TIFF Lightbox

Source: Screen file

TIFF Lightbox

Toronto International Film Festival (TIFF) organisers provided more details of the upcoming 2026 Content Market at a reception on Monday (Sept 9) as the subject remained a major talking point among industry attendees.

Chief programming officer Anita Lee and senior director of industry and theatrical programming Geoff Macnaughton hosted around 100 guests at Shangri-La Hotel Terrace, and said they are embarking on a widespread consultation with TIFF stakeholders.

The goal is to more than double the current number of industry attendees from 5,000 to 12,000 within two years. They also want to boost the combined value of sales deals from around $70m expected this year to $400m once the official market gets underway.

The festival’s current economic impact on Toronto is around $240m and the goal is to increase that to $570m by 2030 and bring more than $134m in business visitor spending.

TIFF is also conducting a feasibility study to look at potential new market venues in Toronto.

TIFF organisers heard in April they were receiving a three-year C$23m ($16.9m) investment from the Canadian federal government and announced the market during Cannes.

In order to work, an ambitious event like this needs a substantial buy-in from the industry, some of whom told Screen on condition of anonymity they were sceptical whether TIFF can substantially reorient itself as a major launchpad for packages under the existing calendar.

A number of US sales agents, for instance, said they would advocate for TIFF to push back one or two weeks to allow more time to assemble packages.

There is a little over three and a half months between Cannes and TIFF, and it is hard to attach talent during the slow summer period – particularly August, when many territories in Europe, and increasingly the US, virtually shut down for the holidays.

Sales agents brought new projects to TIFF this year, although not on the same level as they do in Cannes, AFM, and even Berlin. At time of writing there was little evidence of comprehensive engagement across the board that was leading to on-site sales. TIFF is often used as a soft launch to gauge early interest in packages before a hard push at the AFM.

Market movements

Were TIFF to start later in September, it would have profound implications on the festival and market calendar. Studios and awards campaigners value its proximity to Venice and Telluride because it allows contenders to build momentum in the early phase of awards season. San Sebastian Film Festival takes place in late September.

Moving closer to AFM would create a market logjam that industry professionals say would be untenable. The early November event has had a bumpy ride in recent years and finds itself at a crossroads. This year’s edition has moved from Santa Monica to Las Vegas in what is regarded as a test case, with many advocating for it to return to Los Angeles next year.

Asked by Screen prior to TIFF if the goal of the Content Market was to knock out AFM, CEO Cameron Bailey said, “Not at all, that’s not it. We’re not thinking so much about other initiatives and events in North America; rather, we think here’s something unique that we can build here.”

There is still a lot that will play out before 2026. TIFF chose not to comment on whether a potential date change was on the table and sources emphasised industry feedback, recommendations and support were key to the success of the upcoming market.

Industry delegates appeared divided on the notion of a formal market. Some said they preferred visiting TIFF simply to screen films, while others believed an official market component would be a welcome addition.

“We’re recognising there’s a visibility gap in the marketplace and we would like to fill it,” Lee told Monday’s gathering.

Macnaughton, who also serves as programmer of Primetime, added the Content Market will focus on sales, screenings and audience test screenings, works in progress, co-productions, Canadian and Indigenous-focused pavilions, co-production meetings and a technology focus encompassing digital and virtual works.

“We’re confident of positioning TIFF, Toronto and Canada as the gateway to the North American screen community,” he said.

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