The International Federation of Film Producers’ Associations (FIAPF) has unveiled the most significant overhaul of its festival accreditation system in nearly two decades, introducing a revamped framework that designates 17 major events as officially recognised “A-list” festivals and expanding the overall number of accredited festivals worldwide.

The reform, the first major revision since 2007, aims to provide the film industry with a clearer overview of festivals that demonstrate strong international impact, and robust support for filmmakers and professionals. The changes also introduce a unified accreditation list and place greater emphasis on data regarding festival activity, audiences and industry engagement.

Seventeen festivals have now been granted the top-tier, A-list classification, a distinction reserved for events that demonstrate exceptional international reach, industry relevance and media visibility. The group includes long-established competitive festivals such as the Cannes Film Festival, the Berlin International Film Festival, the Venice International Film Festival, the Locarno Film Festival and the San Sebastián International Film Festival.

Alongside these historic pillars, several major events have joined the A list for the first time under the new system. Among the newly classified festivals are the Toronto International Film Festival – despite its non-competitive format – the Busan International Film Festival, the Annecy International Animation Film Festival and the Clermont-Ferrand International Short Film Festival.

Other gatherings included in the A-list grouping are the Mar del Plata International Film Festival, the Shanghai International Film Festival, the Cairo International Film Festival, the International Film Festival of India – IFFI Goa, the Tokyo International Film Festival, the Warsaw International Film Festival, the Karlovy Vary International Film Festival and the Tallinn Black Nights Film Festival.

The A-list label had been formally dropped by FIAPF roughly 20 years ago, although the term continued to circulate informally within the industry to describe a small group of globally influential festivals. Its reinstatement now formalises that hierarchy within the new accreditation system.

Alongside the A-list classification, FIAPF has also expanded its accredited network with six newly recognised festivals, reflecting what the organisation describes as a broader commitment to geographic and cultural diversity within the global festival landscape. The events receiving accreditation for the first time are the Golden Apricot Yerevan International Film Festival in Armenia, the Herceg Novi Film Festival in Montenegro, Canada’s Festival du Nouveau Cinéma and Hot Docs Canadian International Documentary Festival, and Spain’s Punto de Vista International Documentary Film Festival, alongside the aforementioned Annecy International Animation Film Festival.

Their addition brings the total number of FIAPF-accredited festivals to 49 events across 29 countries, with four additional ones from under-represented regions expected to receive accreditation later this year.

The new classification system is based on a wide range of quantitative and qualitative data collected by FIAPF. The federation analysed each festival’s film submissions, including the number of titles received and the proportion of international works selected.

Industry metrics were also taken into account, including the number of professional attendees, press presence and the ability of gatherings to generate media coverage for participating films. Audience data – such as admissions, screening occupancy rates and audience development strategies – also formed part of the evaluation process.

All of these indicators are now publicly accessible through FIAPF's official website. The overhaul follows a consultation process launched two years ago with festivals and industry stakeholders. It was partly prompted by growing complaints from filmmakers – particularly emerging ones – about negative experiences at certain gatherings, including high submission fees, weak audience attendance and limited industry opportunities. With the number of festivals worldwide continuing to grow, many filmmakers reported that choosing the wrong event could damage a project’s prospects and hinder its visibility.

As part of the reform, FIAPF has replaced the previous four-category accreditation system with a single, unified list, adopted a programming-agnostic approach, and prioritised stronger transparency and trust between festivals and industry professionals.

“At a time of rapid change, this revamp reinforces our commitment to a diverse, impactful and professionally robust festivals community, and ensures that our accreditation continues to serve as a reliable bridge between festivals, producers and the industry at large, worldwide,” said FIAPF president Luis Alberto Scalella.

Echoing this sentiment, FIAPF festivals senior director Florence Girot added: “The revamped accreditation embraces a forward-looking, impact-focused approach. It gives festivals greater visibility for the work they do individually and collectively, while offering the industry a clearer understanding of their value. This shift aims to strengthen the entire festival ecosystem, and reaffirm their role as key allies to films and the sector.”

Despite the expansion, several prominent festivals remain outside the FIAPF system. Events such as the Sundance Film Festival, Telluride Film Festival, SXSW, FESPACO, the BFI London Film Festival and the Edinburgh International Film Festival are not currently accredited, largely because participation in the FIAPF process is voluntary and requires festivals to submit detailed operational data.

FIAPF said discussions with several US and UK festivals are ongoing, and it hopes that some of these conversations will lead to future accreditation.