Latest Film School Reviews

Best-case argument for attending: if you already have real filmmaking experience and two years you can afford to give up entirely (free from employment, free to work on your own projects) this can work for you. That's the most generous case I can make for it. Read on before you believe it.

Curriculum & Compression​

I'm currently in Term 3, taking Term 4 classes in the middle of it. The program runs six terms total, and right now it's visibly compressed: courses overlap, previously scheduled classes get pushed and repeated later, and students are expected to keep working through what should be break periods. Earlier coursework (story and script development) was genuinely strong. The current restructuring has undercut that. Each skill is taught once, and you're expected to arrive at mastery from a single pass, with no built-in debrief or skill-share to go back and correct what didn't land. Because terms are split by crew role, you may operate a given role in one term and never touch it again in a later term where you'd actually need it.

Faculty​

The professors I've worked with are genuinely good, that's not in dispute. What is in dispute is how much room they have to teach. Term leaders are currently under real pressure to justify their own courses within the restructuring, which is squeezing the time and depth they can put into teaching rather than institutional defense. Good people operating inside a system that's actively being compressed under them.

Facilities & Equipment​

Split campus, weak facilities. The sound booths are not soundproofed, and they sit on the same floor as the edit bay: sound bleeds in from the building, other classes, even the elevator, in every session, with no mitigation plan I've seen. Clean ADR or foley is effectively not achievable. The stages aren't soundproofed either, and you're shooting on film. Equipment itself is decent, but there isn't enough of it for the number of cohorts running through the program at once: three intakes a year, drawing from an inconsistent range of prior experience and preparation.

Culture & Peer Accountability​

This is the part that will matter most if you're coming in with real experience. Collaboration culture here is weak. Peers not showing up to set, showing up late, or not participating carries no real consequence. If you're experienced, you don't get pushed further by the program, you get absorbed as unpaid labor covering for peers who aren't at your level. That's not "prospering." It's your competence being used to patch gaps the school isn't addressing.

Alumni Network​

For a school with nearly 70 years of history, there's effectively no alumni network. What exists is being built now, slowly, rather than something you're plugged into on arrival.

Cost of Living (London)​

Tuition itself is affordable relative to US film school pricing. Everything around it isn't. Budget roughly £15–20 per meal if you're not cooking every night, £1,500+ for rent, and if you're not in student housing, expect to need a guarantor or a full year's rent up front. Factor this in before you factor in tuition.

Who Should Apply​

Honestly, if you already have filmmaking experience, this program will use that experience rather than build on it. You'll spend your two years functioning as de facto crew and quality control for less-prepared peers, inside a curriculum that's currently being compressed and reshuffled under real institutional strain, with facilities that can't reliably deliver clean sound. If you're coming in with little to no experience, you may get more out of the raw trial-and-error, but with no structured debrief and single-pass teaching, "mastery" is left almost entirely up to you.

I wouldn't recommend this program as it currently stands. If you go in anyway, go in knowing exactly what you're walking into.

This program fosters a strong sense of community amongst students, which can provide lifelong friendships and working partnerships amongst like-minded creatives, should you choose to embrace the opportunity. I strongly recommend doing so, as the people you connect with can be a strong source of support and honesty when it comes to helping each other with feedback and/or working together on projects well beyond graduation day.

My mentor experience was extremely positive and was the foundation for the majority of my learning throughout the program. My mentor was extremely knowledgeable, well-versed and respected within the film industry, a skilled instructor who could differentiate instruction according to each mentee's needs, and was always honest. Many of the mentors stay in touch well beyond program completion and joyfully offer support, advice, and encouragement. Since graduating, I have personally received guidance from not only my own mentor but also another mentor.

Be aware, though, that with the Low-residency program, since you only have a week in person at the start of each semester, you must come up with and stick to a plan to stay on target with goals and assignments. It is very doable, but if self-discipline is a struggle for you and you need more in-person/classroom guidance, then maybe a traditional MFA program is best for you. However, if self-discipline is a struggle for you, then some deep introspection before jumping into any time-consuming and costly venture would be advisable. If screenwriting is your dream, make a plan and follow through. Also, be honest about yourself with your mentor concerning your needed areas of growth; they can help you not only with the actual writing but also with the tools/disciplines you need to become a stronger writer.

I highly recommend the UGA Low-Residency Screenwriting MFA program, and it is especially helpful for motivated individuals who find leaving home/job/etc for multiple semesters is not a viable option.

I wish you the best as you pursue your passions. You are your greatest asset, and you can do this!

I attended in 2017-2020 as a transfer student from out of state. I must say I'm glad I did and I still refer to my time at Clayton State. They provide many opportunities to get involved and network within the industry. Classmates were always great to collaborate with. Professors, Dean, and the rest of the administration were always supportive. Classes were well organized. The film department gave a really well -rounded intro into the industry, making your first job in any department a smooth and fearless transition.

My experience with the program so far has been extremely positive. From the first time I interacted with the UGA MFA team, I knew it would be a great experience. When people think of a Master's program interview, they might anticipate a tense situation and experience anxiety. Not UGA. When I joined my MFA zoom interview, it felt less like an interview and more like a conversation with those you've known for many years. The staff was warm, welcoming, and eager to hear my story, not just my skills. Once I was accepted, they were very helpful in ensuring I had all the required documentation submitted to start the program and ensure a smooth transition. At orientation, they told us how they wanted to help us find our voice as filmmakers and told us how we would get there. Having talented professors like Dan Kelly teaching us what a film set looks like as we all help film a scene, to Mary Goodwin showing us how to prepare for post in the preproduction phase, to having David Fortune give us the insider tools to create a story that people connect with on an emotional level, is such a rare opportunity. We were able to pick up a camera on our first day of class, and the following week, we actually set up a scene and filmed with 2 actors! We’ve already been able to experience lighting, sound, camera work, and everything else that the audience wouldn’t expect from behind the scenes. We’re also able to learn from those who have been successful in the industry and understand the inner workings of the creative process, from creating a story to executing the final product. Not only that, but our cohort is what my family and I call "good humans." Everyone understands that we're here not only to learn and grow as filmmakers but also as people. I've already grown very close to every member of my cohort, and I feel honored to be around such good and talented people. I feel lucky to be a part of such a unique program and to have the opportunity to learn from experienced filmmakers who are still actively in the industry.

LOVE IU, LOVE the Media School. Great mix of classroom learning & hands on experience. The Semester in LA Program is amazing… internships by day, class in the evenings. Best possible way to learn about the entertainment industry while making invaluable connections. IU Bloomington is arguably the most beautiful campus in the nation, and the Media School is located at THE most picturesque spot… right next to the iconic Sample Gates. All in the ideal college experience.

This program, or rather the people in it have helped prepare me to start my journey as a filmmaker. Although there are cons about the program, there's some classes I wish I didn't have to take, and some I wish I could; the people and the motivation they have make me feel more prepared and experienced than I think most schools could.

I am confident that the education and competitiveness between peers is what makes this school as good as it is. Furthermore, the deep connection I made with my professors have not been lost, and the assistance they have provided as I have graduated has been greatly appreciated. Go Aztecs!

I graduated from the MA Screenwriting program at London Film School (LFS) in August 2025. I enjoyed the program and thought it was worth tuition fee, especially because of the current director of the program - Sophia Wellington. They are quite adaptable, and quick to address student concerns. The program changes shape to accommodate diverse needs. The exposure to writers from so many countries is rare. We had 33 countries represented among 45.

I'm happy to answer more questions, you can email me on work.faizanansari@gmail.com

This program offers access and opportunity that even top-tier schools lack. The tradeoff is that results are self-driven. The program gives you the runway, but how far you go depends on your own initiative and the team you build. Be realistic about production costs running past budget. For motivated, independent filmmakers, the resources and location are genuine differentiators.

I am thrilled to have found such a thriving program run by incredible filmmakers, writers, and industry professionals from many different walks of life with varying skill sets.

One of the best features of the low residency MFA program is the caliber of filmmakers and professionals that are current faculty members, visiting speakers, and fellow students. I’ve greatly enjoyed learning from everyone and love seeing so many ages, backgrounds, and experiences represented.

The residencies are fully packed from morning until evening and can be very tiring, however, they offer a valuable and unique experience, providing the opportunity to connect on a personal level with fellow classmates and mentors.

I am so grateful for my mentor’s guidance and encouragement throughout the MFA program. He’s helped me become a better writer, and has challenged me to truly showcase the human experience in my work.

As other reviewers have said, you do get out of this program what you put in. I will be graduating from this program with everything I had hoped to achieve and more.

The UGA MFA Film program is very much what you make of it. For someone navigating the experience largely on their own, it can feel isolating at times, while at other moments it feels like a close knit family. Because the program is still growing and evolving, I believe it will continue to improve, and I am excited to see where that growth leads. Being part of the program during this stage of development has given me a unique perspective on both its strengths and the areas that are still taking shape.

There have been moments when I questioned whether the investment of time was worth it, but those moments were balanced by experiences that reminded me of the unique opportunities available through UGA’s film program, opportunities I do not think I could have found elsewhere. Overall, the experience has been both rewarding and challenging, and I am grateful for what I have gained so far. I am excited to see the program through to completion and hope that even more opportunities continue to emerge for current and future students as the program grows.

I am nearing completion on my MFA in Screenwriting and have loved every minute of this program. There is a very strong sense of community within the students. The residency weeks are like going to summer camp for writing--informative industry speakers, invigorating workshops and filmmaker forums with working writers and producers. I have learned so much about the craft of screenwriting and the mentoring I've received has made my scripts stronger and more polished. I can't recommend this program enough.

Antioch is a place I never could have dreamed existed. I will never be the same. The Dramatic Writing community is a stunning combination of people who will inspire, challenge and support you. It is a microcosm of the different world so many of us are working towards. It is a place of deep hope, deep joy and deep truth telling. It will welcome your tears, your anger, your laughter and your creative soul.

Joining the UGA MFA Film Program has so far been one of the best decisions that I have made as a developing filmmaker. I am entering my second year now, and I love the town, my friends and collaborators, and, most importantly, the work I am doing in the program.

The small class sizes offered by the UGA MFA program allow for more personalized feedback from the faculty. Ultimately, I feel that film school is all about what you put in, and this program has the structure in place for students to excel.

Athens is an excellent place to grow as a filmmaker, with year-round events and a film-friendly county that encourages the arts. With often very stressful and intensive semesters, Athens offers many ways to unwind and “replenish the well,” so to speak. Going downtown, seeing a movie at the GTC or Cine, or just trying a number of the local restaurants has made Athens stand out in my eyes.

While the program is still very much in its infancy, I have felt that, with each passing semester, it is adapting and evolving with the times. New gear and opportunities for my cohort are among the changes being implemented that make me excited about the future of this program. I imagine by the time the program inducts its 9-10th cohort, many of the kinks will be ironed out. This being said, I would still recommend this program to any interested film student, especially if they want to be a writer first while still gaining production skills.

Even as a still-young program, the UGA Film MFA continues to grow, improve, and build new resources and opportunities with every year. As a boutique 2-year program, it was a more affordable film school option than many others with just as much opportunity to grow my skills and hone a creative voice as a writer and filmmaker. The small cohort size made for an environment that prioritized growth and collaboration over competition, and that network has lasted after graduation. Faculty bring valuable experience, and since graduating the program has continued to upgrade partnerships and opportunities for students.

To me, film school is about three things: (1) getting better as a filmmaker; (2) meeting collaborators you like as people and enjoy working with; and (3) making connections that help you enter the industry upon graduation. The UGA MFA program excels at the first two and is improving on the third.

I've gotten much better as a writer, director, and crew member since starting here, and a lot of that is due to clear and constructive feedback from the skilled faculty. Equally importantly, I've met friends and collaborators that I enjoy being with on and off set. As a new program, alumni connections and industry pathways are still being developed, but they are improving every semester.

I have a lot to say about this film school since arriving in fall of 2022. Originally entered as critical studies, I was accepted for the Fall of 2024 into the production emphasis. I've taken a lot of the class in both critical studies and on the production emphasis. Keep in mind, the program and the portfolio requirements or classes have been swapping around a ton. Some of the things noted might not be accurate whenever you are applying.

This review is all subjective at the end of the day. It's up to you to decide

Production Emphasis:
Classes and Program Layout:
The production focus of the program is two year program, which had you start with TFM 314 (Introduction Class) followed by 361 (Studio Production) then 362 (Intermediate Filmmaking) alongside 540 (Documentary Production) and ending with 560 (Advanced Film). You can swap 560 with 561 (Advanced Television), which I wasn't able to take because there wasn't a professor to teach it at the time but its a route if you are wanting to focus on more Television than narrative film. You can delay taking 540 to take it alongside 560, which I wouldn't recommend cause it alot work but is an option.

I find my con of this layout is a ton of repetition especially in 362, where it feels like a repeat of 314 and things that we already know have to be re-explained. 560 as a thesis film class suffers from the fact that it should be a two semester class, split between pre-production in first and production and post in the second. I do think that one class that should be require is the internship class as one form of career prep within the film program to help student with working in the field.

Electives:
The program has a ton of elective classes that you are able to take to focus on a subject or emphasis. For me, I focused on Cinematography and Production Design as those caught my eye. The program does need more post-production/vfx as well as more producer focus classes similar to other film programs have. The program elective courses, especially in cinematography and production design do suffer from not having more classes or more professors teaching it.

Production Design emphasis has you taking TFM 350 (Staging for Film and TV Classes), followed by either focusing on Art Direction (TFM 550), Production Design (TFM 551) or Digital Design for Film and Television (TFM 559). If you focus on this route, I highly recommend taking 559 as you design sets using CAD software like Vectorworks or Rhino. Production Design and Art Direction have you focus on scenic design, graphics, set decoration, budgeting, and scheduling. You might even take a tour to Warner Bros or Paramount or Raleigh Studios. Jubilee Cox is honestly a really great professor, who has a recent industry background in everything Art Department.

Cinematography emphasis has you take Cinematography for Television and Film (TFM 322) and Advanced Cinematography for Television and Film (TFM 522). Both classes you make a multiple film projects with their own unique story.

Professors:
Many of the professors do teach at other schools, such as UCLA, USC, AFI and more. You sort of get some form of education that they teach there from those school in here which is nice. Many of the classes with the exception of 362, had professors with recent film industry experience or ongoing film work which is a welcome change.

Gear:
We have a good selection of gear that can be further expand, especially with the recent cohorts (including the one I was in) making more films. As of recent we had like 10 560 Films, 10 362 and a ton of documentary which lead to issue of not having enough gear for a lot of programs to use.
We also have a deal with RED Cinema Camera to buy their cinema camera at a cut priced. We also have discount pricing for a ton of the film gear rental houses.

Career Prep, Internships and Outreach:
Beside working on film projects for classes, there are a ton of opportunities in and out of the university that the department sends for students to apply to. You can work the local Emmys and a ton of news station and media companies hire students and college graduates. Similarly to other film schools, it's up to you to decide and choose to apply.

A lot of successful alumni recently have been outreaching to the program and especially graduates.

Critical Studies Emphasis:
Critical Studies focuses on the study and analysis of film, television and media and is very much different. Prior to getting into the major, I was in the Critical Studies Emphasis and it is the emphasis that you would go into if you didn't get into the Production Emphasis. You learn alot of film history and some of the classes are interesting as well semester to semester.

Classes and Program Layout:
The classes for the Critical Studies focus are on critically analyzing film, with the upper division requirements requiring that you have taken at least TFM 310 and 330. The 400-500 level class are not for the faint of heart, as they very much test your ability to write what is essentially graduate thesis level work especially because it taught by only really professor. The interdisciplinary electives within the TFM program are very knowledgeable to have for post-graduation, and I would recommend a ton of people to take 401.

You are able to take certain Production Classes electives, such as Production Design, Sound Design and Screenwriting. So if you didn't get into the program, you have options to give you better chances and have a unique skillset for post graduation. One thing, I recommend is going on-set for some of the production as people are always looking for help.

Professors:
Similarly to the production emphasis, there are both tenure vs non tenure professors. Many of those professors teach at other schools such as UCLA, USC or UCSD. Dr. Martha Lauzen and Brian Hu teach alot of the 400-500 level classes, with Lauzen's teaching style being a little old school but honestly to the point.

Career Prep:
I do think one of the downfalls of the Critical Studies emphasis is that there is no help for post-college career work.

Overall:
The program for me was very fun and enjoyable, with a lot of talented people coming out from it. Some production and critical studies classes could be better structured and hiring of new staff could alleviate many of those issues. As a local from San Diego and as a transfer, it is a good film school for the price if you are local.

My time at FSU's College of Motion Pictures Arts has truly been a dream. As my number one film school to attend since I was in middle school, being at FSU Film has been everything I could've wanted and more. There were many factors that made me want to attend this particular school and are still reasons why this film school means so much to me.

Going in the order of the listed pros, the Film School provides classes with a great teacher to student ratio. This allows the content to not only be fully understood, but also for students to participate in class and ask questions that are then quickly answered. The small class sizes assists in allowing individuals to find their voices as filmmakers with the guidance of faculty and professors.

All of the equipment we use at FSU Film, whether it is cameras, lighting, or editing equipment, is industry standard. This creates a sense of confidence within both myself and my classmates while we are on set. It is such a comfort knowing that the practices and principles we are utilizing each and everyday on set is a similar fashion to what is being done in the industy.

The Alumni Connections is one of the largest pulls that made me want to attend FSU. The curriculum provides students the opportunity to connect with alumni. From working with older/younger classmates to bringing in Alumni for presentations and classes, the FSU Film school creates more than just a connection to classmates, but a connection to a film family.

Finally, the conservatory approach to learning may be one of my favorite aspects of the Film School since I started attending it. Being able to consistently be on set and have the hands on experience that the school provides gives me the opportunity to learn set protocol and production operations. The information and theories that are taught in class then gets to be put into practice on set.

Overall, I am very happy with my decision to come to FSU Film! I would absolutely recommend this school to anyone looking to pursue a BFA degree in filmmaking.

The UGA low-residency MFA in Screenwriting program is outstanding. While I would have loved to participate in a full-time program such as the MFA in Film at UGA, that wasn't feasible for my situation. I was a 45 year old military spouse and mother, located over 100 miles from campus. The low-residency program allowed me to strengthen my writing skills and build community with other writers, while developing relationships with mentors I would have otherwise not had access to. Since graduating, I directed an award winning proof-of-concept short film that I wrote in the program, and directed another web series pilot written by a fellow alum. In both instances, I was mentored by other alumni, and I brought on multiple classmates to be part of the process. Being part of the UGA MFA family means you always have a connection to the industry and someone to collaborate with.

If you want to be a professional film producer, there is no better entryway into the industry than NFTS in the UK!!

I graduated from MA Producing at NFTS, and it remains one of the best experiences of my life. NFTS doesn't teach filmmaking, it makes films. The school runs like a studio in miniature: ten students per discipline, ten fully funded films a year, with students never putting in a penny of their own money. Classes are led by working producers, not retired ones. The internships at leading production companies built real relationships and, for many of us, jobs after graduation. Tuition is 26.000 GBP, halpf what you need to pay in the US. The most important film school in the UK, and one of the best in the world. NFTS doesn't prepare you for the industry. It puts you in it.