12 stories for the international film industry in 2019

What to watch in the overseas film industry in 2019:

1. Stay alive

One of the most common refrains I hear from independent sales and distribution companies is how hard it is to survive these days. While Netflix rises and studies, theaters and the public continue to gravitate towards sequels, prequels and spin-offs, independent cinema becomes a more insidious territory. The year 2018 saw the closure of important independent film companies (Global Road), the failed (EuropaCorp) or the reconfiguration and redirection (many small international companies had to do it). In this environment, newcomers like Solstice will be watched closely, as will all the labels of the former Weinstein manager David Glasser and the foreign sales manager Patrick Wachsberger.

The international penetration of Netflix continues at a brisk pace: the streaming giant is adding five new overseas submarines for the entire United States. The company is launching an important production center in Spain (the Spanish-speaking audience of Netflix is ​​the second largest; The Casa De Papel (Money shot) has been a great success this year), and its production footprint is growing in France, London (through some large senior recruitments) and in India (at the beginning of the year, CEO Reed Hastings he said that "the next 100 million [subscribers] for us it comes from India ") Productions in the local language are one of the main growth lines for Netflix, a trend that will offer opportunities and challenges for the national industries.The theatrical revenues have gone down this year in Spain and in Italy and broke into Germany, so Netflix's expansion will be watched with a certain level of anxiety, with Japan, India, Germany and Brazil among the markets that could see significant growth in 2019.

3. The Euro festival will be Netflix and relaxed?

Netflix cast a shadow over the world's most important film festival still in 2018. A year after Cannes stated that it would not take the service films in competition, the streamer quest & ls; invitation outside the festival competition. French laws on windows are rigid and the country wants to protect theatrical experience. The artistic director of Venice, Alberto Barbera, has subsequently embraced the streaming giant, making six high profile films, but this has led to a strong backlash of Italian industry. To date, Berlin has not been a presentation post for Netflix's films, and it does not appear to be changing soon. Netflix will be welcomed back to Cannes (the festival will be able to resist L & # 39; Irish?) and Venice this year, or the European biz will take position?

4. Streaming wars: implementation and pushback

Disney and AT & T are both about to launch the major streaming services in 2019, while Apple will certainly open some of the animated performances on which it has worked. The launch of Apple is destined to be a global launch, but the international launch dates for the Disney and AT & T services remain less clear. Outside of China, few international markets have developed their main streaming services. On the contrary, we are seeing a growing EU drive against online titans (see the recent Facebook grid in the UK) at the political and legislative level due to concerns about perceived tax avoidance, cultural monopolization and illicit data sharing. That aspect pushes and pulls looks set to go up next year.

5. China blues

Since China began the box office boom in 2012, it has been a shapeshifter whose rapid economic growth and political relaxation has presented Hollywood and international markets with significant economic openings, but it has also been a confusing couple of friends. China has become a key buyer in the film markets, and the territory can still be a big hit at the box office for studies that recover 25% from the turnstiles. However, after 2017, after the precipitous fall of Wanda and a government sling on capital flight, its position as a direct investor hit the skid and some high ambitions fell in 2018 (see the implosion of the Global Road of Tang Media Partners, Wanda & # 39; s exit from Beverly Hills real estate, etc.). However, we were told to keep Tencent eye in 2018 and this was a wise advice. Although the giant led by Pony Ma was a supporter of Tang and had experienced losses spurred by a crackdown of the Chinese government on online games, it took a large minority stake in David Ellison's Skydance, he collaborated with JJ Abrams to launch Bad Robot Games and made strategic investments in Sony's success Poison as well as Paramount bumblebee and the next Top Gun following. Elsewhere, the U.S.-China co-production of Warner Bros. The Meg it was a surprise summer breakout that served as a lesson in partnerships with great appeal. A sequel is undergoing initial development.

As for the future, the Chinese crackdown on tax evasion in the entertainment sector has seen one of its biggest stars – Fan Bingbing – disappear from public view only to resurface months later with a mea culpa and a heavy fine. In the wake of this scandal, regulators are watching film companies, and it is feared that the fear of audits will lead to a slowdown in production, which means that the local product may dry up significantly as early as 2019. If this will happen, the question remains: China turns to Hollywood and increases the number of share films it accepts? It has already passed the end of 2018 to ensure overall growth year on year, but accepting too many degrees could mean that the market share in the UK falls below 50% and the authorities do not believe that this happens. While the current share of 34 is often cited as a limit, China can increase it at will. In both cases, talks between the USTR and China on a new film deal, which studies have long hoped would increase divisions, remain in a stalemate after President Donald Trump's commercial tug with PROC, and there is no indication that these negotiations are being prepared at any time soon.

Can a new international darling emerge for Hollywood? Saudi Arabia may not be the new frontier in which some in the film world hoped it could be (not now at least). Some believe that Southeast Asia is a particularly fertile growth prospect and that US companies continue to scratch the tires of London's management and agency companies.

(Nancy Tartaglione contributed to China Blues)

6. "Glocal" remains an important destination

The public is increasingly pleased to see shows in local language on TV or online. Just look at the global success of series like Gomorrah, Babylon Berlin is Fauda. Unfortunately, the foreign language film market in cinemas does not move in the same direction. However, the market for remakes of film hits in the local language is booming. US and international companies are increasingly looking for remake rights to local hits that can be updated and optimized to fit different markets. Companies like CJ Entertainment, Ivanhoe and Filmsharks are among those who are furrowing success in this space.

7. Review of the festivals

Next year will see important changes taking place in major festivals around the world. Dieter Kosslick, artistic director of Berlin since 2001, will oversee his final Berlinale. Carlo Chatrian of Locarno and Mariette Rissenbeek will take over the reins in Berlin, with Lili Hinstin taking over from Locarno. Kim Yutani is on the spot for her first Sundance as director of programming after the departure of longtime programmer Trevor Groth last year. In 2018, Toronto added Joana Vicente as co-manager following the departure of longtime CEO Piers Handling, and also added more female programmers to their team. Meanwhile, Tricia Tuttle has taken over from Clare Stewart at the London Film Festival. The winds of change are blowing through the festival landscape and many are eager to see in which direction these vital events go with the new blood to the helm.

8. United Kingdom and France in progress

Two great European powers are in progress. The box office and admissions in the UK are on the rise and the country is preparing a handful of new shooting facilities to help drive its domestic investment boom. On one level, the photo is promising. But there are also big challenges that are emerging as the potential impact of Brexit and the increase in polarization in the market. Six US studies accounted for over 85% of the market share at the box office in 2018; not even a film from an independent distributor has broken the top 25. It is difficult for local indies to thrive in such a market and a number has bitten the dust. France, long considered the largest theater market in Europe, is experiencing its challenges. EuropaCorp, once boasted by Luc Besson, is on its knees, Wild Bunch needs refinancing, Pathé found itself the subject of an embarrassing and burdensome online sting, while Vivendi's StudioCanal continues to regain its executive ranks and the focus. With the shaken totems of industry, civil unrest have led to the temporary closure of some of the French cinemas, and the country's strict media chronology laws mean that it is one of the few global strengths against the day-e model -Data of Netflix, something that could be seen as a positive or negative.

9. Whose story is it, anyway?

Fortunately, many of the film industry now recognize the need for greater gender, racial and social diversity on screen and in the business world. Progress has been slow, but in some areas there are green sprouts of change. There is a new and growing frontier of concern in this necessary battlefield: who should be able to tell which stories? The debate was amplified by the Belgian dramatic trans Girl, a film about a trans experience, told by a man and a cis genre star. The film has received critical acclaim, but also a backlash from trans. Cultural changes are shaking industry norms and generating welcome opportunities for new items. At the same time, the question of who should or should not be able to tell certain stories is becoming increasingly complex and important, creatively, financially and reputable.

10. Fox-Disney Fusion

The shape of future things is not clear. These studies boast of sizable and successful international teams, and the work may still be in the balance. The rivals will look forward to release calendars, potential departures and how the new mega-studio will give priority.

11. Eventize me

Global theatrical achievements of documents such as Burn the stage: the film, Coldplay: A Head Full of Dreams and by Peter Jackson They will not grow old continue to demonstrate the value of the event cinema. As theaters add bars, food offerings and comfort levels, the event style version market is growing, with ballets, theater performances, musicals and sporting events all on the menu. Who will be the next participants in this profitable space?

Blockchain continues to be a word of order in Hollywood and beyond. The desire for transparency is growing along with the secrecy of streaming platforms (Netflix in particular) and companies are experimenting with new accounting models in an attempt to support their resources and customers. Movies are also sold to the markets using blockchain. Over the past few weeks I have spoken with several international companies trying to launch blockchain-based services for the sector and in 2019 numerous blockchain-based content platforms should be launched. But will they start significantly?