GG Hawkins speaks with filmmaker Pete Ohs for the first installment in a quarterly 2026 series tracking how he releases four films over the course of the year. Using OBEX as the case study, Ohs breaks down the film’s microbudget production, Sundance 2025 premiere, U.S. acquisition by Oscilloscope, and the realities of theatrical rollout for independent films. Their conversation explores how booking works, what filmmaker participation in Q&As can actually do for a release, and where creative energy, audience-building, and sustainability meet during distribution.

In this episode, No Film School's GG Hawkins and guest Pete Ohs discuss...

How OBEX was made with Albert Birney in and around his Baltimore home

Why the film’s Sundance 2025 premiere led to a U.S. deal with Oscilloscope

What sales agents, distributors, and theater bookers each do in an indie release

Why January became the strategic release window for OBEX

How theatrical runs expand based on performance, per-screen averages, and momentum

Which Q&A appearances felt worthwhile in New York, San Francisco, Los Angeles, and Baltimore

What the marketing campaign looked like, including social assets created with Continue Agency

How Ohs thinks about audience response, Letterboxd reviews, and the digital release

Why preserving energy during release may matter as much as inventing new promotional ideas

What Ohs is testing next as Erupcja begins its release

Memorable Quotes:

“The walk from here to the bathroom is also recovering time.”

“They said he couldn't do period pieces on a budget.”

“I just love that it's proof that somebody watched it.”

“There are limits to the time and the energy, and that you can have all these ideas, but they're just ideas until you kind of do them.”

Guests:

Pete Ohs

Resources:

Pete Ohs’ quarterly 2026 distribution experiment series

Previous Pete Ohs interviews on No Film School

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