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@Michael Honestly, I think this depends heavily on the producer, genre, territory and how difficult the film actually is to sell internationally. I know an Eastern European producer who was recently offered a 40% sales commission deal for one of his films, which sounds crazy at first, but the...

At the same time, even much bigger projects are becoming very difficult to finance in 2026, especially period and drama-driven productions, so the market is definitely challenging right now. But I genuinely wish you good luck with it, because unique archival material with authentic historical...

@Samantha Very true about partnerships being tested under pressure rather than during development. I’ve seen projects that looked perfect on paper, but once delays, delivery problems or distribution disagreements appeared, the entire co-production dynamic changed very quickly. A lot of newer...

This will actually be my first TIFF Market as well, so I’m really looking forward to it. 😊 Cannes went surprisingly well for me this year, so I’m hoping Toronto will be just as good, even if the atmosphere is probably very different. We’ll be staying close to the CN Tower in downtown Toronto...

@Michael @admin Spot on analysis from both of you. With the $20 threshold breached, streaming has officially crossed into luxury spend, and "Strategic Churn" is just the consumer's logical self-defense. Loyalty cannot be forced anymore; it has to be earned. If studios want to avoid the trap of...

What feels different in 2026 is that many sales agents are no longer evaluating films first they are evaluating downside exposure. The conversation has shifted from: “Can this film sell?” to: “How risky is this film in the current market?” That changes the entire dynamic. A recognizable cast...

I think one of the biggest mistakes producers still make in 2026 is believing that “fully packaged” automatically means “financeable.” That may have worked years ago when attaching recognizable cast and a sales company was often enough to trigger pre-sales and investor confidence. Today, many...

@User, spot on, but let's be real: in 2026, we aren't selling genres anymore we’re selling 'The Hook.' The global market has shifted to Hyper-Local high-concept. Investors don't want 'American-style' action; they want raw, authentic stories (think Thai horror or Korean social-thrillers) that are...

What Lucas touches on here is probably one of the biggest hidden realities of modern film financing. Most investors are no longer evaluating projects in complete isolation. Very often, they are subconsciously asking themselves something much simpler: “Does the industry already have a place for...

Samantha, this is an exceptionally well-articulated observation especially framing texture as a negotiation layer rather than a purely aesthetic choice. That tension you’re describing really does seem to sit at the core of how projects are being shaped right now. To your question, I’d argue...

The film industry is often perceived through its final output, yet what remains largely invisible is the immense collaborative effort behind every production. It is a space where creativity, precision, and resilience intersect — but also one where structural challenges can significantly impact...

What you said about treating films as living projects really lines up with my own experience. The biggest mistake I made on my first film was treating distribution as something that starts after the film is finished. We focused almost entirely on the film itself and only started thinking about...

What’s becoming increasingly clear is that AI dubbing is no longer just a technical shortcut it’s starting to influence how content is distributed and positioned globally. A lot of the discussion focuses on quality, but timing and scalability are just as critical. The ability to localize...

Very solid points, especially the distinction between festival validation and actual market impact. One thing that often gets overlooked is that a festival premiere is not only about visibility, but about timing within the sales cycle. Even a strong premiere can lose momentum quickly if there’s...

Very accurate, the flat fee didn’t disappear, it just shifted all the risk to producers. Today it often feels like you’re financing your own distribution while someone else controls it. QC and delivery are one of the biggest traps right now. Many still underestimate it and it can easily eat up...

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...

What makes expensive films sometimes look cheap and low-budget films feel cinematic has very little to do with money and almost everything to do with intention. Big studio productions often try to make every frame safe, clean and perfectly visible. Every actor is well lit, every detail is...

Let’s be honest: finishing a film is not a business outcome. Without sales, distribution, and licensing, a completed movie is just a cost. During development and production, everyone confidently discusses market potential, target audiences, and revenue projections. Pitch decks highlight...

Interesting discussion, but I think many people in the film industry are viewing this less as a contractual issue and more as a job-security question. Most of the concerns I hear on sets or in post facilities aren’t about the technical definitions of Digital Replicas or Performance Data...

Honestly, I don’t really attend TV markets, and the reason is simple: there are a huge number of these events every year (MIP London, MIPCOM, etc.), and taking them seriously becomes extremely expensive. The badge is just the starting point. Flights, hotel in London, days away from work the...