This article discusses the distribution of two post-New Order Indonesian non-commercial films, namely Turah and Prenjak. Eclectic methods employed in this research consist of (1) a textual-descriptive method to reveal the message of the films in correlation with its distribution aspect, and (2) an ethnographic method with in-depth interview technique to reveal how the distribution of the two films is carried out. This article shows that the distribution of Turah and Prenjak has several similarities as well as differences. Thematically, they talk about the lives of the poor, though they use different angles. In terms of distribution, both utilize film festivals as the main distribution media, both at national and international levels. Turah and Prenjak also achieved recognitions at various film festivals. The striking difference is in the choice of film distribution and screening road shows. Turah entered mainstream cinema and benefited from road shows while Prenjak did neither. This is mainly due to sensitive scenes in Prenjak showing vagina and penis which makes the film unable to be widely screened. It was distributed only for film festivals and limited screenings. Meanwhile, Turah, which does not display any scenes related to pornography, has the flexibility in its distribution. This shows that as part of circuit of culture, film distribution—as an act to circulate the film’s vision and ideology—is closely related to the process of production, consumption and also regulation.