The dust has settled on the 75th Berlin International Film Festival (Berlinale) and the European Film Market (EFM), and as always, these events have given us a fascinating glimpse into where the industry is headed. From breakout indie gems to star-studded studio bidding wars, Berlinale and EFM have set the tone for what audiences, buyers, and distributors are hungry for in 2025.
So, what stories are resonating? Which genres are thriving? And what lessons can we learn from the biggest deals and festival winners? Let’s break it down.
At the heart of Berlinale 2025 was an emphasis on deeply personal, boundary-pushing storytelling. The Golden Bear winner, "Dreams (Sex Love)" by Dag Johan Haugerud, is a perfect example. A tender, sometimes unsettling Norwegian drama, it explores a teenager’s infatuation with her teacher through the lens of her family's shifting perspectives on love, power, and reality. The film’s nuanced take on relationships and desire left a lasting impact.
Meanwhile, the Silver Bear Grand Jury Prize winner, "The Blue Trail" by Gabriel Mascaro, continued this trend of bold, introspective storytelling, blending history with personal transformation. "The Message", which took home the Silver Bear Jury Prize, was another standout, proving that audiences (and juries) crave films that engage with social issues in fresh, artistic ways.
At EFM, this hunger for originality translated to buyers snapping up intimate, character-driven dramas, particularly those that had already made a splash at Sundance. "DJ Ahmet", a Turkish coming-of-age story with universal themes of self-discovery, saw strong sales momentum, proving that the indie spirit is alive and well.
Takeaway: The audience appetite for unique, culturally rich, and emotionally honest storytelling remains strong. Distributors should take note—films that tap into deeply human experiences, regardless of budget, are still very much in demand.
If there’s one thing EFM made clear, it’s that horror continues to be one of the safest bets in the market. Titles like "Dangerous Animals" and "Bad Boy" (a killer canine genre-bender starring Ke Huy Quan and Lili Reinhart) generated plenty of buzz. Isabelle Huppert’s 16th-century vampire mystery "The Blood Countess" also had buyers ready to sink their teeth in.
But some are starting to warn of horror oversaturation. Hugo Grumbar of Embankment Films noted that while genre movies are still selling, there’s increasing pressure to ensure they stand out. He brought "Molepeople", a horror film starring Anthony Ramos and Ben Mendelsohn, to Berlin—the first horror title on Embankment’s slate in years—which suggests that while the genre is hot, strategic selection is key.
Meanwhile, at Berlinale, horror was noticeably absent from the major award winners, reinforcing the idea that while horror dominates at the market level, high-brow festivals still lean toward prestige dramas. The closest crossover was "Kontinental ’25", which won the Silver Bear for Best Screenplay—this Radu Jude film had darkly satirical horror elements mixed into its social commentary.
Takeaway: Horror is still a solid investment, but smart buyers are looking for something with an edge—whether that’s fresh storytelling (elevated horror) or a unique take on genre conventions.
Sci-fi had a relatively quiet presence at Berlinale this year, but at EFM, there were a few eye-catching projects proving that audiences still crave big, visionary storytelling.
Bong Joon-ho’s "Mickey 17" (starring Robert Pattinson) continued to be a major talking point, reminding us that auteur-driven sci-fi is still a force to be reckoned with. Meanwhile, Guy Ritchie’s "Wife & Dog", starring Benedict Cumberbatch and Rosamund Pike, had its share of interest—not pure sci-fi, but certainly leaning into high-concept storytelling.
At the same time, smaller sci-fi films struggled to get the same attention. Unlike horror, which seems to have a built-in audience regardless of budget, sci-fi thrives when it comes with a strong directorial vision or star power.
Takeaway: Prestige sci-fi needs either a major auteur or a strong hook to break through in today's market. Distributors should focus on projects with clear world-building and unique perspectives rather than generic futuristic settings.
Could it be? Are audiences finally ready to laugh again?
It sure looks that way. After years of Hollywood studios shying away from comedies (especially theatrical ones), EFM saw several high-profile comedy packages generating interest.
Neon’s "Old Pals", a buddy comedy starring Henry Winkler and Brian Cox, turned heads, as did "The Shitheads", a wild road trip film with Dave Franco, O’Shea Jackson Jr., and Peter Dinklage. Meanwhile, "Toad", an irreverent stoner comedy starring Tiffany Haddish, James Franco, and James Paxton, proved that offbeat, weird humor still has a place in the industry.
While Berlinale’s award winners didn’t lean toward straight-up comedy, there were elements of humor woven into several top films—"Blue Moon", for example, which earned Andrew Scott a Silver Bear for Best Supporting Performance, played with romantic absurdities in a way that audiences found charming.
Takeaway: We may finally be entering a new era where studios and buyers are more willing to take risks on comedy. Distributors should look out for high-concept or star-driven comedies with the potential to break through.
It’s no surprise that big names still command attention at EFM, and this year was no exception. Natalie Portman and Lena Dunham’s "Good Sex" sparked one of the fiercest bidding wars, with major studios and streamers vying for worldwide rights. The film, a rom-com about a therapist re-entering the dating world, is set to be a major talking point.
Dunham, a Golden Globe winner and a somewhat controversial figure due to past scrutiny, has nonetheless regained industry interest. Good Sex is shifting the focus back to her creative merit. Perhaps we’re entering an era of greater nuance in public opinion - or maybe it’s simply that audiences are forgiving, attention spans are short, and the right project can shift the narrative.
Meanwhile, films like Ari Aster’s "Eddington", starring Joaquin Phoenix, Pedro Pascal, and Emma Stone, and Ernest Dickerson’s hitman thriller starring Samuel L. Jackson and Daveed Diggs, further prove that prestige talent remains a key driver in securing financing and distribution deals.
Takeaway: Star power still matters, but audiences are showing a greater willingness to reassess filmmakers and actors through the lens of their latest work. In a crowded content landscape, quality speaks louder than legacy.
If Berlinale and EFM 2025 have shown us anything, it’s that audiences are craving stories that feel fresh and authentic. Horror and thriller remain dominant market forces, while sci-fi still requires either visionary directors or A-list talent to make an impact. Comedy is making a comeback, and star power—especially when paired with a strong narrative—remains an essential part of the deal-making process.
So, if you’re a distributor, streamer, or sales agent looking ahead, prioritize bold storytelling, take calculated risks in genre, and keep an eye on where the industry is evolving.
