festival raises uncomfortable questions about who controls access to audiences and opportunities. Ryan’s response suggests that permission becomes irrelevant when you create your own platform.

The van parked across from Tribeca’s red carpet wasn’t accidental positioning. It was deliberate commentary on proximity to power without dependence on it. For professionals in closed-door industries, this represents a shift from seeking entry to building alternatives.

Independent cinema networks in cities like Los Angeles already support filmmakers through alternative venues and micro-festivals, proving that audience exists outside official channels.

Ryan’s approach won’t work for everyone or every industry. It demonstrates how audacity combined with systematic execution can turn rejection into opportunity. The van becomes symbol and strategy – proof that making your own beat often matters more than keeping time with others’.

‘MOOCH’ receives limited theatrical release in New York and Los Angeles on 9 October, followed by video-on-demand rollout. Ryan and First Name Films proved that sometimes the best response to closed doors is building your own.