Well into its second week, TIFF 2025 is shaping up less as a buying frenzy and more as a barometer for where the independent business is heading. Deal volume remains lean, but the festival has already produced a $15 million bidding war for a Midnight Madness horror and a seven-figure North American deal for Gus Van Sant’s “Dead Man’s Wire.”
As TIFF celebrates its 50th anniversary, the festival spotlights what might be its most resilient genre amid a fractured marketplace: horror. With shrinking screen counts, compressed Pay-1/Pay-2 deals, and younger ticket buyers pulling away from theaters en masse, horror remains a rare safe-haven—cheap to produce, reliably engaging, and buoyed by fervent word-of-mouth among young theater-goers.
Toronto’s 50th anniversary edition arrives with independent distributors weighing risk against opportunity. Theatrical remains a tightrope, Pay-1 and Pay-2 license fees are under pressure, and negotiations are slower across the calendar. Yet a sturdier acquisitions slate, a pair of well-capitalized newcomers, and a crop of commercially minded titles suggest TIFF could regain some of its old deal energy.
Global streaming is shifting from rapid subscriber growth to a focus on retention, monetization, and diversified content delivery. With mature markets slowing and engagement slipping, SVOD platforms are expanding into lower-ARPU regions, testing ad-supported tiers, and forging partnerships like Netflix’s landmark TF1 deal, which blends traditional TV, live sports, and on-demand programming.
Global streaming is shifting from rapid subscriber growth to a focus on retention, monetization, and diversified content delivery. With mature markets slowing and engagement slipping, SVOD platforms are expanding into lower-ARPU regions, testing ad-supported tiers, and forging partnerships like Netflix’s landmark TF1 deal, which blends traditional TV, live sports, and on-demand programming.
In an era of consolidation, contraction, and confusion in Hollywood, Lionsgate and Starz are finally standing on their own two feet. After nearly a decade under the same roof, the two companies have completed a long-delayed split, each charting separate paths in an unforgiving media economy where scale is elusive, profitability is evasive, and the search for suitors is relentless.
The 2025 Cannes Market delivered more questions than answers, as industry players navigated, stalled US deals, shrinking Pay-1 licensing windows, and a growing rift between premium and mid-budget titles. High production and distribution costs are driving greater selectivity among studios and streamers, leaving many films without buyers in the North American market.
Despite record attendance and renewed energy on the Croisette, the Cannes 2025 Film Market is operating under the familiar strains of soaring acquisition costs, and a struggle to reconcile rising budgets with narrowing margins. For buyers and sellers alike, the market is less about glitz and more about financial clarity, pricing discipline, and navigating global distribution headwinds.
The slowdown in packaging during the first half of the year, has led to a stronger-than-usual Cannes lineup. The market is flush with well-developed packages and finished films with genuine theatrical potential. With more robust slates from top sales agencies and buyers reportedly ready to move on high-promise titles, Cannes 2025 could outperform recent years.
The dominance of social video platforms and the plateau of streaming growth signal a new phase in entertainment. Content alone is no longer a moat, as production becomes riskier and audiences more complicated to retain—especially as many content creators and executives prioritize agenda-driven programming over compelling storytelling.
Standalone SVOD services are experiencing a shift as consumers grapple with rising costs and subscription stacking. Many are turning to video aggregators, which simplify access but risk escalating prices. The market may soon consist of fewer standalone players alongside aggregators, highlighting the necessity for service bundling to reduce churn and enhance consumer convenience.
Warner Bros. Discovery and Comcast are restructuring to separate their declining linear TV networks from streaming divisions, signaling the end of linear television’s dominance. This strategy, framed as a means to enhance value, highlights the sector’s collapse as advertisers and viewers shift to digital platforms. Mergers or sell-offs are imminent.
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