On 6 September, the CBC Centre hosted one of the Buyers in Focus panels as part of Toronto International Film Festival’s Conference programme. Moderated by Cineuropa journalist Davide Abbatescianni, the session brought together key acquisition executives: Dylan Leiner (Sony Pictures Classics, US), Antonella Canturi (RAI Cinema, Italy), Frank L Stavik (Fidalgo, Norway), and Jakob Abrahamsson (NonStop Entertainment, Sweden). Together, they discussed how distributors are adapting to an evolving marketplace, the unpredictability of acquisitions, and the shifting demographics of audiences.

Each participant began by reflecting on their individual routes into the business, often marked by chance rather than design. Canturi recalled starting with an internship, a stint at New Line Cinema in New York, and eventually joining RAI Cinema where she now oversees international acquisitions for theatrical distribution through 01 Distribution.

Stavik described how, after running a film society, he fell into video distribution in 1990. When his company collapsed, he and a partner relaunched it as a theatrical distributor, scoring early success with Aki Kaurismäki’s Leningrad Cowboys Go America. “We thought it was easy peasy – of course it wasn’t,” he joked.

Abrahamsson admitted he had never considered working in film until volunteering at the Stockholm Film Festival in 1997. That experience led to a programming role and eventually to NonStop Entertainment, where he has stayed for 25 years, becoming co-owner.

Leiner also entered distribution by accident. Initially set on a career in academia or the non-profit sector, he accepted an internship at Jim Henson Productions, which eventually led him to Sony Pictures Classics. More than 30 years later, he remains at the company, overseeing acquisitions and production. “Distribution is where all the decisions are made about the life of a film,” he noted.

The panellists then turned to recent titles and their evolving approaches. Stavik admitted that “irrational” decisions are part of the job. At Cannes, Fidalgo picked up films such as Paolo Genovese’s Madly [+lire aussi :
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fiche film]. “That’s one of the benefits of being independent – you can do things that make no sense, just because you want to,” he said. His boutique company continues to specialise in high-end arthouse cinema.

Abrahamsson emphasised the freedom of being independent, mentioning acquisitions ranging from Harry Lighton’s Alexander Skarsgård starrer Pillion [+lire aussi :
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Leiner outlined Sony Pictures Classics’ eclectic Toronto line-up, including Scarlett Johansson’s directorial debut Eleanor the Great, James Vanderbilt’s Nuremberg, Richard Linklater’s Blue Moon [+lire aussi :
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fiche film]. The slate spans auteur-driven works, international titles, and even anime. “Even though we’re part of a big company, we operate at arm’s length, curating a mix of films,” he explained.

Canturi stressed RAI Cinema’s need to balance authorial voices with commercial value, citing acquisitions such as Olivier Assayas’ The Wizard of the Kremlin [+lire aussi :
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fiche film] and South Korean K-pop thriller Perfect Girl. “The audience is very picky today. Platforms offer everything, so we focus on distinctive projects,” she said, while noting that Italian productions remain central to the company’s slate.

The discussion then shifted to the peculiarities of each market. Leiner chose to focus on optimism. While US arthouse distributors struggled after the pandemic, he reported steady growth since 2023, with younger audiences increasingly embracing theatrical screenings. “There’s a new voracious appetite among people in their 20s and 30s to see films in cinemas,” he observed. The challenge, however, lies in affordability: “We need creative ways to keep ticket prices down, with discount days and clubs encouraging midweek attendance.” Social media platforms such as Letterboxd are also helping to engage audiences more directly.

Abrahamsson confirmed similar trends in Scandinavia. The Swedish Cinematheque, he explained, saw its older audience vanish during the pandemic but unexpectedly attracted large numbers of 20- and 30-somethings once programming was reframed. “Attendance is now at its highest since the 1990s,” he said, noting that younger viewers are eager for curated, demanding titles as a counterbalance to mainstream streaming fare.

Stavik offered a more sceptical perspective. While Fidalgo has enjoyed several strong years, its audience remains largely older, and connecting with younger demographics has proved difficult. “Maybe I’m more wrong than I thought, but I really can’t stand online marketing – I leave that to my partner,” he admitted. Still, he defended the value of “swimming against the tide” by focusing on challenging arthouse cinema, even if the financial rewards are limited.

Canturi pointed to changing consumption habits in Italy, stressing that theatrical distributors must adapt quickly. “We’re trying to diversify as much as possible, but we must acknowledge the role of platforms and the competition they bring,” she explained. At the same time, Italian audiences still expect strong domestic content, which continues to shape RAI Cinema’s dual strategy.

The conversation made clear that, while approaches differ, independent and studio distributors alike are navigating similar tensions: balancing artistic ambition with commercial viability, appealing to younger audiences without losing established ones, and responding to shifting habits shaped by streaming platforms.

For Leiner, the key lies in optimism and adaptation: “We’re finding ways to make these movies work, to discover new audiences.” Abrahamsson agreed, stressing the joy of independence and the resilience of festivals and repertory programming. Stavik reminded listeners of the inherent irrationality – and freedom – of acquisitions, whilst Canturi underscored the importance of flexibility in a crowded marketplace.

In its candour, the discussion confirmed the Buyers in Focus series’ goal: offering a rare, inside look at how decisions are made in distribution and how the unpredictable paths of its professionals mirror the shifting fortunes of cinema itself.