Film Content Ownership in the Age of AI and EU Act

Coming back from Cannes 2026, one thing feels increasingly clear: the line between independent production and studio thinking is becoming thinner. Today, independently produced films require the same strategic approach once reserved for major studios: international positioning, financing architecture, packaging and global distribution strategy from the outset. With more than 2,000 feature films produced every year across Europe, creative vision alone is no longer enough. At G&F Pictures, this is very much how we see the future of international film production evolving. #Cannes2026 #FilmIndustry #MediaBusiness #G&FPictures

“International Competition” does not always mean internationally balanced. We looked at 479 short films selected at Tribeca between 2021 and 2026. 76.6% came from English-speaking countries. 62.4% came from the United States alone. At the same time, the section has become broader: represented production countries grew from 19 in 2021 to 31 in 2025, before settling at 30 in 2026. So Tribeca’s short film competition is not simply becoming “less American”. It is becoming more internationally layered while remaining strongly rooted in the English-speaking film world. For filmmakers, this distinction matters: A section can be international in name, global in reputation, and broad in country mix while still being structurally closer to specific markets. The better strategy question is not: “Is this festival international?” It is: “International for whom, and in which section?” #Tribeca #ShortFilm #FilmFestivals #FestivalStrategy #FilmData #IndependentFilm Miralot

Huge congratulations to the unstoppable Jackie Brenneman ❤️ Reading about AFM 2026’s focus on “The New Global Screen Economy” hit incredibly close to home for me and Selina because we had the privilege of working directly with Jackie during the release of ‘You, Me & Her’ — what genuinely felt like an alpha test for a new relationship between independent filmmakers, audiences, and theaters through Attend and the evolving theatrical ecosystem. What made that experience so meaningful wasn’t just the technology. It was the philosophy behind it. For so long, independent filmmakers were taught to think of distribution and exhibition as something that happened to them. You finished the film, handed it off, hoped for the best, and waited for permission from systems that often felt increasingly disconnected from audiences themselves. But working alongside Jackie showed us something different: The future may belong to filmmakers, creators, theaters, communities, brands, and audiences working together instead of operating in isolated silos. That realization fundamentally changed how we view our careers and the industry. Through releasing ‘You, Me & Her,’ we saw firsthand how hungry audiences are for connection, participation, eventized experiences, and stories that feel alive beyond the screen itself. It directly shaped the evolution of everything we’re building now with Be The Train and Space Weed Universe. Not because we think we have all the answers — honestly, far from it — but because we believe the walls between filmmaker, creator, audience, entrepreneur, technologist, musician, marketer, and exhibitor are collapsing in real time. And instead of hiding from that shift, we’re trying to build publicly through the uncertainty. Experiment publicly. Learn publicly. Create community publicly. That’s what this moment feels like to me. The tools are changing. The pipelines are changing. Audience behavior is changing. But the human need for stories and shared experiences isn’t going anywhere. What I respect so deeply about Jackie is that she’s one of the rare leaders actually willing to step into that uncertainty and help rethink the system alongside filmmakers instead of protecting outdated models simply because they’re familiar. “The New Global Screen Economy” honestly feels less like a tagline and more like a recognition of what many filmmakers have already been living through the past few years. The future of independent storytelling won’t be built behind closed doors. It’ll be built together. So much love and gratitude to Jackie for continuing to fight for independent film, exhibition, and the future of creators with intelligence, empathy, and real vision. Excited to see where this next chapter goes ❤️

Last month, Cannes held it's prestigious annual film festival - with 22 films selected to compete for the top prize, the Palme d'Or. Cristian Mungiu's 'Fjord' won the hearts and minds of the jury voters, but what really made an impact online? Analysis of mentions from the event from YouScan Social Listening ✨ highlighted that even at a global - relatively niche - event, what cuts through are the moments rooted in identity, community and cultural feelings. There's a real story about how audiences behave emerging from the chatter, and it goes well beyond film and fandom.

Beyond the Hype: A candid conversation with VP insiders on real-world Virtual Production success stories. This Marché du Film - Festival de Cannes panel brings together leaders in the Virtual Production space, the literal boots on the ground: producers, VP supervisors, and studio leads. to explore how virtual production is being used in subtle, practical ways across a wide range of budgets and styles. From the VP work behind Oscar-winning Sentimental Value to insider insights into a pre-release production and the role virtual production played in bringing it to life, this conversation offers a behind-the-scenes look at VP in action. Moderator: Dr Jodi Nelson-Tabor, Director, MARS Academy Panelists: David Elliott - VP Producer on Oscar-winning Sentimental Value Alexandra Breede - Producer across a range of Virtual Production projects Kate Phibbs - Head of Studio, The V Studio at Film Soho When: May 18, 2026, 14:00 - 14:45 GMT+2 Where: Village Innovation (Pantiero) For more information please go to: https://lnkd.in/dtqFaHzS

The most effective film content doesn't exist in isolation.   Hear James Mansell discuss how film, digital and live environments can work together to create more connected and engaging experiences for attendees at #ASCO26.   Find out more about our film capabilities: https://lnkd.in/g8cNxeBK.

The old movie pipeline is broken. And Cannes 2026 just proved it. For decades, the industry believed that if you make a good film, the audience will follow. But in today’s saturated, algorithm-driven landscape, even incredible films disappear into the noise. The most valuable asset in the film industry is no longer the content itself. It’s the audience. At the Marché du Film - Festival de Cannes this year, a new paradigm emerged. The conversations weren’t just about industry validation or traditional distribution. They were about communities. The projects winning the biggest deals are the ones that arrive with owned audiences and built-in ecosystems. This is why impact has moved from the margins to the centre. Impact is no longer just a "nice-to-have" moral addition after a film is made. It is the industry’s strategy for generating durable audience attachment and sustained discoverability. It’s how you move audiences toward films, and keep them there. Are we witnessing the end of the traditional distribution model? Read our full analysis on the shift that is redefining film value, community and success: https://lnkd.in/e5vqRJ3Q Danielle Turkov Wilson Amy Shepherd

📣 Munich International Film Festival, the No. 1 platform for German filmmaking, has published the schedule of its Industry Days (June 28 – July 3, 2026). 🗣 The Industry Days offer six days filled with inspiring talks and conferences, in-depth co-production meetings, exciting pitches, and relaxed networking opportunities for everyone actively shaping the future of the film industry. 📩 The Festival accreditation grants access to the admission to the Industry Days, the daily film screenings, use of the video library on FestivalScope Pro, and a free copy of the festival’s catalogue. Deadline for accreditation is June 12, 2026. Find all the industry events via https://lnkd.in/dJTbeQhK. #sponsored

The 24th edition of Locarno Open Doors (by Locarno Pro) marks the second chapter of its four-year focus on 42 countries across the African continent. Discover the six emerging creative producers, six feature film projects and five directors with a short film joining us for this new edition.    → All the information at shorturl.at/vBC7b   Starting from 2003, #OpenDoors has been championing filmmaking from regions where independent cinema is especially challenging, building bridges for collaboration across regions, countries, and continents. Through Open Doors’ public and professional programs, we aim to provide a space where talents find support in every step of their creative and professional journey, and where discussion and reinvention of today’s cinema can happen among free voices.    The ultimate goal of Open Doors is to contribute to the development of a more collaborative worldwide film community without borders, while making the independent scene stronger and more sustainable.    Open Doors is organised in collaboration with the Direzione dello sviluppo e della cooperazione, and with the support of Fondation Botnar and Wyss Academy for Nature _ Awards for the 2026 cohort will be granted thanks to the contribution of visions sud est  Città di Bellinzona   Centre national du cinéma et de l'image animée (CNC) ArteKino Sørfond – The Norwegian South Film Fund African Film Press EAVE and Luxembourg City Film Festival TABAKALERA and Donostia-San Sebastián International Film Festival  Internationale Kurzfilmtage Winterthur OIF