The European Film Market (EFM) opens its doors from 12 to 18 February 2026 as part of the 76th Berlinale opens its doors. This year, the message from Europe's largest film market is particularly clear: business is not "back" as it used to be - but it is moving noticeably and in several directions at the same time. The EFM has expanded its programme in response to the changing requirements of the industry.

Broader programme, clearer focus

This year's EFM shows where the industry is heading. In addition to the classic market events, there are new focal points:

  • EFM Animation Days as its own platform for animation projects.

  • EFM Beyondan area for innovation, new business models and cross-media strategies.

  • The programme focuses more strongly on topics such as technology, financing and IP marketing.

  • Start-ups, investor forums and the promotion of young talent (for example via a film school summit) will also be more closely integrated.

These expansions do not replace the traditional trading business, but they do make the market attractive to a broader public and new forms of project development.

Market sentiment: no boom, but movement

A look at the Sundance Festival in January shows that there is noticeable activity again. Although there is no buying euphoria, several deals were concluded there - and faster than in recent years. In addition, industry insiders observed an increasing number of new and expanding buyers, which is revitalising market sentiment.

In 2026, the EFM should show whether this cautious optimistic trend actually translates into concrete market movements and deals in Berlin.

What buyers are really looking for in 2026

The market has changed: Films are still being sold, but on different terms than a few years ago. Fixed advance payments are smaller, fewer territories are being allocated and the focus is on clearly verifiable values rather than unrealistic expectations.

The industry is increasingly dividing into two camps:

  • Major playersthat work with a wide range of products and strategic window control.

  • Smaller specialistswho negotiate precisely and cleverly to find lucrative niches.
    The most insecure position is held by companies that are neither large nor agile and try to cling to old models.

EFM will therefore not only be a sales platform, but also a place where it becomes clear which projects have real market opportunities.

Market data speaks a clear language

A clear indication of the new market reality: what used to be sold in 20-35 regions is now often only sold in 8-18 Territories.

However, some areas remain relatively stable:

  • France holds solid minimum guarantees for many securities.

  • Japan pays selectively for genre films.

  • Golf regions show growth in certain commercial titles.
    Other important markets, on the other hand, tend to have lower advances or sales-based participations.

What is particularly in demand in sales

The titles that are likely to be the strongest draw at EFM 2026 are those with a clear commercial focus - be it through well-known actors, strong genre identity or clear market logic. Examples of this include productions with celebrities such as Benedict Cumberbatch or Ana de Armas, as well as genre and festival-appropriate works from various providers.

New segments and strategies in EFM

Two developments are particularly important for producers and sellers:

  1. Animation is established as a separate market segment and is aimed at international partners.

  2. Cross-IP strategies and new business models take centre stage, for example in the context of EFM Beyond.

In addition, the focus on countries such as Moroccothat international co-productions and location-based strategies are becoming increasingly important. In addition, genre projects are presented in a special showcase, which shows that such material continues to be in high demand internationally.

Conclusion: EFM 2026 as a test of maturity

The EFM 2026 does not mark a return boom, but rather a phase in which the market is reorganising itself and establishing clear rules. Industry players who structure their projects skilfully and have realistic expectations regarding price and realisation could be particularly successful there.

FILMTAKE reports in detail.

 
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