{"id":177720,"date":"2025-08-26T18:41:17","date_gmt":"2025-08-26T18:41:17","guid":{"rendered":"https:\/\/www.europesays.com\/us\/177720\/"},"modified":"2025-08-26T18:41:17","modified_gmt":"2025-08-26T18:41:17","slug":"venice-and-toronto-premieres-in-2025-that-could-sell-big","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/177720\/","title":{"rendered":"Venice and Toronto Premieres in 2025 That Could Sell Big"},"content":{"rendered":"

Every year, the agents tell us the sales market at festivals<\/a> takes longer to materialize, and every year they turn out to be (mostly) right<\/a>. Still, before each film festival kicks off<\/a>, we take the time to round up the handful of movies that could still fetch those illusory bidding wars and fantastic 8-figure deals<\/a>. <\/p>\n

The truth is tough: only a few ever have a chance of that. But, there are plenty of smaller movies that will not only find a home, but truly deserve to, even if those final sales takes a month or more to be ironed out.<\/p>\n

This year, we\u2019re not going to try to predict which movies will resonate and get the big dollars. Instead, we\u2019re going to tell you which potential pairings makes sense, the vibes we\u2019re getting from each of these \u201cbuzzy\u201d films, and where we \u201ccould see\u201d such a movie landing.<\/p>\n

\"Griffin<\/a> \"'Nouvelle<\/a> <\/p>\n

Sources have characterized this year\u2019s Toronto lineup of available sales titles as rich with compelling debuts and sophomore efforts \u2014 and largely very indie. More of the commercial-leaning indies and prestige pictures have already arrived with distributors in tow, which one executive described to IndieWire as a reflection of the industry today. The bigger-budgeted indies are still struggling to get made without the backing of a distributor in advance, and plenty of packages are simply not finding the right timing or home.<\/p>\n

A handful of films, like David Mackenzie\u2019s \u201cFuze,\u201d the Alan Ritchson action film<\/a> \u201cMotor City,\u201d and \u201cSacrifice\u201d with Chris Evans and Anya Taylor-Joy, are larger in scope and could fetch an aggressive deal, but the others may be ripe for the picking from some of the emerging North American distributors needing to make a splash.<\/p>\n

\u201cAfter what felt like a pretty slow Cannes for a lot of people<\/a>, I\u2019m hoping that we\u2019ll see some good activity at the market,\u201d Christopher Casanova, head of content at Princess Pictures (\u201cTogether\u201d) told IndieWire. \u201cI think the emergence of new North American distributors will probably be putting a little bit of blood in the water and create a little bit more competition and activity. People will lose out in competitive scenarios and then be hell bent on trying to find something else.\u201d<\/p>\n

\"Adulthood\"\u2018Adulthood\u2019Courtesy of TIFF<\/p>\n

\u201cAdulthood\u201d<\/p>\n

Director<\/strong>: Alex Winter
Section<\/strong>: TIFF<\/a> Gala Presentation
Feels Like<\/strong>: \u201cRaising Arizona,\u201d \u201cBurn After Reading\u201d
We Could See It At<\/strong><\/strong>: Paramount, Searchlight\/Hulu<\/p>\n

After making a string of documentaries, \u201cBill & Ted\u201d star Alex Winter turns to comedy with \u201cAdulthood,\u201d in which Josh Gad and Kaya Scodelario play siblings who return to their childhood home to care for their dying mother, only to discover their parents have kept a dead body in the basement. It\u2019s been described to us as an examination of the American Dream and the lengths people will go to keep it. The wacky yet commercial tones make it attractive for a number of buyers, but maybe even Paramount under its new leadership, as its specialized division Republic Pictures is repping it. <\/p>\n

\"Bad\u2018Bad Apples\u2019Courtesy of TIFF<\/p>\n

\u201cBad Apples\u201d<\/p>\n

Director<\/strong>: Jonatan Etzler
Section<\/strong>: TIFF Special Presentation
Feels Like<\/strong>: \u201cSick of Myself,\u201d \u201cTwinless\u201d
We Could See It At<\/strong><\/strong>: A24, Neon<\/p>\n

Saoirse Ronan walks a fine tight rope in this dark satire about a school teacher who inadvertently locks her worst student \u2014 one bad apple poisoning the bunch \u2014 in her basement. It\u2019s a new look for the inherently likeable Ronan, who frequently makes you uncomfortable in a good way, as the film\u2019s blend of Scandinavian humor and wry British wit will force audiences to grapple with right and wrong.<\/p>\n

\"California\u2018California Schemin\u201dCourtesy of TIFF<\/p>\n

\u201cCalifornia Schemin’\u201d<\/p>\n

Director<\/strong>: James McAvoy
Section<\/strong>: TIFF Special Presentation
Feels Like<\/strong>: \u201cKneecap\u201d
We Could See It At<\/strong><\/strong>: Sony Pictures Classics, Focus Features<\/p>\n

James McAvoy\u2019s directorial debut is this true story of essentially the Scottish Milli Vanilli, two rappers who struck it big as the 2000s rap duo Silibil N\u2019 Brains by posing as Americans from California rather than blokes with accents from across the pond. <\/p>\n

\"Carolina\u2018Carolina Caroline\u2019Courtesy of TIFF<\/p>\n

\u201cCarolina Caroline\u201d<\/p>\n

Director<\/strong>: Adam Carter Rehmeier
Section<\/strong>: TIFF Centrepiece
Feels Like<\/strong>: \u201cBonnie and Clyde\u201d
We Could See It At<\/strong><\/strong>: Bleecker Street, Magnolia<\/p>\n

Described to us as a character-driven crime thriller from the director of \u201cDinner for America,\u201d \u201cCarolina Caroline\u201d reunites director Rehmeier with Kyle Gallner and pairs him with Samara Weaving and Kyra Sedgwick in what could be a genre film with some theatrical potential.<\/p>\n

\"Charlie\u2018Charlie Harper\u2019Skip Bolen<\/p>\n

\u201cCharlie Harper\u201d<\/p>\n

Director<\/strong>: Tom Dean and Mac Eldridge
Section<\/strong>: TIFF Special Presentation
Feels Like<\/strong>: \u201cThe Summer I Turned Pretty,\u201d \u201c(500) Days of Summer\u201d
We Could See It At<\/strong>: Amazon, Searchlight\/Hulu<\/p>\n

Tom Dean\u2019s weepy romance has the gloss and nostalgia that could easily appeal to the YA crowd, but it also has some depth with a story that jumps back and forth across time periods and stretches across at least a decade to also reach a more elevated audience. Emilia Jones and Nick Robinson are talented young actors with great chemistry that could also give the movie some theatrical legs before it winds up a streaming play. <\/p>\n

\"The\u2018The Christopher\u2019Courtesy of TIFF<\/p>\n

\u201cThe Christophers\u201d<\/p>\n

Director<\/strong>: Steven Soderbergh
Section<\/strong>: TIFF Special Presentations
Feels Like<\/strong>: \u201cOcean\u2019s Eleven,\u201d \u201cLogan Lucky\u201d
We Could See It At<\/strong><\/strong>: HBO Max, Apple<\/p>\n

Steven Soderbergh is back in his commercial and satirical mode after a few more serious genre experiments. \u201cThe Christophers\u201d stars Ian McKellen and Michaela Coel and is described as a fun, black comedy set in the art world. Ed Solomon, who wrote \u201cMen in Black\u201d and Soderbergh\u2019s \u201cNo Sudden Move,\u201d wrote the script for what could be a big one.<\/p>\n

\"Christy\"\u2018Christy\u2019Allie Fredericks<\/p>\n

\u201cChristy\u201d<\/p>\n

Director<\/strong>: David Mich\u00f4d
Section<\/strong>: TIFF Special Presentation
Feels Like<\/strong>: \u201cSouthpaw,\u201d \u201cThe Smashing Machine\u201d
We Could See It At<\/strong><\/strong>: Neon, Black Bear<\/p>\n

We know Sydney Sweeney is going through a rough publicity period at the moment, but there\u2019s been plenty of hype to see how the \u201cEuphoria\u201d actress would undergo the physical transformation to portray boxer Christy Martin<\/a>. Sweeney is producing the film as well, and we could see her reconnecting with her \u201cImmaculate\u201d partners at Neon for this one, but financiers Black Bear may want to keep it for themselves for their newly-launched distribution division.<\/p>\n

\"Dead\u2018Dead Man\u2019s Wire\u2019Stefania Rosini SMPSP\/Courtesy of TIFF<\/p>\n

\u201cDead Man\u2019s Wire\u201d<\/p>\n

Director<\/strong>: Gus Van Sant
Section<\/strong>: Venice<\/a> Out of Competition
Feels Like<\/strong>: \u201cDog Day Afternoon\u201d
We Could See It At<\/strong>: Apple, Lionsgate<\/p>\n

If Gus Van Sant\u2019s first film since 2018 reminds you of \u201cDog Day Afternoon,\u201d it won\u2019t just be because Al Pacino is in it. Producer Sam Pressman told us the Sidney Lumet heist film was a big touchstone for screenwriter Austin Kolodney, who adapted the true story of Tony Kiritsis, a man who takes hostage a manager at a loan company with a sawed-off shotgun, feeling exploited and disenfranchised by the system. Pressman has worked with Lionsgate on \u201cThe Crow\u201d and the new \u201cAmerican Psycho\u201d and just sold a Jack Thorne project to Apple.<\/p>\n

\"Driver's\u2018Driver\u2019s Ed\u2019Courtesy of TIFF<\/p>\n

\u201cDriver\u2019s Ed\u201d<\/p>\n

Director<\/strong>: Bobby Farrelly
Section<\/strong>: TIFF Gala Presentation
Feels Like<\/strong>: Gen-Z \u201cFerris Bueller\u2019s Day Off\u201d or \u201cThe Breakfast Club\u201d
We Could See It At<\/strong><\/strong>: Netflix, Focus Features<\/p>\n

Word is that Bobby Farrelly\u2019s comedy about a high schooler who steals his school\u2019s driver\u2019s education car to win back his college girlfriend is a sweet and delightful crowdpleaser and could be a no-brainer for a streamer. Though we hear \u201cDriver\u2019s Ed\u201d has already tested strongly in theaters, especially with the under-30 crowd, and that the combination of Farrelly\u2019s comedic chops with the \u201cOuter Banks\u201d producers courting the YA crowd, it could be a winner. The film stars \u201cWhite Lotus\u201d actor Sam Nivola, who could be poised for a breakout, as well as Molly Shannon and Kumail Nanjiani.<\/p>\n

\"Easy's\u2018Easy\u2019s Waltz\u2019Courtesy of TIFF<\/p>\n

\u201cEasy\u2019s Waltz\u201d<\/p>\n

Director<\/strong>: Nic Pizzolatto
Section<\/strong>: TIFF Special Presentation
Feels Like<\/strong>: \u201cThe Last Showgirl\u201d
We Could See It At<\/strong><\/strong>: Netflix, Amazon<\/p>\n

Just as Pamela Anderson found a new phase of her career with \u201cThe Last Showgirl\u201d about a Vegas performer whose show is closing, Vince Vaughn now plays a Vegas crooner in a similar situation looking for his last shot. Between this and \u201cNonnas\u201d on Netflix, the \u201cWedding Crashers\u201d star is having his own moment and gravitating toward more serious material. The starry cast assembled by the \u201cTrue Detective\u201d creator, including Al Pacino, Simon Rex, Cobie Smulders, Kate Mara, and Shania Twain, should easily get the attention of a deep-pocketed streamer. <\/p>\n

\"Erupjca\"\u2018Erupjca\u2019Courtesy of TIFF<\/p>\n

\u201cErupjca\u201d<\/p>\n

Director<\/strong>: Pete Ohs
Section<\/strong>: TIFF Centrepiece
Feels Like<\/strong>: Great question!
We Could See It At<\/strong><\/strong>: MUBI, Janus Films<\/p>\n

There\u2019s a lot of hype around what feels like a true indie with no good comps in \u201cErupjca,\u201d a movie filmed guerilla-style, on the run, and in secret throughout Warsaw, and that\u2019s because it\u2019s one of the many titles pop star Charli XCX has on the docket. \u201cErupjca\u201d means \u201ceruption\u201d in Polish, typically of a volcano, but in this case the release of emotional tension on display between a British tourist and Polish florist.<\/p>\n

\"Maddie's\u2018Maddie\u2019s Secret\u2019TIFF<\/p>\n

\u201cMaddie\u2019s Secret\u201d<\/p>\n

Director<\/strong>: John Early
Section<\/strong>: TIFF Discovery
Feels Like<\/strong>: \u201cFriendship,\u201d \u201cStress Positions\u201d
We Could See It At<\/strong><\/strong>: A24<\/p>\n

The directorial debut for alt-comic John Early, in which he plays a female foodie and content creator with an eating disorder, screams a movie that will be a cult hit and make Early a household name if it finds the right audience and gets solid reviews. The film satirizes influencer culture and has a great cast of other comedians, including Vanessa Bayer, Kate Berlant, and Conner O\u2019Malley.<\/p>\n

\"Normal\"\u2018Normal\u2019Courtesy of TIFF<\/p>\n

\u201cNormal\u201d<\/p>\n

Director<\/strong>: Ben Wheatley
Section<\/strong>: TIFF Midnight Madness
Feels Like<\/strong>: \u201cNobody\u201d
We Could See It At<\/strong><\/strong>: IFC Films, Amazon<\/p>\n

Bob Odenkirk is really settling into this \u201cJohn Wick\u201d with a sense of humor action hero role, and \u201cNormal\u201d brings Ben Wheatley back to more indie roots while pairing him with \u201cJohn Wick\u201d screenwriter Derek Kolstad. Depending on how it\u2019s received, we can see a genre player like IFC nab it, but Amazon already has a number of international territories should it wish to add the U.S. to the mix. <\/p>\n

\"Obsession\"\u2018Obsession\u2019Courtesy of TIFF<\/p>\n

\u201cObsession\u201d<\/p>\n

Director<\/strong>: Curry Barker
Section<\/strong>: TIFF Midnight Madness
Feels Like<\/strong>: \u201cBarbarian,\u201d \u201cSkinamarink\u201d
We Could See It At<\/strong><\/strong>: Shudder<\/p>\n

Curry Barker broke out last year with a horror short called \u201cMilk & Serial\u201d released to YouTube that he made for essentially pocket change of $800, and he\u2019s now getting the chance to make a feature on a much, much larger scale. \u201cObsession\u201d is about a man who wishes on a trinket to make his crush fall in love with him, leading to sinister, supernatural results. <\/p>\n

\"Sacrifice\"\u2018Sacrifice\u2019Courtesy of TIFF<\/p>\n

\u201cSacrifice\u201d<\/p>\n

Director<\/strong>: Romain Gavras
Section<\/strong>: TIFF Special Presentations
Feels Like<\/strong>: \u201cAthena,\u201d \u201cTriangle of Sadness\u201d
We Could See It At<\/strong><\/strong>: Netflix, Focus Features<\/p>\n

Gavras broke out with his French thriller \u201cAthena\u201d back in 2022, and \u201cSacrifice\u201d now gives him an English-speaking cast of stars including Chris Evans, Vincent Cassel, Anya Taylor-Joy, Salma Hayek Pinault, John Malkovich, and Charli XCX. \u201cSacrifice\u201d is described as a thriller, but also a satire of billionaires and A-listers and so-called do-gooders. The film\u2019s scope and heftier budget make it most likely a play for potentially a Netflix reunion or a deeper-pocketed studio arm able to give it a wide theatrical release. <\/p>\n

We\u2019re also keeping an eye on: \u201cNew Year\u2019s Rev,\u201d \u201cHamlet,\u201d \u201cMotor City,\u201d \u201cYou Had to Be There,\u201d \u201cMarc By Sofia,\u201d \u201cBarrio Triste,\u201d \u201cTuner,\u201d \u201cPoetic License,\u201d \u201cFuze,\u201d \u201cIn the Hand of Dante,\u201d and \u201cCouture.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Every year, the agents tell us the sales market at festivals takes longer to materialize, and every year…\n","protected":false},"author":3,"featured_media":177721,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[185,171,2104,1020,64287,67,132,68,9176],"class_list":{"0":"post-177720","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-celebrities","8":"tag-celebrities","9":"tag-entertainment","10":"tag-festivals","11":"tag-film","12":"tag-tiff","13":"tag-united-states","14":"tag-unitedstates","15":"tag-us","16":"tag-venice"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/115096537594712725","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/177720","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=177720"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/177720\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/177721"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=177720"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=177720"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=177720"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}