Will Splashy Projects From Olivia Wilde, Cynthia Erivo and Harris Dickinson Help the Cannes Market Get Its Mojo Back?

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Todd Olsson will stop at nothing to get studios interested in his films.

To generate excitement for the screenings of “Wardriver,” a crime thriller starring Dane DeHaan that Highland Film Group, led by Olsson, is marketing at Cannes, he imitated the enthusiastic trendsetters who are commonly found on social media and produced a faux “review” of the movie.

In one of his TikTok videos meant for prospective buyers, Olsson, clearly buzzing with energy, exclaims, ‘This film is fast-paced! It’s packed with action, romance, cars, and one of my favorite elements – cybercrime involving the hacking of networks and swiping cash!'”

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“Olsson, in a TikTok video to potential buyers, exclaims with excitement, ‘This movie is full of action, romance, fast cars, and something I love – digital heists involving network hacks and stealing money!’

Sign-ups for screenings of “Wardriver” surged.

According to Olsson, our president of international sales at Highland, we behaved quite foolishly to draw attention and it surprisingly succeeded. It could be the allure of TikTok, but it appears that a 25-second video captures people’s interest more effectively than a standard invitation.

For seasoned filmmakers like Olsson, it’s becoming increasingly challenging to stand out amidst the abundance of content. With so many options vying for people’s attention, producing posters, editing promotional trailers, or even persuading actors to attend events at Cannes might not be sufficient to secure a studio’s agreement.

In Cannes, where glamorous movie premieres, celebrities in high fashion, and the stunning Riviera scenery combine for a breathtaking showcase of cinema’s worldwide impact, the red carpet has been unfurled once more this year. Stars like Denzel Washington and Tom Cruise are expected to attend to promote their upcoming films. However, it cannot be denied that the impact of movies on shaping and mirroring culture is currently at a low point. The box office hasn’t fully recovered from the COVID-19 pandemic, and both streaming platforms and studios are reducing their expenditures. It has become more challenging to secure deals, as was traditionally done by industry professionals gathering in Cannes.

According to Kent Sanderson, president of Bleecker Street Media, the business isn’t as thriving as it once was a few years back. Streaming platforms were aggressively investing in movies, but there seems to be a decrease recently. There’s a mismatch between the number of available slots for studios and streamers compared to the number of high-budget films trying to secure distribution.

At this year’s Sundance Film Festival, I found myself grappling with an undeniable imbalance. While there were a few significant sales like Neon’s $17 million acquisition of “Together,” the majority of films seemed to be waiting patiently for their chance, long after the buyers had departed Park City.

Some industry veterans I spoke with attribute this sluggish market to the fact that many movies premiering at Sundance this year appeared to be undercooked, a potential consequence of the 2023 actors’ and writers’ strikes that disrupted production.

As a cinephile eagerly anticipating the Cannes Film Festival, I’m crossing my fingers for a dazzling array of captivating films tailored to delight entertainment companies. From what I’ve gathered on paper, it seems that there are a plethora of enticing completed films and packages up for grabs. Some of these include festival premieres like “Nouvelle Vague,” which offers a fascinating glimpse into the making of Jean-Luc Godard’s “Breathless,” as well as “Urchin,” Harris Dickinson‘s debut feature film as a director, where he portrays a wandering drifter.

Additionally, there are several promising projects on the hunt for studio backing before they start rolling on set. For instance, we have “The Invite,” Olivia Wilde’s follow-up to “Don’t Worry Darling”; “Prima Facie,” an adaptation of a Tony-winning play with Cynthia Erivo; and “Bunker,” a nail-biting thriller from Florian Zeller, the director of “The Father,” featuring Javier Bardem and Penélope Cruz. Here’s hoping these tantalizing titles make their way to the big screen!

According to Glen Basner, FilmNation’s CEO, regaining normalcy has been a gradual process following the disruptions. Over the past two months, however, there seems to be a return to a more familiar setting. Employees are resuming their tasks and are eagerly engaged in projects that excite them. Consequently, we’re noticing an improvement in the quality of work being produced.

John Sloss, creator of Cinetic Media, a firm specializing in sales and management, expresses a mix of caution and optimism. Despite budgetary tightening within Hollywood, he believes that several companies remain prepared to invest substantial amounts of money on the perfect film.

According to him, Netflix has maintained its market activity just as usual. Disney is gradually returning to the market after the pandemic, while Warner Bros is making a solid effort in the same regard.

As a passionate cinephile, I can’t help but express my concerns about this year’s Cannes Film Festival. Last week, a sudden tweet from President Donald Trump threatened to overshadow the event before it even began. He announced plans for a 100% tariff on films produced outside the U.S., potentially casting a shadow over the festival and the industry as a whole.

The White House justifies this move as an effort to control runaway production and boost domestic filmmaking, but the proposed tariffs have left the film industry apprehensive, especially independent filmmakers who rely heavily on foreign incentives to finance their productions.

At the onset of Cannes this week, executives are growing optimistic that a resolution may be possible, as Trump has stepped back and announced that no definitive conclusions have yet been drawn.

According to Olsson, it’s unclear how [tariffs] would be implemented. Is it applicable to the company producing the movie or the U.S. distributor purchasing it? How can this be enforced? By the time they sort that out, I’m not even sure if Trump will still be in office.

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2025-05-13 08:43