European distributors hunting for distinctive, theatrical, and conversation-starting projects have converged on the American Film Market in Las Vegas this week, seeking affordable US indie films tailored to Gen Z cinemagoers who are returning to theaters post-pandemic.
- Major European buyers are prioritizing low-budget, high-concept US indie projects over expensive studio packages.
- The massive global success of the micro-budget horror film Backrooms has established a new acquisition playbook for indie distributors.
- Rising demand for standout theatrical titles has driven up acquisition prices at the market despite difficult European distribution conditions.
Leading international buyers arriving at the Fairmont Century Plaza for this year’s market are actively hunting for conversation-starting films. Enrique Costa, co-founder of Spanish distributor Elastica Films, told Screen Daily that local distributors are fighting for catchy, tasty projects, noting that “the prices we are paying for could be a little bit higher for them.”
Elastica is coming off a bumper year featuring box office hits like La Bola Negra alongside the YouTube-origin horror phenomenon Backrooms, which was acquired at AFM last year.
David Kehrl, head of acquisition and co-production at Constantin Film, emphasized that the Munich-based studio remains selective heading into 2027 and early 2028 slates. Kehrl noted to Screen Daily that Constantin acquired Backrooms at AFM, which subsequently took €11m in German-speaking territories, while the studio’s in-house production Resident Evil crossed $400m worldwide.
Italian distributor I Wonder Pictures is attending the market for the first time, building on longstanding relationships with US sellers like A24 and Neon. Founder and CEO Andrea Romeo told Screen Daily that the company is seeking ambitious, unconventional cinema with a distinctive voice, explaining that what excites him most is “discovering something unexpected, a film that challenges our assumptions about what audiences want.”
Polish distributor Kino Świat is similarly targeting original zeitgeist stories that resonate with younger demographics. CEO Dorota Eberhardt told Screen Daily that Gen Z accounts for 20% of Polish society yet drives 40% of the country’s cinema attendance.
| Distributor | Territory | Notable 2026/Recent Titles | Acquisition Strategy |
|---|---|---|---|
| Elastica Films | Spain | Backrooms, La Bola Negra | Cautious, disciplined spending on catchy titles |
| Constantin Film | German-speaking | Backrooms, Resident Evil | Selective approach with strong existing slates |
| I Wonder Pictures | Italy | Club Kid, NAZA, You Can See Everything | Unconventional, ambitious indie cinema |
| Kino Świat | Poland | Whicker, I Play Rocky | Zeitgeist conversation starters for Gen Z |
Buyers continue to view the autumn market as an essential strategic window to round out upcoming distribution slates. Kehrl observed that rival distributors often exhaust budgets earlier in the year at Cannes or Berlin, leaving space to pick up hidden gems. Eberhardt highlighted that the event remains the premier venue where new trends, talents, and business rumors emerge.
Costa praised the venue move to the Fairmont Century Plaza as an extremely convenient hub for conducting business. While attendance costs remain high, Costa told Screen Daily that it is an unavoidable expense for securing competitive inventory, stating, “It is the place to be this winter. We need to be at AFM.”
