The Venice Production Bridge (VPB) opened on September 4 with approximately 4,000 film executives, nearly half of whom are producers, gathering on the Lido. The event showcases 37 feature-length fiction and documentary projects alongside 14 immersive works through its gap-financing platform.
Competition for premieres has intensified following the debut of TIFF: The Market on September 10, which arrives immediately after the VPB concludes. Despite the new fixture, VPB chief Pascal Diot stated that the Toronto market has yet to influence his event’s numbers.
“So far, the Toronto market has not had any impact on our numbers,” Diot said, noting that attendance from sales agents and distributors remains steady. While acknowledging that some Venice executives were also invited to Toronto, he added, “we will see what happens next year.”
Diot expressed confidence in the VPB’s distinct model, which emphasizes production stages from development to distribution, rather than focusing solely on sales. He characterized Toronto market chief Charles Tremblay’s efforts as an attempt to create a traditional buy-and-sell environment with numerous stands.
“I am not entirely pessimistic about his prospects. But I think it’s not what the industry wants now,” Diot said.
The current VPB edition features works from acclaimed directors including Jessica Hausner, Lav Diaz, Ursula Meier, and Asmae El Moudir. Additional programs include a Book Adaptation Rights Market with 30 international publishers and a “Meet the Streamers” initiative connecting producers with platforms such as Netflix, HBO Max, Greece’s Cinobo, and Switzerland’s SRG SSR. Spotlights on Greece and Switzerland highlight new incentives aimed at attracting international productions.
For the French film community, Venice has become a crucial hub for the fall season. Gilles Renouard of Unifrance highlighted the festival’s compact size, which facilitates constant interaction among industry professionals. “Venice isn’t very big, so there are always people around, there’s a lot of traffic and you constantly run into people,” he said.
Daniela Elstner, Unifrance’s managing director, pointed to Venice’s strategic calendar position between Cannes and the autumn circuit as a key advantage. She also noted the logistical benefits, stating, “It’s not a festival on the other side of the world. You can go for a few days. It’s still a festival in Europe.”
Elstner observed that the traditional requirement to attend both Venice and Toronto is fading as companies tighten travel budgets. She emphasized that Venice offers a more relaxed environment for negotiations.
“Before, the Venice-Toronto combo was absolutely obligatory,” Elstner said. “Today, I don’t think it’s necessarily required.” She added that the festival provides valuable time for sales and meetings, reinforcing its role as a launchpad for films rather than just a transactional marketplace.
The 13th edition of the Venice Production Bridge runs through September 9.
Interesting that Toronto can’t compete with Venice’s prestige. The quality of films seems to draw more people than market logistics ever could.
Is it really no impact at all? Seems bold to ignore a major competitor right next door in the calendar.
Production-focused events definitely feel like the new trend. Sales markets seem old-fashioned compared to development financing.
As a producer, I prefer Venice. The relaxed atmosphere allows for actual conversations rather than rushed transactions in a crowded hall.