Moderator Jackie Brenneman (left), president and CEO of the Independent Film & Television Alliance (IFTA) led a spirited discussion Nov. 11 at AFM 2026 on new opportunities for filmmakers willing to rethink how movies are funded, marketed and sold. Panelists included (L-R) Michael Favelle, CEO of Odin’s Eye Entertainment and chief creative officer and president of distribution at Lokia; Christa Campbell, CEO of Xta Media; and Manny Halley, CEO of Imani Media Group. (Photo by Media Play News staff)
LOS ANGELES — The traditional independent film financing and distribution model is increasingly under pressure, but new opportunities are emerging for filmmakers willing to rethink how movies are funded, marketed and sold, according to industry executives speaking Nov. 11 at the American Film Market (AFM), which runs here through Nov. 15 at the Century Plaza Hotel.
During a panel titled “Who Owns the Story? Rights, Revenue and New Models of Distribution,” producers and distributors discussed the decline of international pre-sales, the growing importance of audience data and intellectual property, and new avenues for independent filmmakers to retain ownership of their movies while reaching consumers through theatrical, transactional and streaming platforms.
The discussion, held at the new AFM House, was moderated by Jackie Brenneman, president and CEO of the Independent Film & Television Alliance (IFTA). Panelists included Michael Favelle, CEO of Odin’s Eye Entertainment and chief creative officer and president of distribution at Lokia; Manny Halley, CEO of Imani Media Group; and Christa Campbell, CEO of Xta Media.
Favelle said the international sales business has undergone a fundamental transformation, with buyers increasingly unwilling to commit to films before they are completed.
“Thirty years ago, yeah, you could put the names on a napkin and sell a concept and sell every territory, with deposits paid in cash at the markets,” he said. “Those days [are] very, very long gone.”
While pre-sales remaint international buyers now prefer finished films, in part because guaranteed licensing deals from television networks and streaming services have largely disappeared
“Our international distributors can’t pre-sell because they don’t have a pay-one guaranteed deal, whether it’s streaming or free TV,” he said. “Now it’s … a finished film market.”
Campbell said the traditional dependence on bankable stars remains a significant obstacle for filmmakers seeking financing, even as younger audiences demonstrate an appetite for movies without established names.
“The young audience now is hungry for something else, and I think we’re trying to figure out what that is because the old star doesn’t always bring it anymore,” she said.
Brenneman questioned whether the industry’s reliance on established actors and traditional financing structures is limiting the variety of movies reaching audiences.
She pointed to the proliferation of relatively inexpensive horror films while romantic comedies and other genres struggle to attract financing.
“I want more comedies, I want more rom-coms, I want more stories that resonate with me,” she said, arguing that filmmakers need alternatives to financing models that favor established stars and narrowly defined genres.
Halley offered a different approach, describing how his company finances and distributes movies while retaining ownership of its intellectual property.
“I have 18 movies, I have six TV series, I own everything 100%, I finance it myself,” he said.
Halley said filmmakers can reduce financial exposure by combining tax incentives, international licensing agreements and domestic distribution commitments. He also emphasized the value of owning production facilities and equipment to lower costs and increase output.
He described a distribution strategy that begins with theatrical exhibition, which can improve a movie’s visibility on transactional digital platforms, followed by subscription streaming, television, ad-supported streaming and international licensing.
“You have so many ways,” Halley said. “The risk these days for you putting your own money up is getting really smaller, and that’s why independent filmmakers are making more and they’re building a better financial career, because there’s so many different ways of getting your money back when you make a good movie.”
Halley specifically cited Tubi, YouTube and Roku as examples of platforms creating additional monetization opportunities for independent filmmakers through advertising-supported distribution.
Favelle, however, cautioned that retaining ownership is not necessarily advantageous if filmmakers must carry substantial debt to finance projects that fail to recover their costs.
“When most movies are not recouping their budget, what’s the point of that?” he asked.
Favelle said his new venture, Lokia, is developing a hybrid distribution model that uses financial projections supplied directly by international distribution partners rather than relying exclusively on traditional sales estimates.
The approach is designed to provide better market intelligence while creating opportunities for independent films to generate revenue through licensing, merchandise and other ancillary businesses traditionally dominated by major studios.
Brenneman also pointed to growing opportunities in theatrical exhibition, noting that independently financed or distributed films have accounted for nearly 20% of the domestic box office this year, according to figures she cited.
She said the major studios’ retreat from certain types of movies has created openings for independent producers.
“There’s a vacuum right now in the business, for sure,” Favelle agreed. “There is a massive opportunity out there.”
The panelists also discussed the potential for closer relationships between independent filmmakers and theater operators, allowing producers to bypass some traditional distribution intermediaries.
“The closer you can be to the point of sale, the better you’re going to be,” Favelle said. “Because obviously every company in between, every middleman, there’s a clip, there’s a clip, there’s a clip. And is there anything left at the bottom? That’s often the question.”
Halley said his company approaches theater chains directly rather than relying on distributors that charge substantial fees, while Brenneman urged exhibitors to take a more active role in marketing independent releases.
“It has to be a partnership,” Brenneman said. “This cannot be taking advantage of independent films.”
Asked what advice they would offer emerging filmmakers entering the business today, the panelists emphasized making movies, developing relationships and identifying the right distribution partners rather than waiting for traditional financing opportunities.
“Shoot a teaser,” Brenneman advised. “I can go shoot a teaser and bring it to market and show it to buyers. If you have something hot, people are going to want it.”
Favelle encouraged filmmakers to approach sales agents with concise, targeted pitches and to seek experienced producers who can make introductions.
Halley recommended building networks of emerging directors, actors and other creative professionals who can collaborate on projects and help bring them to market.
“Get a community with real filmmakers,” he said. “Talent is actually out there and everybody needs a job.”
