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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...

I think one important layer to this discussion is how packaging is no longer just about who is attached, but about how clearly a project signals its path to market. Buyers today are not only looking for talent, but for projects that already show some level of validation whether that’s partial...

Reading through this thread, it feels like everyone is circling the same issue from different angles, but what’s still missing is something practical that productions can actually apply immediately. From what we’re seeing in real productions, the main challenge isn’t understanding the SAG-AFTRA...

I don’t think this is just about micro-genres emerging it’s that the underlying logic of filmmaking has shifted. You’re no longer developing a story first, you’re developing an audience. Most projects fail at the same point: they still start with (I have a good idea.) That’s no longer enough...

At the end of the day, this is a business decision studios will always move in the direction of scale and profitability. The hesitation from actors and creators is understandable though. As consolidation grows, the number of decision-makers shrinks, and with that, the room for creative risk and...