The Toronto Film Festival is playing an increasingly significant role for indie TV producers seeking new financing models as the era of easy streaming money comes to an end. Geoff Macnaughton, senior director of industry and theatrical programming at TIFF, states that being selected for the festival provides a “curatorial stamp of approval” and access to mentors and decision-makers, making it a valuable addition to a producer’s résumé.
The Primetime showcase at TIFF focuses on premiering high-end international TV series to cinema audiences. Last year, it featured seven TV series, including five world premieres, with notable entries such as Lars von Trier’s “The Kingdom Exodus,” the fifth season of MGM’s “The Handmaid’s Tale,” and the Allen Hughes FX docuseries “Dear Mama.” Macnaughton reveals that the number of international series premieres will increase this year, along with the expansion of the festival’s TV accelerator program for emerging creators.
Joe Lewis, a producer of critically acclaimed shows such as “Fleabag” and “Transparent,” emphasizes that film festivals like TIFF, which prioritize audiences and critics over traditional TV markets, present new opportunities for financing and producing series. Macnaughton echoes this sentiment, stating that it has become easier to convince prestigious TV producers to bring their shows to TIFF instead of traditional TV markets tailored more towards industry players.
Major studios and streamers are increasingly expected to take fewer risks in TV development as they strive to reduce content costs and achieve streaming profitability. Against this backdrop, Lewis suggests that exposure at film festivals could help creators find new ways to finance their projects. TIFF provides an opportunity for companies, such as Lewis’ Amplify Pictures, to greenlight series without a distributor or broadcast partner attached, allowing creators to retain more creative control and financial participation in the fast-evolving global TV market.
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For TIFF, premiering a TV series before it is widely released allows the festival to provide a stamp of approval and generate buzz among audiences, press, and potential broadcasters or distributors. Indie film producers and distributors transitioning into TV often seek the same launch experience for their TV shows as they have had with their films. Macnaughton notes that an increasing number of creators are using film festivals as a platform to launch their series outside the traditional funding system.
Rachel Eggebeen, the recently appointed chief content officer at Amplify, believes that a shift in the TV buying side is necessary to create a new marketplace. She sees the potential for film festivals like TIFF to contribute to the growth of high-end, premium acquisitions in the US market, just as they have influenced the history of American cinema. Lewis compares screening episodic TV at major film festivals to displaying art in prestigious galleries, asserting that it can raise the value and recognition of a series that would otherwise only be seen by a limited group of network or streaming executives.
Lewis further suggests that film festivals provide an opportunity for the public and critics to discover and appreciate TV shows that may not have connected with a larger audience. By showcasing these series at festivals, their value can be raised, creating a positive feedback loop between audiences, critics, and the industry.
In summary, the Toronto Film Festival is becoming an important platform for indie TV producers seeking financing models outside of traditional TV markets. Its curatorial brand and access to decision-makers make it an attractive opportunity for creators who want to launch their shows with prestige and gain visibility among audiences, critics, and potential broadcasters or distributors. As the TV landscape continues to evolve, film festivals like TIFF are poised to play a more significant role in shaping the future of high-quality TV content.
