The start of this weeks American Film Market (AFM) saw a perfect storm of challenges.
Firstly, it has not been an easy ride for many attendees to get through border control and enter the country. For several months there have been Visa complications according to Jean Prewitt, president and CEO of the International Film and Television Alliance, which organizes the American Film Market. Prewitt commented that ‘you never know who you’ll get at passport control’. Apart from the usual one hour queue I sailed through passport control. I needed to list which social media platforms I use on my ESTA Visa application, which was a first.
The second challenge was the US government’s shutdown which at the time of writing is entering its second month. Not for the first time there is a standoff between Democrat and Republic parties over the national budget. Meanwhile, this has affected airports who are struggling with staff shortages. Unpaid air traffic controllers have apparently been calling in sick.
Thirdly, but not least is Trump’s pledge to impose a 100% tariff on films. Exactly what this means and what the plan is, no one knows. He first raised this in May ahead of the Cannes film festival. There is naturally a huge degree of uncertainty for producers who make cross-border films.
Despite all the above negativity the market has kicked off with a packed programme and healthy delegate numbers. After last year’s unsuccessful relocation to Las Vegas, the market is back in Los Angeles at the Fairmont Century Plaza. Generally, executives based in LA did not favour moving away from their offices to the desert. The Fairmont is ideally situated on the Avenue of the Stars in Century City, a short drive from Beverly Hills, Westwood and Hollywood.
Whatever challenges are faced in the US there is always an undercurrent of optimism and positivity as exemplified in the Hollywood Reporter this week that writes ‘despite tariffs, shutdowns and border anxiety, one thing hasn’t changed: Hollywood is still where the world comes to make its movies’