Six big takeaways from the Berlin European Film Market 2025

Six themes and big ideas I heard a lot about during the 2025 Berlin Film Festival and European Film Market

And so ends another European Film Market (EFM) in Berlin.

One of my missions while out there was to talk with as many people as I could. I find it an invaluable way to keep an ear to the ground, stay connected to the industry and generally have a good gossip.

Below are my main takeaways that I picked up across these conversations and trade coverage:

1. It was a shorter, tighter EFM

My past research has shown how the opening weekend is always the busiest at film festivals and markets, but this year EFM took this to the extreme. The event felt like a concentrated two-and-a-half day rather than its official seven-day run.

Many Berlin regulars only attended Friday to Sunday night, while some skipped it entirely (and a number of Brits departed in time for Sunday night’s BAFTA awards).

"The halls and the lobbies of the hotels don’t feel as crowded… that said, it’s still a busy market" Bankside's Stephen Kelliher told Screen.

There was a lack of major sales packages and a reduced buyer presence, particularly from Asia. The Gropius Bau and Marriot bar were as busy as you might expect (with any empty seat instantly pounced upon by dozens of eagle-eyed circling producers), but other venues felt quieter.

I noted a continuation of the trend we’ve seen at Cannes where companies and agencies opt for private meetings rather than paying for traditional market booths.

A few people I spoke to raised the question as to how the new Berlinale leadership will combat this trend in the coming years.

2. Indie film lives!

Major studios continue to reduce their film slates, leaving more room for independent productions. However, the financing landscape remains a challenge, with fewer traditional funding avenues available. Large multi-picture deals, such as Paramount’s agreement with Domain Capital, reflect the shift toward alternative financing structures.

Ampere Analysis’s Guy Bisson gave a fascinating talk, highlighted the ongoing bifurcation of the industry. He notes “The global market, valued at $800 billion, is essentially split in two… Half of it is shrinking, and half of it is growing”.

Traditional theatrical and broadcast television continue to contract, while streaming platforms and online distribution maintain a strong trajectory. However, even within streaming, there is a notable pivot towards prioritising safe, repeatable content, such as TV renewals, over first-run feature films.

For independent filmmakers, the shifting landscape offers both opportunities and difficulties. While there is less competition from major studios, the financing model is increasingly fragmented, requiring producers to assemble funds from a patchwork of sources. Co-productions and international collaborations are becoming essential strategies for securing financing and distribution.

Additionally, more emphasis is being placed on niche markets and genre films, with horror, thriller, and prestige drama remaining particularly viable for independent producers.

Some industry insiders at EFM noted that the role of independent sales agents and financiers is becoming even more critical in an era where studios and streamers are making fewer commitments to new projects. The continued decline of mid-budget studio films has left an opening for independent films to fill gaps in the market, though securing distribution deals remains a significant hurdle.