AFM 2026: Indie Film Faces a Tougher Market — But Theatrical Breakouts Offer Hope

AFM 2026: Indie Film Faces a Tougher Market — But Theatrical Breakouts Offer Hope hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 10, 2026 8:15am PT AFM 2026: Indie Film Faces a Tougher Market — But Theatrical Breakouts Offer Hope By Elsa Keslassy Plus Icon Elsa Keslassy International Correspondent @elsakeslassy Latest How the American French Film Festival Is Bringing French Cinema to 3,000 Los Angeles High School Students With Packed Screenings of ‘In Waves’ 14 hours ago French Judo Legend Teddy Riner Announces 2027 Presidential Bid, Drawing Praise From Emmanuel Macron 15 hours ago Prime Video, Scanbox Entertainment Team on New ‘Hamilton’ Films and TV Series Based on Bestselling Swedish Spy Franchise (EXCLUSIVE) 19 hours ago See All Add us as a Google Preferred Source Comments The indie film biz head into this year’s American Film Market amid one of the industry’s most tumultuous periods in recent memory. The completion of Paramount Skydance’s merger with Warner Bros.

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Discovery and Netflix’s leadership shake-up have triggered a wave of layoffs and cuts within the last month, while streamers across the board are becoming much more selective about acquisitions. For indie producers, sales agents and distributors, the upheaval means fewer buyers and projects, and an increasingly competitive marketplace.

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Hollywood ve dünya yıldızlarının hayatındaki son gelişmeler, küresel magazin basınının manşetlerini süslüyor.

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Yet the business has also been reshaped in ways that give reason for optimism. Theatrical is once again the engine of the indie economy, and Gen Z audiences are driving some of the year’s surprise hits, from “Obsession” to “Backrooms,” and, most recently, the nearly three-hour doc “You Can See Everything.” “We’re going to see so many more of these stories dominating in the box office.

It’s what audiences want to see. If you look at the data and you look at what’s happening in the industry, the strongest, the best-positioned players in this sector are the independents,” says Jackie Brenneman, a former top executive at the National Assn.

of Theatre Owners, who in January was appointed president and CEO of the Independent Film & Television Alliance, which organizes the American Film Market. Related Stories ‘Wanted’ Broadway Review: Dazzling Cast Can’t Elevate the Musical’s Muted Narrative ‘A Few Good Men’ Review: Broadway Revival Breathes New Life Into Aaron Sorkin’s Courtroom Classic AFM runs Nov.

Brenneman is preparing to oversee her first AFM with an expanded program aimed at attracting more filmmakers, financiers, exhibitors and technology companies to “show the broader industry why independent films are incredibly investable and why you should be bullish on independent film.” AFM also faces fresh competition from Toronto’s new market, but accreditation numbers for the L.A.-set event are on par with last year, with more than 80 countries represented among registered buyers. leads, followed by Germany, the U.K., South Korea, Spain and France.

China is also returning after several years of limited turnout. Heading into AFM, the mood among buyers and sellers is hopeful but cautious, with several predicting a busy market.

“There are a lot of people crossing their fingers that it’s a strong market and there’s a lot of stuff there. I think the appetite is there for movies, especially after Toronto.

The projects just need to be there,” says Scott Shooman, head of IFC Entertainment Group. Fabien Westerhoff, CEO of London-based European sales outfit Film Constellation, describes the current mood as a “dual, conflicting emotional state.” On one hand, he points to over-indexing specialty titles such as his company’s queer adult animation “Jim Queen,” which g

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