AFM’s first-ever theme signals a market built on optimism for what comes next.
Jackie Brenneman, President & CEO, Independent Film & Television Alliance (IFTA) and American Film Market (AFM), answered our questions about the future of the market.
Considering AFM’s historical relevance, how is the market changing shape this year and what’s your personal stamp on it?
I accepted the opportunity to lead IFTA and AFM because I believe the profound changes taking place throughout the global entertainment landscape present an enormous opportunity for independent cinema. In my prior roles, both at NATO/Cinema United on the exhibition side and then hand distributing films to cinemas, I saw first-hand how many of our industry’s traditional models are ready for reinvention. IFTA and AFM are longstanding cornerstones of the independent business and ideally positioned to help drive this evolution.
With all this in mind, it’s probably no surprise that my personal focus has been to ensure AFM is centered on optimism and the future. And cinemas, of course. AFM is the only global market with a trade body attached to it, which gives us a unique platform to do more than facilitate deals-we can also help move the industry forward. This year, we’re expanding that role with several new initiatives we aren’t quite ready to announce yet. But you can expect more industry data, more global examples of real growth, and the business case for independents.
I don’t believe in this sector because of a general love of film. I believe because I’ve seen the opportunities and the barriers firsthand. Bringing the key players together at AFM to write the next act for filmed entertainment is an incredible privilege and I know AFM will help spark the conversations, collaborations, and innovations that define the industry’s next chapter.
What’s been the industry’s reaction to this edition so far?
I have had hundreds of conversations with filmmakers, vendors, financial companies, agencies, sales agents, distributors, studios (major, independent, and streaming), trade groups, government officials, other film markets, cinemas, and the media and the reaction has been overwhelmingly positive.
I think authentic optimism can be infectious, and I believe when people see that IFTA is working to build an AFM for the future of the industry, they are excited to see that vision and to know that we are listening to a broad range of perspectives. If the future is in flux, it will only be shaped through collaboration from established and emerging players. It is important that AFM is built for everyone in this sector, so I am listening to as many voices as possible and their input will make a difference in our offerings.
How is the current international footprint at the event? Where are you seeing the most growth or interest outside of North America?
The enthusiasm is also reflected in the data. Registrations across exhibitors, buyers, and attendees are significantly ahead of last year, and we’re still months away from AFM. We typically welcome participants from 85 countries, and we’re on track to exceed that this year.
Beyond North America, we’re seeing particularly strong engagement from Europe. Germany, Spain, Italy, the United Kingdom, and France, along with Canada are currently among our strongest international participants, reinforcing AFM’s role as a truly global marketplace for the independent film industry.
AFM has announced its first-ever theme, “The New Global Screen Economy.” What does it signal about where you want to take the market?
First and foremost, a theme signals that AFM is about more than the business conducted during the market. It’s about the broader conversations happening in a week where the whole global industry gathers. We all know there is a lot of change and challenges across our industry, but I’m much more interested in focusing on where we’re headed than where we’ve been. I’m excited by the new business models, technologies, and creators who are redefining how entertainment is financed, produced, distributed, and discovered. Our job is to bring those conversations together and help turn emerging success stories into repeatable models for the broader industry.
“The New Global Screen Economy” reflects that broader vision. The future of entertainment isn’t about whether something is called a film, television, or another format – it’s about how content is financed, packaged, sold, and enjoyed across every screen from the smallest to the largest. It also reflects our commitment to helping the next generation of filmmakers and creators. Today’s creators are entering the industry with more experience, audience insight, and commercial savvy than ever before, but many haven’t been exposed to how the global film business works. As a trade association, we have both an opportunity and a responsibility to connect those dots by bringing them together with the expertise, partners, and marketplace that can help turn creative success into sustainable careers.
Ultimately “The New Global Screen Economy” is about helping creators and film companies around the world understand not just how to make great content, but how to finance it, protect it, monetize it, and build sustainable businesses around it.
Where do you see theatrical distribution heading from here?
It is an understatement to say I believe in a strong theatrical future. I initially thought I would be taking the stage at AFM to a skeptical audience, but the past several months of amazing success stories from both independent and major studios have changed the conversation.
The most important future I see for theatrical distribution is one that takes advantage of technology to better program for audience growth. Our current model (particularly in the United States) is largely unchanged from nearly a century ago when high fixed distribution costs from film printing and shipping, a marketing monoculture from TV requiring single release dates in a territory and high placement costs, and high costs of production shaped the way films were distributed.
Now, we have a digital industry with distribution costs that are a fraction of what they once were. We have more audience data than ever thanks to loyalty programs from theaters and fan data from filmmakers, studios, and social media. We have tools that can analyze the right locations and showtimes for a title while enabling smarter, more targeted marketing. As a result, I see a future offering more to our audiences. A rise in theatrical subscriptions relies on a promise of more programming. That programming should be tailored to specific communities. The more we lean into curation, the stronger the market will become.
We will always need massive global tentpoles and huge events to bring people to theaters. But we also need a strong set of titles to keep people in the habit of moviegoing and discovery. Pricing and programming are key as we’ve already seen in markets around the world where attendance has surpassed pre-pandemic numbers. I hope that IFTA can help play a role in these conversations.
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Read more: Cinema & Video International Issue #208
