As a devoted cinephile who has spent countless hours immersed in the captivating world of international cinema, I find myself both intrigued and slightly disheartened by the insights shared during the panel at the BFI London Film Festival. The shift away from drama towards genre films and comedies is an interesting development that I can’t help but view with a mix of curiosity and trepidation.
It appears that there’s been a noticeable decrease in worldwide interest towards dramatic movies, as suggested by a group of foreign film sales representatives during the BFI London Film Festival.
Sophie Green, the leader in acquisitions and development at Bankside Films, highlighted the prevailing industry mood by stating: “Right now, the main message we’re getting from the market is a clear preference for anything other than dramas. This point is emphasized repeatedly wherever we look.
A group consisting of Sata Cissokho, the head of acquisitions at Memento International, Virginie Devesa, founder of Alpha Violet, and Madeleine Tangney, director of sales at Visit Films, delved into the changing dynamics of worldwide film distribution and acquisition.
Cissokho stated that although drama continues to be essential in independent filmmaking, it’s becoming progressively difficult to fund and distribute these productions. As a result, she mentioned that they’ve needed to expand their portfolio by focusing more on genre movies and comedies to cater to the market’s preferences.
The experts generally concurred that for a drama to thrive, it frequently requires powerful debuts at film festivals, positive critical reception, and substantial buzz about awards. Tangney emphasized the significance of obtaining broadcaster and video-on-demand platform interest early on, as this can motivate distributors who hold all rights to be more willing to gamble on dramatic productions.
Regardless of the hurdles, the speakers highlighted some encouraging advancements. Devesa brought up the triumph of “Totem,” a Mexican drama, which garnered deals following its debut at the Berlin Film Festival. Tangney referenced “40 Acres,” a dystopian thriller led by Black cast members, that has been successful in the American market.
The conversation delved into the distinct hurdles and possibilities for British movies in worldwide distribution. Green pointed out that although English-speaking content tends to have a wider audience, films must strike a balance between local details and universal ideas to thrive globally.
The experts emphasized the significance of joining projects right from the start, frequently assuming the role of executive producers to influence financial and production plans. Moreover, they observed a growing tendency towards conventional release schedules, with this trend appearing even among streaming services, as the sector evolves to accommodate shifting audience tastes and distribution methods.
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2024-10-14 16:46