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Film London has announced a raft of new international partnerships for the 2017 edition of its Production Finance Market (PFM), which will run October 9-11. The annual event, now in its 11th year, is the U.K.’s only film finance market and runs concurrently with the BFI London Film Festival. It brings together filmmakers and financiers from around the world with the aim of bringing new features into production and is open to experienced producers with projects budgeted at €1 million ($1.1 million) and above. It also features a Micro Market strand open to projects budgeted below €1 million. This year Film London looks to further broaden the PFM’s global reach through new international partnerships with Argentina’s National Institute of Cinema and Audiovisual Arts ( INCAA ), Italy’s Apulia Film Commission, and the Luxembourg-based European producers training, development and networking organization EAVE . Adrian Wootton, chief executive of Film London and the British Film Commission, said such partnerships were key to the PFM’s ongoing success. “PFM has always been about bringing the global film business to London, and every year we strive to give filmmakers and financiers access to opportunities and connections they wouldn’t get anywhere else,” said Wootton. The INCAA will become Film London’s strategic Latin American partner identifying and recommending promising producers with projects from the region that are seeking international finance. EAVE will fulfill a similar capacity in terms of identifying European producers with suitably developed projects for the PFM. The partnership with the Apulia Film Commission will see the Italian agency identify two local projects to take part in the London market. In exchange Film London will propose British producers to attend Apulia’s Mediterranean Co-production Forum. This year’s event also sees the return of its tripartite partnership between Trieste’s When East Meets West, Rome’s MIA|Cinema Coproduction Market, and the PFM: TRL Espresso, which fast-tracks a feature chosen at Trieste through the two European markets.

For the original version including any supplementary images or video, visit http://variety.com/2017/film/finance/film-londons-production-finance-market-announces-new-partnerships-2017-dates-exclusive-1202434338/

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Warner Brothers also has another massive franchise underway with the Fantastic Beasts films drawing on the world of Harry Potter. The Marvel Cinematic Universe has been immensely successful. [Image: Marvel Studios Even smaller budget films are embracing the idea of shared universes. M Night Shaymalan’s recent surprise hit Split has connections to his earlier film Unbreakable . Conjuring director James Wan’s latest horror film efforts are pitched as “part of the Conjuring universe” . There are even rumours that new adaptations of Stephen King’s The Dark Tower and IT might tap into this shared universe zeitgeist. With a legacy spanning decades that is arguably older than Marvel and DC, it remains to be seen if Universal can replicate these franchises’ successes. Indeed, the marketing campaign for Universal’s Dark Universe taps into nostalgia for black and white film monsters and Hammer Horror. Arguably there are two important factors that underpin the success of these franchises: big budget film franchises are both recession as well as critic proof, important considerations in a post-GFC world that has witnessed the rise of online “film critics” on aggregate sites such as IMDB and Rotten Tomatoes . Post recession, the price of entry to the cinema (the price of a smashed avocado breakfast or less) has sustained movies as a form of popular entertainment. It is arguably in this climate that the idea for the Marvel cinematic universe first began, after the release of John Favreau’s Iron Man in 2008. Indeed, the film industry has long been regarded as “recession proof” .

For the original version including any supplementary images or video, visit https://www.lifehacker.com.au/2017/06/will-the-superhero-films-ever-end/

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