International sales deals demonstrate different approaches to marketing film rights. Ahead of the American Film Market (AFM) in November, this brings into sharp focus the question of how the value of individual territories and comprehensive rights packages can be assessed in economic terms.
A recent example is provided by Paradise Lost by director Yeon Sang-ho. As the South Korean conglomerate CJ ENM announced on 19 October, the film’s international sales revenue exceeded its net production budget. Distribution rights were sold to 118 countries. The film was released in South Korean cinemas on 21 October. Whilst the reported box office takings provide an indication of the film’s international marketing performance, they do not allow for a definitive assessment of the film’s profitability without details of payment terms, distribution costs and producers’ profits.
Other deals highlight just how varied international distribution strategies can be. On 16 October, Sony Pictures Classics secured the US rights as well as extensive international rights to The Julia Set, following the film’s screening at the Toronto International Film Festival (TIFF). A package deal of this kind can bundle the marketing of several territories. For rights holders, this raises the question of whether the overall package is more financially attractive than separate sales to individual distributors.
The international distributor TrustNordisk takes a different approach with Unknown Woman by director May el-Toukhy. Distribution deals for the film have been announced, including with Vue Lumière for the UK and Ireland, and with Weltkino for Germany and Austria. Individual territory sales make it possible to take into account different distribution partners and market conditions. At the same time, distributors must factor in the effort and time involved in marketing the film across multiple territories.
The timing of a deal also influences the valuation. In October, Black Bear secured the US distribution rights to Honeymoon/Funeral, whilst the film was still in post-production. In agreements of this kind, factors such as the project itself, the completion date, the terms of delivery and the intended target audience all play a part.
These examples provide a basis for negotiations at the American Film Market, which will take place in Los Angeles from 10 to 15 November 2026. The specific scope of rights, the expected licence revenues and the terms of the respective deal remain crucial for the financial assessment. The number of countries to which a film is sold, on the other hand, says little on its own about the financial contribution made by individual markets.