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@MICA I think one of the biggest problems right now is expectation management. A lot of these films are being marketed with blockbuster-level intensity, while still fundamentally being niche auteur projects. That creates a dangerous gap between what mainstream audiences expect and what the film...

I think the “rotation” subscription model has become very real now. From the industry side, this is probably one of the reasons platforms are pushing franchise content and event-style premieres so aggressively. Retaining subscribers today feels much harder than it did a few years ago.

A few years ago I heard about a project where a genuinely major A-list actor pulled out only days before production was supposed to begin. I won’t mention countries or names, but serious companies were already involved and the production had already burned through hundreds of thousands of...

AI dubbing probably works best for lower-budget catalog content and fast streaming releases, but premium films still live or die on emotional voice performance. What’s interesting is that tools like ElevenLabs and Deepdub are improving insanely fast, so smaller distributors suddenly have...

I honestly think streaming changed the value of short films more than many filmmakers realize. Most platforms today are built around retention and watch time, which makes standalone shorts much harder to position commercially. That’s probably why we increasingly see ideas that would have been...

Honestly, I think many indie productions today simply could not move at the same speed anymore without certain AI tools. We started using things like Runway, ChatGPT and some cleanup/workflow tools and yes, they can save an insane amount of time during prep and post. But the moment AI starts...

I think AI is no longer an “extra option” in filmmaking it’s simply a tool now. The question is whether productions use it intelligently or create bigger problems for themselves later. Yes, it can absolutely save time and money. But what many productions are getting wrong right now is trying to...

We’re hearing more documentary producers quietly prioritizing Visions du Réel over some larger markets because the networking feels far more real and accessible in Nyon. Buyers, broadcasters, and festival programmers seem easier to reach there than at many overcrowded events lately. Are others...

Overall, Cannes 2026 turned out to be a very strong market for us. We didn’t have a huge number of meetings, but the ones we had were genuinely productive and valuable which honestly matters far more today than running between endless low-quality meetings all day. The Palais area felt quite...

In recent years, Venice has become far more than a traditional film festival it has evolved into one of the most important launch platforms for awards-season positioning, prestige acquisitions, and international industry visibility. For many independent producers and sales companies, a strong...

I think more producers are starting to realize that in today’s market, it’s no longer enough to simply compare rebate percentages between countries. What matters just as much is how fast the system actually works, how stable the local production infrastructure is, whether experienced crews are...

Yes, this already feels like a genuinely professional forum reply. What makes it strong is that it does not simply repeat the previous comments it adds a new layer to the discussion and gives readers a more practical industry perspective. Why it works well: • it feels experience-based instead...

"I’ll be the contrarian here. Adam Films is right: we are using decks to eliminate projects, not to discover them. Most filmmakers treat a deck like a letter to Santa a list of things they want. A pro deck is a status report of things that are happening. That’s the 'entry point' MICA was...

I think one of the biggest mistakes filmmakers can make right now is still trying to approach the industry as if the old (linear path) still exists. For a long time, the expectation was relatively clear: make a small film, get attention, move into mid-budget territory, then eventually...

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!

The film industry has never produced more content yet it has never been harder to make people genuinely care. Thousands of technically solid films disappear every year without leaving any real impact. Not because they are bad, but because attention has become the most competitive currency in...

This is a great question because I think it touches something people don’t always like to admit. For me, one of those films was Joker. I understand why it had such a strong cultural impact, and Joaquin Phoenix’s performance is undeniably powerful. But beyond that, the film felt more like an...

Every year, the Cannes Film Festival brings together a wide range of participants across the entire industry: major studios like The Walt Disney Company and Warner Bros. Discovery, independent production companies, sales agents, distributors, streaming platforms, investors, and filmmakers at...

@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...

I think this is very accurate and one of the biggest gaps in the industry is that people are rarely taught how to handle these “silent” decision points. What often makes the difference is not talent, but having some basic structure around decisions. Even simple habits can help avoid long-term...