The Göteborg Film Festival's Nostradamus Report, now at its 11th edition, continues to be a beacon of insight into the ever-evolving landscape of the film industry. Presented for the third consecutive year during the Marché du Film’s Cannes Next event, the report entitled "Paradox of Hope – a Creative, Resilient Industry" is authored by Johanna Koljonen, a media industry analyst and near-future futurist. In the report, Koljonen delves deep into the intricate web of challenges and opportunities facing the film industry against a backdrop of global crises, technological advancement, and shifting audience behaviour. Koljonen gave a chapter-by-chapter overview of the report, which can be found online.

In the first chapter, “Paradoxically Hope”, Koljonen sets the scene by highlighting the unsettling paradox of hope within a grim reality. While the world grapples with escalating climate crises, political unrest, and economic uncertainties, the film industry faces its own existential challenges. Unsustainable business models, layoffs, and a collapsing streaming market paint a bleak picture. However, amidst all this chaos, there's a glimmer of hope. The retreat of streamers forces a collective pause, prompting reflection on the industry's unsustainable trajectory. This chapter underscores the urgent need for fundamental change in how productions are funded, made, and marketed to audiences. It emphasises the pivotal role played by each and every stakeholder in shaping an industry that can thrive sustainably.

Delving into the uncomfortable reality of releasing an excessive number of films in movie theatres, the second chapter, “Confronting Theatrical Overabundance”, challenges industry norms surrounding theatrical exhibition. With admissions declining while the number of film releases skyrockets, movie theatres face a glut of content vying for limited audience attention. The report calls for candid discussions and innovative solutions to revitalise moviegoing. It distinguishes between saving theatrical exhibition as a sector and revitalising moviegoing as a cultural practice, urging stakeholders to reevaluate release strategies and foster collaboration within local industries.

As audience cinema-going habits evolve, driven by economic factors and changing preferences, the third chapter explores the concept of "theatrical engagement". It emphasizes the importance of producing content that engages viewers personally, encouraging early ticket purchases and ensuring a positive theatrical experience. Collaboration among producers, distributors, and exhibitors is highlighted as essential for adapting to the changing landscape of theatrical exhibition and creating immersive environments in movie theatres.

“New Opportunities for Strong Voices” focuses on the importance of producing compelling and culturally relevant films in driving audience engagement. It acknowledges the discernment of audiences, who reject formulaic content in favour of authentic storytelling. The report highlights the role of distributors and festivals in connecting viewers with quality films, and challenges traditional notions of audience segmentation. Collaboration is urged in order to nurture a culture of film appreciation and exploration.

Exploring the necessity for collaboration within the film industry, the next chapter, “Collaboration as Innovation”, emphasizes the importance of sharing knowledge, testing new practices, and learning from failure. Scaling up successful innovations and pooling resources can help lower the risk and cost of change across the industry. The report calls for a shift in investment strategies towards ecosystem building and collective development, advocating for visionary leadership that prioritises sustainability and growth.

Examining the transformative impact of emerging technologies on filmmaking workflows, particularly AI and virtual production, the sixth chapter, “New Tools, New Potential, New Self-Understanding”, highlights the challenges and opportunities posed by rapid technological advancements. Collaboration and comprehensive training programs are deemed essential for harnessing the potential of new tools and technologies for sustainable growth and innovation.

“Big Brother Arrives” explores the implications of AI vis-à-vis content discovery and targeted advertising, which comes with benefits but also concerns for the industry. While improved content discovery and targeted advertising could increase audience engagement and benefit theatrical exhibition, concerns about increased difficulty in disengaging from media consumption are also raised.

The epilogue, “A More Human Industry”, reflects on the challenges and opportunities facing the film industry in light of technological advancements and shifting audience behaviour. It emphasises the importance of human-centric approaches in filmmaking and industry practices, urging collective action to address issues such as inclusivity, workplace safety, and mental health.

In conclusion, the Nostradamus report offers a nuanced understanding of the film industry's current landscape and provides a roadmap for navigating challenges while embracing opportunities for sustainable growth and innovation. Despite the obstacles, the report expresses optimism for the future of film storytelling and emphasises the importance of preserving the industry's unique ways of creating meaningful stories together.