AFM Attendees Weigh In: What Happens in Vegas, Stays in Opinions!

“Just get me out of here.” Is it any wonder that this was the immediate reaction to the glittering façade of Las Vegas, where the lights shine brighter than our collective hopes? “I’ve had more fun in the lifts than I have anywhere else in Vegas,” one attendee lamented, and honestly, can we blame them? There’s a certain irony in preferring the vertical travel between floors over the exhilarating soul-crushing experience of networking amidst the slot machines. And if anyone thought they’d miss the Loews, think again: “I’ll never complain about the Loews again,” echoed across the floor like a desperate prayer.

Clearly, this year's AFM at the Palms Casino Resort was steeped in a heady mix of discontent over the recent US presidential election results—a mood so heavy you could almost hear the sighs echoing down the strip—and the long queues snaking around the lifts, which felt more like a dystopian nightmare than a film market. Nevertheless, amidst the grumbling, there were hints of optimism. “After two years of growth, it’s great,” said UK-based CEO of Anton, Sébastien Raybaud, with a hint of disbelief that perhaps the very ground they tread upon could produce a diamond among the rough. His film, *Victorian Psycho*, starring none other than Margaret Qualley, has become a hot ticket, selling like popcorn at a midnight screening. “We’re closing on a bunch of international territories, very theatrical distributors. We feel bullish about the theatrical distribution market,” he added, projecting an air of defiance against the backdrop of chaos.

Stephen Kelliher, the managing director and co-founder of Bankside Films, joined the optimistic chorus. “I’m impressed by the way things have gone on so far,” he asserted, as if to affirm that behind every crammed elevator of disgruntled filmmakers lies an undercurrent of hope. Buyers from Latin America, Spain, and the UK were out in force, seeking their next big project. “Films that genuinely entertain and offer uplifting, life-affirming experiences are working,” he noted, though one must wonder if that was perhaps an ironic nod to the absurdity of our times.

An odd twist, however, was the collective bad mood regarding the venue—it seems that the very dissatisfaction with the location has sharpened their focus on what truly matters: the films. “It’s a really good market – people are focused. They’re disgusted [with the location], so therefore they really focus on the film,” Raybaud mused, his words a little too deadpan, as if he were attempting to rationalize a conundrum with his business acumen.

While the attendees enjoyed the culinary delights and electrifying shows of Sin City—delicacies that the Santa Monica venue could never rival—the overwhelming sentiment seemed to be that this year's market was tantamount to an awkward but necessary field trip. A collective hope clung to the air like a cigarette smoke, with most convinced that AFM needed to return to LA, the industry’s heart and soul. After all, a lot of North American buyers only made a fleeting visit, cramming meetings into a couple of frenetic days or signing onto Zoom calls before or after market hours, likely from the comfort of their hotel room beds that seemed to scream for a good night’s sleep.

Amidst the disarray—high costs, technical glitches ruining early market screenings, and the hotel’s 24-hour casino vibe—there loomed the specter of future attendance. “If AFM doesn’t return to LA, many attendees say they won’t be coming back next year,” noted an anonymous US executive, their words hanging in the air like an unresolved plot twist. “Everyone wants to go back,” they confessed, a longing wrapped in a sprinkle of desperation. “We should be able to find a smaller hotel so the smaller companies can work out of them or share.” The nostalgia for Santa Monica, despite its sprawling costs and the infamous lift saga of last year, echoed in conversations, almost like a beloved but frustrating relative.

Stuart Ford, AGC Studios chairman and CEO, shot straight from the hip during a conference talk filled with bittersweet truths. “There’s efficiency to having a market in one building, screenings in one building, industry gatherings in one building—it has benefitted business at this AFM,” he stated, before the sentiment shifted. “Do I think Vegas is the right environment for AFM long term? Absolutely not. My message to [market organizer] IFTA is, ‘This has been fun, you’ve done a great job, now take us home.’” A clarion call for change wrapped in a polite dismissal.

Yet, not all was bad in Sin City. Kelliher found silver linings, echoing the mixed feelings attendees grappled with. “From a sales point of view, the office is nice,” he said, singling out the cinema offerings in their cozy building, basking in screens bigger than their doubts. “I was impressed by the quality of the cinemas. I do kind of lament the fact it’s not in LA, because there’s such a connection to film there, but from a practical point of view, it’s worked for us.” A tug-of-war of sentiments filled the air, and while some smaller US sales companies basked in satisfaction, saying they were prepared to meet buyers wherever they roamed—like well-trained puppies—larger concerns loomed.

Buyers, it seemed, were still out there, albeit less fervently. Delegates from major territories made a pilgrimage to Vegas—albeit less so from France, Spain, and parts of Asia. Amazon Studios reportedly sent a large delegation, perhaps for the glitter and glitz or was it