US buyers and sellers are setting their sights on the European Film Market (EFM) as they seek to begin the year on a robust note. Following a somewhat tepid Sundance Film Festival, characterized by a rare bidding war that highlighted the nostalgia surrounding Park City’s final year before relocating to Colorado in 2027, industry players are eager for opportunities in Berlin.
Among the highlights from Sundance was A24’s acquisition of “The Invite,” a film directed by Olivia Wilde and featuring stars like Penelope Cruz, Edward Norton, and Seth Rogen, with a deal surpassing $10 million. FilmNation, in collaboration with UTA Independent Film Group, managed the US rights for the film and is now ready to market the remaining territories in Berlin.
Neon’s international president, Kristen Figeroid, is gearing up to engage buyers on the film “Leviticus,” acquired from WME Independent. This entry, part of the Sundance Midnight lineup, is set to be released in the US later this year. This marks a consistent trend for Neon, which has successfully picked up rights to films at Sundance for three consecutive years, including Steven Soderbergh’s “Presence” and Michael Shanks’ “Together.”
As the EFM approaches, US films have begun to emerge from a traditionally slow start, leading to a deluge of title releases that buyers can scrutinize. One notable project is AGC Studios’ “Sweat,” a psychological thriller that features Ana de Armas and is a remake of a Polish film that garnered attention at Cannes. Recent package drops from Lionsgate, WME Independent, and others have added to the excitement.
Berlin’s environment raises pivotal questions about audience desires and financial viability in an evolving market. Buyers are contemplating whether streaming platforms, which have often drawn talent away from traditional distribution avenues, will reinvest in theatrical releases. Despite the challenges, there remains an optimistic outlook with many discussing the necessity to cut budgets and take bold risks to fulfill market demand.
The rise of new independent distributors has revitalized the landscape. The likes of 101 Studios, Row K, and other niche operators are eager to bring fresh perspectives and offerings to theaters. Berlinale’s director, Tricia Tuttle, has called for more commercially viable films, signifying a sustained interest in maintaining a robust marketplace.
The ongoing mergers and acquisitions, notably the potential sale of Warner Bros Discovery to Netflix, have created both uncertainty and opportunity in the industry. AGC Studios’ chairman, Stuart Ford, noted that consolidation can lead to new openings for independent filmmakers, stating that while volatility exists, it can drive inventive projects and partnerships.
The launch of Manifest Pictures, a new Los Angeles sales company, exemplifies this shift. Led by experienced industry veterans, it aims to carve a niche in the market by targeting both genre films and star-driven projects. Their approach highlights the importance of transparency and realistic budgeting to cultivate strong relationships within the industry.
In tandem, companies like Bleecker Street have become more active in the pre-buy market, acquiring multiple projects for 2026, including a focus on comedy and horror. Their recent success with the K-Pop concert film “Stray Kids: The DominATE Experience” showcases a growing trend towards diverse offerings that resonate with contemporary audiences.
As the market evolves, there is a collective hope that increased collaboration among independents and international buyers will lead to more film productions and a vibrant cinematic landscape. The EFM is poised to play a critical role in shaping the year ahead as industry participants navigate new opportunities and challenges.