Rising Stars Shine: Bifa 2024 Nominations Spotlight 'Kneecap', 'Love Lies Bleeding', and 'The Outrun'

“Just get me out of here.” Ah, the classic refrain of anyone trapped in an ill-conceived destination. It seems the Palms Casino Resort in Vegas has turned into a confessional booth for weary attendees of this year’s AFM. The comments surrounding the venue include highlights like, “I’ve had more fun in the lifts than I have anywhere else in Vegas,” and “I’ll never complain about the Loews again.” Truly, one must question the investment of air travel when you can get the full Vegas experience merely by waiting for an elevator.

This year's gathering has been overshadowed by a collective sigh of disbelief following the U.S. presidential election results. As if that weight weren’t enough, add to it the discontent brewing over the lengthy queues and cramped conditions. Yet, beneath the veil of dismay, there are whispers of optimism. Sellers note a streak of positivity in the business itself. “After two years of growth, it’s great,” beams UK-based CEO of Anton, Sébastien Raybaud, while pointing out that *Victorian Psycho*, a horror flick starring Margaret Qualley, has been scooping up sales. “We’re closing on a bunch of international territories, very theatrical distributors. We feel bullish about the theatrical distribution market.” You can almost hear the triumph in his voice; it’s a joy to witness business optimism blooming—even amidst chaos.

“I’m impressed by the way things have gone so far," echoes Stephen Kelliher, co-founder of Bankside Films. “Films that are genuinely entertaining and offer uplifting, life-affirming experiences to audiences are working.” He mentions activity from buyers hailing from Latin America, Spain, and the UK—an unexpected twist in this desert of despair.

As if in full irony, Raybaud suggests that dissatisfaction with the location might actually serve as a good luck charm for business. “It’s a really good market – people are focused. They’re disgusted [with the location], so they really focus on the film.” Disgust as a motivational force? Only in Hollywood. Who knew that the secret recipe for success involved a sprinkle of public distaste?

While attendees have poured their hearts into enjoying the cacophony of restaurants and shows unique to Vegas—a veritable banquet of opportunity the former Santa Monica location could hardly dream of—there’s a whisper among the crowd that this is merely a school trip gone awry. Next year, the hope is to return to LA, the pulsating heart of the industry. “Everyone wants to go back,” lamented one executive, who preferred to remain anonymous, but not without emphasizing the truth that “most American sales companies are there.” They long for a smaller hotel, one where creativity can flourish without the distractions of a 24-hour casino hovering like an ominous cloud.

Stuart Ford of AGC Studios didn’t mince words in his conference address. “There’s an efficiency to having a market in one building; screenings, gatherings—all in one place. That has benefited business at this AFM. 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.’” If only we could send our political discontents home with the same ease.

Yet not everyone has thrown in the towel on Vegas. “From a sales perspective, the office is nice,” Kelliher noted, giving a nod to the quality of cinemas—complete with giant screens and cushy seats. “But I do kind of lament the fact it’s not in LA, where the connection to film is so deeply rooted. It does make it feel a bit more grounded.” An interesting perspective; perhaps nostalgia is the new black?

Smaller U.S. sales companies, however, have embraced the Vegas experience, prepared to chase buyers wherever they may roam. There’s a sense of camaraderie in those swirling shadows. Major territories sent their emissaries to Vegas, and reports of a large delegation from Amazon Studios wandering the casino floor only add to the mystique of the gathering.

As always, coveted titles emerge from the fray. *Lionsgate International's* *Orphan 3*, *FilmNation’s* *Brides* featuring Maika Monroe, and *AGC Studios’* *The Last Druid* starring Russell Crowe are just a few on the hotlist. Yet despite the glimmer of excitement, the pace of deal-making continues to lag behind pre-pandemic numbers, a lingering reminder of the storm that swept through Hollywood.

In the spirit of awards season, the *2024 British Independent Film Awards* nominations have recently been unveiled, showcasing a dazzling array of international talent. *Kneecap*, a comedy about a hip-hop trio from Belfast, led the way with a whopping fourteen nominations, followed closely by *Love Lies Bleeding* and *The Outrun*. These nominations feel like a gentle reminder that amidst the chaos of film festivals and market scrambles, storytelling continues to thrive, a beacon of hope, much like that one perfectly executed elevator escape.

So, as this year’s AFM draws to a close, consider it less an end and more of a fumbled pause—perhaps an intermission—before returning to the lights and glamour that are intrinsic to the film industry. Who knows? By next year, we might just find ourselves nestled back in our beloved Santa Monica, laughing together at this year’s misadventures as we toast to resilience in the face of the absurd.