AFM praised for new L.A. location: buyers balk at pricey film packages

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• New venue, smoother logistics and a welcome change from Vegas
• Attendance snapshot and international footprint
• Sales activity: quiet week, but a few notable pickups
  • Box office and timing complicate deals
• Streaming windows and the squeeze on post-theatrical revenue
• Which titles created the most buzz
• Buyer strategies and independent resilience

Rain swept into Los Angeles, but it did more than dampen streets. At the Fairmont Century Plaza, showers seemed to concentrate energy inside the American Film Market, driving bustle in the lobby and fuller houses at screenings in the nearby AMC. Buyers, sellers and agents found a more workable AFM than last year, and the mood inside felt busy and purposeful.

New venue, smoother logistics and a welcome change from Vegas

After the much-criticized detour to Las Vegas, this year’s AFM returned to Los Angeles with a strong logistical rebound. The Fairmont location offered easier access between meeting rooms, hotels and screening venues. Delegates noted faster elevators, clear walkways and convenient agency access.

• Exhibitors praised the layout for allowing more productive meetings.
• Agents and sales reps highlighted the proximity to talent and industry offices.
• Local screenings at the mall’s AMC benefited from increased foot traffic driven by the weather.

Many attendees said this felt like the first AFM in years where they could focus on deals instead of logistics.

Attendance snapshot and international footprint

The market reported a solid turnout. Booth space sold out and the exhibitor list included companies from across the globe.

• 285 exhibitors represented at AFM.
• Countries included South Korea, Germany, the U.K., France and Italy among others.
• Buyers remained active, though some stayed away likely due to last year’s challenges.

Sales activity: quiet week, but a few notable pickups

Conversations in sales rooms reflected caution. Overall, few headline acquisitions were announced during market week. Still, there were individual wins that drew attention.

• Neon acquired U.S., U.K. and Australian rights to Hirokazu Kore-eda’s latest, signaling interest in auteur cinema despite a tough market.
• Other commercially appealing titles found buyers on strength of concept and star power.

But many delegates warned that high asking prices put some projects out of reach. Market veterans described a mismatch between seller price expectations and what today’s buyers can realistically pay.

Box office and timing complicate deals

The timing of AFM coincided with a couple of prestige indie releases that underperformed at the box office. Those results fed into buyer skepticism about paying top dollar for similar projects. Distributors and buyers cited recent flops as fresh evidence that audience tastes remain unpredictable.

Streaming windows and the squeeze on post-theatrical revenue

Another major pressure point was the changing economics of post-theatrical windows. As streaming and Pay-1 SVOD deals dominate, the downstream revenue that once bolstered theatrical titles is shrinking.

Executives noted the “Pay-1/SVOD affliction” in multiple territories, saying it constrains acquisition budgets outside the U.S., including Germany, Spain and Italy.

In the U.K., distributors highlighted a sharp drop in ancillary revenues, which impacts everything from acquisition strategy to marketing spend.

Which titles created the most buzz

Despite headwinds, several projects sparked genuine excitement among buyers and press.

• Ibelin — Black Bear’s launch title, a drama about a man living richly through gaming, starring Charlie Plummer, Stephen Graham and Toni Collette.
• Bad Bridgets — A revenge thriller set in 19th-century New York, marketed by FilmNation and WME Independent, featuring Daisy Edgar-Jones and Emilia Jones.
• The Resurrection of the Christ — Mel Gibson’s two-part epic, discussed as a high-profile, costly package.
• Phantom Son — AGC’s thriller with Renee Zellweger directed by David Yates, singled out for a clear marketing hook.
• Sharknado Origins — The Asylum’s return to cult territory, demonstrating that even B-movie franchises can stir interest.

Buyer strategies and independent resilience

Attendees emphasized adaptability. With fewer guaranteed hits, buyers are hunting for distinct, marketable films. Distributors said they now prioritize clear concepts and strong positioning.

Independent producers and sellers stressed pragmatic approaches: trim budgets, sharpen marketing propositions and find unique hooks that cut through noise.

“If your film is special, it will find an audience,” summarized a distribution executive, underscoring a pragmatic optimism despite the challenges.