Europe Major Market Marché du Film 2026 – Cannes Film Market (May 12–21)

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🎟️ Marché du Film 2026
🎬 Live Film Deals at Cannes

Find buyers, financing and real opportunities — fast.

👇 Browse deals below

👇 Add your project as a reply

🔥 Live deals are being added during Cannes

For Producers • Distributors • Investors

📍 Location
Cannes, France

🗓️ Market Dates
May 12–21, 2026

🎬 Event Type
Film Market / Global Industry Event

📚 Focus​

Film sales and acquisitions
International distribution
Co-production partnerships
Film financing
Project development and packaging
Global industry networking

🎯 Who Attends​

Sales agents
Film distributors
Producers
Investors and financiers
Streaming platforms
Festival programmers
International buyers

📝 About the Market​

The Marché du Film is one of the largest and most influential film markets in the world, held annually alongside the Cannes Film Festival.
Each year thousands of film industry professionals gather in Cannes to buy and sell films, discover new projects, negotiate international distribution deals, and build global partnerships.
With hundreds of market screenings, conferences, and networking events, the market plays a major role in shaping the global film business.

📅 Participation​

Participation requires official Marché du Film market accreditation.
Accreditation provides access to market screenings, industry conferences, networking events, and professional meetings.

💰 Fees​

Registration and accreditation fees vary depending on participation type and access level.

🌐 Official Website
Marché du Film – Cannes Film Market
www.marchedufilm.com

Marché du Film - Festival de Cannes | "The heart of the film industry"

The Marché du Film is THE rendez-vous for professionals of the global film industry from producers to distributors, buyers, programmers & more.
www.marchedufilm.com www.marchedufilm.com

🎬 Associated Festival
Cannes Film Festival 2026
 
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Yes… the Marché du Film accreditation fees went up again this year. At this point that’s almost a tradition in Cannes. If you buy your accreditation early you can still save a bit, but overall everything keeps getting more expensive.

What really gets crazy every year is accommodation. During the festival the apartment prices go through the roof. And there is a very typical Cannes situation: if you book an Airbnb, it’s not uncommon that the host cancels the reservation a few times and then writes that the price wasn’t updated for the festival period.
Despite all that, in my opinion Cannes is still the best film market of the year. This is where the most deals happen, both sales and acquisitions.

Personally I think it’s stronger than Berlin and much more effective than the American Film Market. The pace during the market can be intense. It’s very common to have meetings every 30 minutes, basically running from one place to another all day. But that’s also part of the fun. Quite often meetings continue over lunch or dinner.
One thing I’ve noticed over the years is that attendance seems to be slightly lower than it used to be. Not dramatically, but it’s noticeable.
Another small change is that the dress code isn’t always as formal as it used to be. Sometimes people show up to meetings in very casual outfits, which was less common years ago.
During the busy days there is one reliable stop though: the Nespresso counter upstairs where they serve great coffee, and that’s still one of the few things that’s free.
Inside the Palais fewer companies seem to have stands these days because the cost has become extremely high. Because of that many meetings now happen in nearby hotels or apartments, which means you easily end up walking 6–10 kilometers per day.
It also feels like there are fewer evening parties and company events compared to the past. Years ago there used to be a lot more networking events at night.
But from a business perspective Cannes is still the strongest film market. During those days everyone who matters in the industry is there producers, major companies, sales agents, distributors, investors and plenty of well-known faces.
Chaotic, expensive and exhausting… but still the most important film market in the world.
 
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I’ve been attending Cannes and the Marché du Film for quite a few years now, and a lot of what you mentioned really reflects what many of us who’ve been going for a decade or more have experienced.

The market is still extremely important probably still the most effective place in the world when it comes to international film deals. But the atmosphere has definitely changed compared to 10–15 years ago.
A good example of this is the restaurant situation. Years ago during the market it was almost impossible to get a table in Cannes. Even if you had a reservation, there was still a chance that when you arrived there simply wasn’t a table available or the booking somehow “disappeared”, because the city was completely packed with producers, sales agents and buyers. In the last few years it has actually become noticeably easier to get a table, which says a lot about how the pressure on the city has changed compared to the past.
The number of parties and company events has also decreased. Ten or fifteen years ago almost every major sales company or distributor hosted something during the week cocktail receptions, networking events, yacht meetings or late-night parties. Today there are still events of course, but far fewer companies organize them. Budgets are tighter and many companies prefer to focus on meetings and screenings instead.
The stands inside the Palais are another example. The prices have become extremely high, so many companies now prefer to hold meetings in nearby hotels or rented apartments. Because of that the market feels much more spread out than it used to be.

Despite these changes, if you want to meet the key players of the international film industry producers, distributors, financiers, streaming platforms and festival programmers Cannes
 
I’m also curious to see how many companies from different regions will attend this year. In the past I’ve had both very good and unfortunately some negative experiences as well.
For example, with some South Korean companies of course, respect to the exceptions the payment discipline hasn’t always been great. Sometimes contracts get signed without any problem, but when it comes to actual payment a few companies simply disappear. I’ve also had a few difficult experiences with some companies from India and with a few smaller independent firms.
Large multinational companies can be more reliable, but there the challenge is often the bureaucracy and extremely long payment timelines, which can make things complicated as well.
That said, despite these issues I still believe Cannes will be a great market this year. The atmosphere there is always special — people come with the hope of doing good business, discovering new projects and building partnerships.
Personally, I really enjoy Cannes and the Marché du Film. It’s busy, sometimes chaotic, but it’s still one of the best places in the world for the film industry to meet.
 
Cannes is still the one market where the global film business concentrates in a single place.

Even with the rising costs and the market spreading beyond the Palais into hotels and apartments, the deal-making potential there is still hard to match.
Over the years I’ve also moved away from the “30 meetings a day” approach. In Cannes that kind of schedule can easily fall apart if one meeting runs late which happens quite often. Personally I prefer fewer meetings, but with the right companies and real potential to move projects forward.
Since I’ll have quite a few meetings this year, I’d be curious to hear your thoughts: can anyone recommend a few solid companies that are truly worth meeting with? I’d rather keep the schedule focused and proactive fewer meetings, but partners where there’s a real chance of doing business.
 
Michael, I completely agree with your approach. In Cannes it’s very easy to overload your schedule and then spend the entire week rushing from one meeting to another without having enough time for meaningful conversations.

Personally I also prefer fewer meetings, but with companies that are actually active in the market and capable of closing deals.
From my experience it’s usually worth focusing on a mix of established international sales companies and a few strong regional distributors who are actively acquiring films. Large sales agents can open doors to multiple territories, while reliable regional distributors can sometimes move faster and make concrete deals.
This year I’m planning to focus on a few German companies for meetings. I’m currently trying to arrange meetings with STUDIOCANAL TV, although I still need to find the right contact since I couldn’t locate it on Cinando. I would also really like to meet Benjamin from Dolphin Medien if that works out, and I’m planning to reach out to David from Lighthouse Home Entertainment as well. Fortunately his contact details are listed on Cinando, so I can message him there.
Besides these, I’ll probably shortlist a few more companies in the coming weeks and try to build a focused schedule.
Another thing that has helped me in Cannes is scheduling a few meetings slightly outside the Palais area in nearby hotels or cafés. Those meetings often end up being more relaxed and productive than the very tight 20-minute slots inside the market.
And of course, sometimes the most valuable conversations happen unexpectedly over coffee, lunch, or even while walking between meetings.

Curious to hear what companies others here are prioritizing this year as well.
 
Cannes is still the one place where the global film business truly gathers. Regardless of how the market has evolved over the years, a huge concentration of decision-makers is in one city during those days, which is something no other market really replicates.

One noticeable shift in recent years is how much more decentralized the market has become. The Palais is still important, but a large portion of meetings now take place in nearby hotels, apartments, or cafés along the Croisette. In some ways this changes the rhythm of the market and spreads activity across the city.
When it comes to scheduling meetings, I tend to focus more on quality than quantity. It’s very easy to overload the calendar in Cannes, but real progress usually comes from a handful of well-chosen meetings rather than dozens of quick introductions.
From my experience it helps to think in layers when approaching companies: major international sales agents, strong regional distributors, and a few specialized boutique companies. That combination often leads to the most practical opportunities.
Cannes is expensive and sometimes chaotic, but from a business perspective it remains one of the most effective film markets in the world. Quite often the most valuable conversations happen outside the formal meetings anyway over coffee, during a walk between appointments, or through an unexpected introduction.

- Cinema Doktor
 
Marché du Film remains one of the best places to get a real feel for where the international market is moving, not only through formal meetings, but also through the conversations around them. In my experience, Cannes is not just about immediate deals it is also about understanding buyer interest, seeing which genres are traveling, and getting and clearer sense of how distribution strategies are shifting across territories.
What makes the market especially valuable is that it brings sales agents, producers, distributors, acquisitions teams, and platform executives into one concentrated space. Even when a project does not move forward right away, the relationships built there often become useful later when the right title, genre, or timing comes together. It could also be helpful to share here which companies and people are truly worth meeting during the market.
 
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Fully agree with the points above, everyone’s basically pointing in the same direction.

Cannes is still the strongest market, it just doesn’t work the same way it did 10–15 years ago.
It used to be more meetings = better, now it’s clearly shifting toward fewer, more targeted meetings.
Decentralization is probably the biggest change.
The Palais is more like a hub now, and real deal flow happens in hotels, apartments, and cafés.
If your logistics aren’t tight, you can easily lose hours just moving around.

The payment/reliability point is very real.
Smaller companies, higher risk.
Bigger companies, slower, more bureaucratic.
So it’s not about who says yes in Cannes, but who can actually execute after.

One thing I’d add:
Cannes today is as much an info market as a deal market.
A lot of the value comes from understanding demand, genres, territories, and pricing not just closing deals on the spot.

On company selection, I also use a layered approach:
1–2 major sales agents (reach),
a few strong regional buyers (faster deals),

Boutique companies (more flexibility).
Personal note: the best conversations rarely happen in official 20-minute meetings, but over coffee, lunch, or between meetings.

Overall, Cannes didn’t get weaker.
It just became a smarter market.
If you understand that, huge value.
If not, expensive chaos.
 
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Max said:
Fully agree with the points above, everyone’s basically pointing in the same direction.

Cannes is still the strongest market, it just doesn’t work the same way it did 10–15 years ago.
It used to be more meetings = better, now it’s clearly shifting toward fewer, more targeted meetings.
Decentralization is probably the biggest change.
The Palais is more like a hub now, and real deal flow happens in hotels, apartments, and cafés.
If your logistics aren’t tight, you can easily lose hours just moving around.

The payment/reliability point is very real.
Smaller companies, higher risk.
Bigger companies, slower, more bureaucratic.
So it’s not about who says yes in Cannes, but who can actually execute after.

One thing I’d add:
Cannes today is as much an info market as a deal market.
A lot of the value comes from understanding demand, genres, territories, and pricing not just closing deals on the spot.

On company selection, I also use a layered approach:
1–2 major sales agents (reach),
a few strong regional buyers (faster deals),

Boutique companies (more flexibility).
Personal note: the best conversations rarely happen in official 20-minute meetings, but over coffee, lunch, or between meetings.

Overall, Cannes didn’t get weaker.
It just became a smarter market.
If you understand that, huge value.
If not, expensive chaos.
Click to expand...

Michael said:
Cannes is still the one market where the global film business concentrates in a single place.

Even with the rising costs and the market spreading beyond the Palais into hotels and apartments, the deal-making potential there is still hard to match.
Over the years I’ve also moved away from the “30 meetings a day” approach. In Cannes that kind of schedule can easily fall apart if one meeting runs late which happens quite often. Personally I prefer fewer meetings, but with the right companies and real potential to move projects forward.
Since I’ll have quite a few meetings this year, I’d be curious to hear your thoughts: can anyone recommend a few solid companies that are truly worth meeting with? I’d rather keep the schedule focused and proactive fewer meetings, but partners where there’s a real chance of doing business.
Click to expand...

That’s a really good point about focusing on fewer, but more meaningful meetings. I completely agree that it’s much more about quality than quantity now. I’m still building my network, but from what I’ve seen so far, a mixed approach seems to work best a few larger sales companies for broader reach, combined with active regional distributors who can move faster on actual deals.
At the same time, Cannes is a significant investment (travel, accommodation, accreditation, etc.), so I’m trying to approach it more intentionally from a business and ROI perspective.

I’d be really interested in your thoughts on two things:

Are there any specific companies (or types of companies) you would prioritize meeting with those that are truly active and capable of closing deals?
How do you personally approach maximizing return from the market? Do you rely more on pre-scheduled meetings, or do the better opportunities tend to come from on-site interactions?
It feels like today it’s not just about who you meet, but how well your meetings and projects are positioned strategically going into Cannes.

That’s a really good point about focusing on fewer, but more meaningful meetings. I completely agree that it’s much more about quality than quantity now.

I’m still building my network, but from what I’ve seen so far, a mixed approach seems to work best a few larger sales companies for broader reach, combined with active regional distributors who can move faster on actual deals.
At the same time, Cannes is a significant investment (travel, accommodation, accreditation, etc.), so I’m trying to be more intentional about how to approach it from a business and ROI perspective.

I’d be really interested in your thoughts on two things:

Are there any specific companies (or types of companies) you would prioritize meeting with those that are truly active and capable of closing deals?
How do you personally approach maximizing return from the market? Do you rely more on pre-scheduled meetings, or do the better opportunities tend to come from on-site interactions?
It feels like today it’s not just about who you meet, but how well your meetings and projects are positioned strategically going into Cannes.
 
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A lot of strong points here, especially around how the market has shifted in recent years.
From what I’ve seen, Cannes today feels much more like a market of clarity and execution than just access. There’s no shortage of meetings or interest, but what people are really looking for now is clearly positioned projects, realistic expectations on pricing and territories, and partners who can actually follow through after the market.
It’s less about generating interest, and more about converting it into something concrete. The conversations that tend to move forward are the ones where the commercial angle is already understood on both sides, not just creatively, but in terms of where the film actually fits in the current market.
Feels like execution is quietly becoming the real currency in Cannes now.
 
Reading through the comments here, I think this discussion is going in a very accurate direction. What John mentioned about execution, Max about the market becoming “smarter”, and MICA about more focused meetings all reflect quite well where Cannes stands today.
What has really changed over the past years, in my opinion, is that the Marché is no longer a volume-driven market, but much more of a precision-driven one. It’s not about how many people you meet anymore, but how well your project is positioned, how realistic your expectations are, and whether the other side is actually active in the market, not just present.
I also see more and more that the gap between “interest” and actual deals is getting wider. In Cannes it’s relatively easy to get positive reactions, but the real question is what actually closes a few months later.
Responding to Lucas on companies, I’ve personally moved away from selecting based on name alone. What matters more is recent activity. Who has actually been closing deals in the last 6–12 months, who is releasing films, and just as importantly, who actually follows through after agreements are made.
This brings up something that I think is still not discussed enough, which is reliability. Smaller companies can be faster and more flexible, but payment risk is a very real issue. Larger companies are usually more stable, but decisions can be slow and payment timelines long. So at this point it’s not really about who says yes in Cannes, but who is actually able to execute afterwards.
In terms of ROI, for me it’s roughly a 70/30 balance. Pre-scheduled meetings give structure, but a lot of the real value tends to come from second layers follow-ups, introductions, and more informal conversations. Cannes is one of the few places where a coffee meeting can be more productive than a formal 20-minute slot, if you’re properly prepared.
Timing is another critical factor. Many projects hit the market either too early, when they are not packaged strongly enough, or too late, when they’ve already lost momentum. The ones that tend to move are usually in a very narrow window, where there is enough material to sell, but still flexibility to structure deals.
So I fully agree with the shift toward fewer, more focused meetings, but I’d add that this kind of focus doesn’t start in Cannes anymore, it starts well before you arrive.
How much do you factor reliability into your meeting selection today, and have you ever skipped a “strong on paper” company purely because you weren’t confident in their execution or payment track record?
 
Feature Film Seeking Sales Agent (Cannes)

Project:
Completed feature film (Drama/Thriller), 98 min

Status:
Premiered at regional festivals, currently available for Cannes market

Looking for:
Sales agent for international distribution

Territories:
Worldwide (open)

Materials available:
– Trailer
– Screener
– Press kit

Meetings:
Available during Marché du Film (Cannes, May 12–21)

Contact:
DM or reply to this post
 
MICA said:
Feature Film Seeking Sales Agent (Cannes)

Project:
Completed feature film (Drama/Thriller), 98 min

Status:
Premiered at regional festivals, currently available for Cannes market

Looking for:
Sales agent for international distribution

Territories:
Worldwide (open)

Materials available:
– Trailer
– Screener
– Press kit

Meetings:
Available during Marché du Film (Cannes, May 12–21)

Contact:
DM or reply to this post
Click to expand...

This sounds like a well-timed project for Cannes.
A completed 98-minute drama/thriller with festival exposure is definitely in a position where it can attract the right kind of attention at the Marché, especially if the materials (trailer, screener, press kit) are already in place.
Out of curiosity how is the film positioned in terms of tone and comparables? Is it leaning more toward a psychological thriller or something more commercially driven?
Also, are you currently targeting specific territories first, or looking for a global sales strategy from the start?
Cannes can be very effective for projects at this stage, but from my experience, the key tends to be matching with a sales agent who is actively closing in your genre and has recent deal flow, not just presence at the market.
Would be interesting to hear a bit more about the positioning happy to connect during the Marché if it aligns.
 
We’ve officially started organizing our Cannes meetings.

The Filmplatforms team will be present at the Marché du Film - first Cannes for the platform, but built on extensive market experience.

Filmplatforms is designed to bring together active projects, companies, and real opportunities especially during key markets like Cannes.

We’ve opened several live threads for:
– Projects seeking sales agents
– Buyers and distributors
– Meeting coordination during the market

Feel free to join, post your projects, and connect directly with other professionals.

We’ll be actively following and supporting discussions throughout Cannes.

Wishing everyone a successful market and safe travels, see you in Cannes.
 
It’s good to see the discussion moving in a more practical direction, because Cannes today is much less about discovery and much more about execution. One thing that becomes very clear in 2026 is that buyers are not looking for “good films” in a general sense, they are looking for projects that are easy to position. Thrillers, especially contained or psychological ones, horror, and true-story driven narratives continue to travel well internationally. Projects that are harder to categorize or don’t have a clearly defined audience tend to struggle, even if the quality is there.

Another important shift is that buyers don’t really want to “figure out” a project anymore. If it’s not immediately clear what the film is, who it’s for, and how it fits into the market, they move on. That’s why having materials is no longer enough. Clear positioning, realistic comps, defined audience, and a basic territory logic have become essential if you want conversations to move forward.

When it comes to meetings, overloading the schedule is still a common mistake. In practice, fewer but well-targeted meetings tend to be far more productive. It’s worth thinking in advance about where there is actual potential to move something forward, rather than just filling the calendar. The location of meetings also plays a bigger role than people expect. Inside the Palais everything is compressed and time-driven, while conversations in hotels or over coffee are often more relaxed and lead to more concrete outcomes.

In terms of companies, recent activity matters more than reputation. The key question is who has actually been closing deals in the last 6–12 months and who is able to follow through after Cannes. There’s a real gap now between interest and execution, and choosing the right partners is often more important than the number of meetings.

We’ll also be at the Marché this year, and what we’re seeing consistently is that projects with clear positioning going into Cannes have a significant advantage. Those meetings tend to be focused and directional, rather than exploratory.

If there’s one practical takeaway before arriving, it’s this: it’s not enough to know what your film is, you also need to know why it makes sense in the market right now.

-Cinema Doktor
 
Reading through the thread it really feels like everyone is pointing in the same direction that Cannes has become much more of a precision market than a volume one.

One thing I don’t really see discussed though is how people actually filter meetings before arriving because in my experience that’s where most of the real loss happens not bad meetings but the wrong ones that looked right on paper.

Over the past few years I started to look less at names and more at recent activity like who has actually closed deals in the last 6–12 months who is releasing films right now in my genre and who is actually in a position to make decisions rather than just being present at the market.

Also something that became very important for me is follow-through because there are quite a few companies in Cannes that are very active during the market but much less active once it comes to execution afterwards.

What I’ve noticed is that ROI usually disappears not because of lack of meetings but because of meetings with companies that are visible but not really active where it matters.

Another interesting shift is that some of the most productive conversations don’t even come from the fully pre-scheduled meetings but from second layer interactions introductions follow-ups or even spontaneous conversations during the market.

So lately I’ve been leaving a bit more space in the schedule instead of locking everything in advance because those flexible slots often turn out to be more valuable than expected.

Curious how others approach this especially when it comes to filtering companies before Cannes.

Have you ever had a situation where a company looked perfect before the market but didn’t follow through at all afterwards.
 
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Michael said:
Reading through the comments here, I think this discussion is going in a very accurate direction. What John mentioned about execution, Max about the market becoming “smarter”, and MICA about more focused meetings all reflect quite well where Cannes stands today.
What has really changed over the past years, in my opinion, is that the Marché is no longer a volume-driven market, but much more of a precision-driven one. It’s not about how many people you meet anymore, but how well your project is positioned, how realistic your expectations are, and whether the other side is actually active in the market, not just present.
I also see more and more that the gap between “interest” and actual deals is getting wider. In Cannes it’s relatively easy to get positive reactions, but the real question is what actually closes a few months later.
Responding to Lucas on companies, I’ve personally moved away from selecting based on name alone. What matters more is recent activity. Who has actually been closing deals in the last 6–12 months, who is releasing films, and just as importantly, who actually follows through after agreements are made.
This brings up something that I think is still not discussed enough, which is reliability. Smaller companies can be faster and more flexible, but payment risk is a very real issue. Larger companies are usually more stable, but decisions can be slow and payment timelines long. So at this point it’s not really about who says yes in Cannes, but who is actually able to execute afterwards.
In terms of ROI, for me it’s roughly a 70/30 balance. Pre-scheduled meetings give structure, but a lot of the real value tends to come from second layers follow-ups, introductions, and more informal conversations. Cannes is one of the few places where a coffee meeting can be more productive than a formal 20-minute slot, if you’re properly prepared.
Timing is another critical factor. Many projects hit the market either too early, when they are not packaged strongly enough, or too late, when they’ve already lost momentum. The ones that tend to move are usually in a very narrow window, where there is enough material to sell, but still flexibility to structure deals.
So I fully agree with the shift toward fewer, more focused meetings, but I’d add that this kind of focus doesn’t start in Cannes anymore, it starts well before you arrive.
How much do you factor reliability into your meeting selection today, and have you ever skipped a “strong on paper” company purely because you weren’t confident in their execution or payment track record?
Click to expand...

@Michael and @MICA, I completely agree with your "fewer but better" approach. To build on that without repeating what’s been said, I’d like to add a few thoughts on the "Invisible Market" of 2026 and some technical survival tips.

The ROI of Research (and a Cinando rant):
Is it just me, or has the new Cinando interface become incredibly clunky? I’ve been trying to build my target list, and it’s a UX nightmare. If I have a search result of 100+ companies and I’m trying to pull emails, it’s maddening if you click a company and then go back, it doesn't return you to your spot. If I’m at the 50th company, I have to scroll forever to find where I left off. Either I’m doing it wrong, or the developers have never actually tried to build a database under pre-Cannes pressure! :)

Beyond the Palais:
If the Palais gets too claustrophobic, I highly recommend using the International Village (pavilions) for those 15-minute "catch-ups." The air is better, and you can actually hear the person you’re talking to.

Two shifts I’m watching this year:

The AI "Vibe Check": It’s no longer about fear, but about compliance. Distributors are starting to ask about AI usage for chain of title and insurance reasons. Have those answers ready it’s becoming as standard as a budget top sheet.

The Mid-Budget Vacuum: There is a massive hunger for $3M–$7M genre films that punch above their weight. With streamers pivoting back to licensing, these are the "safe bets" everyone is looking for.

@Michael, regarding specific partners: Look into the emerging European-South Asian co-production hubs. They are bringing fresh capital and a much faster pace than some of the legacy studios this year.

For me, Cannes success is measured by the number of second meetings booked for June. If I leave the Croisette with 10 solid follow-ups, I’ve won.

See you at the pavilions and good luck with the scrolling!
 
One of the most interesting changes in recent years is that the Marché is becoming less about simple film sales, and much more about project positioning.

Years ago, many companies arrived in Cannes mainly with finished films looking for territorial buyers.
Today, a large part of the conversations starts much earlier packaging, financing structures, co-productions, tax incentives, streaming potential and even social media reach have become part of the evaluation process itself.

Buyers are also asking very different questions than before.
It is no longer only about whether a film is good or not.

Now the focus is also on:
international market potential,
streaming compatibility,
recognizable talent,
and whether the project can generate attention beyond the traditional film industry.

Another noticeable shift is that many independent producers no longer rely only on a single distributor or classic theatrical release.
More projects are now split between theatrical, streaming, AVOD, FAST platforms and regional licensing strategies depending on the territory.

I also think many newcomers underestimate how international the Marché really is.
During a single day you can move from a Korean distributor meeting to a European co-production discussion, then to a North American sales conversation and later an evening networking event with Middle Eastern investors.

That global mix is probably one of the reasons Cannes still remains unique despite all the changes happening across the industry.

At the same time, the market definitely feels more cautious financially compared to a few years ago.
But strong projects with the right packaging, relationships and positioning still attract attention surprisingly fast.
 
Wishing everyone a successful and productive Marché du Film 2026! Personally, I’m really looking forward to the Japanese delegation’s program (especially the pitches on May 14th) and the AI for Talent Summit. Which industry panels are on your 'must-watch' list this year? Have a great market!
 
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