Berlin Film Market Shifts Focus to Animation and Global Partnerships

The European Film Market wrapped up this week in Berlin with a notably different shape than years past. The annual gathering, which runs alongside the Berlin International Film Festival, has introduced several new programs designed to help European filmmakers stay competitive in an increasingly fragmented entertainment landscape.

The most visible change is the debut of Animation Days, a new initiative that gives animated films and studios a dedicated platform within the larger market. The move reflects growing recognition that European animation is struggling despite strong export numbers and the sector's importance in reaching younger audiences globally.

Background

The European Film Market has long been a major gathering point for producers, distributors, and financiers from across the continent and beyond. But the industry has changed dramatically in recent years. Streaming services have disrupted traditional distribution models. Funding has become harder to secure. And producers are increasingly looking beyond traditional filmmaking to find financial stability.

Tanja Meissner, who directs Berlinale Pro—the organization that oversees the European Film Market—has been tasked with keeping the event relevant while maintaining its focus on cinema. That balance has proven tricky. The market needs to support new forms of storytelling and business models while still serving the traditional film trade that remains its core.

India also made a significant mark on this year's market. The country formally launched the Bharat Pavilion, its official platform at the event, with Ambassador Ajit Vinayak Gupte presiding over the inauguration. The pavilion brought together nine Indian filmmakers, four media-tech startups, and cultural delegations from states like Maharashtra and Delhi. The presence signals India's growing role not just as a content-producing nation but as a hub for creative technology and innovation.

Key Details

Animation Gets Its Own Stage

Animation has long been present at the European Film Market through sales companies and distributors. But it lacked visibility and dedicated programming. Meissner decided to change that by creating Animation Days with curated pitching sessions and work-in-progress screenings.

The response has been strong. Regional funders from Germany, the UK, and Canada have shown significant interest. The initiative also creates unexpected connections—animation studios are now meeting with documentary producers interested in animated elements, a partnership that might not have happened otherwise.

"Supporting European animation was very important to me. Animation is traversing a difficult moment, even though it's a sector where Europe truly excels." – Tanja Meissner

Expanding the Market's Reach

Beyond animation, the European Film Market has also broadened its international outlook. New collaborations with events like Far East in Progress and Frontières Focus bring greater visibility to genre cinema and films from regions outside Europe's traditional sphere.

These partnerships are not a departure from the market's core identity, according to Meissner. Instead, they reflect what buyers and sales companies actually need. Genre cinema, in particular, has undergone a transformation. It now often carries strong artistic ambition and social commentary, making it relevant to public funders, festivals, and commissioners who once dismissed it.

Innovation Beyond Technology

The market is also placing renewed emphasis on what Meissner calls innovation—but not just the technological kind. The European Film Market has launched initiatives like EFM Beyond, which explores cross-media storytelling, gaming, and extended reality experiences. These programs recognize that producers can no longer afford to spend years developing a single project without financial security.

The market's Startups program is now in its 12th consecutive year. Alumni have praised its role in launching and positioning new companies. These initiatives are supported by Creative Europe—MEDIA funding, which allows the market to invest in skills-building and European competitiveness.

India's Growing Presence

The Bharat Pavilion served as a central hub for Indian filmmakers and technology companies to meet with international producers, distributors, and festival programmers. Nine Indian filmmakers were actively engaged in market meetings and project discussions, exploring partnerships that extend beyond traditional film trade into cross-border collaboration.

The four Indian media-tech and creative-tech startups brought solutions that combine storytelling, technology, and digital production. Their presence reflects India's transition from being viewed solely as a major content producer to being recognized as an innovation hub in the global entertainment ecosystem.

NFDC management used the pavilion to promote India's upcoming flagship festivals, including the Mumbai International Film Festival scheduled for June 2026 and the International Film Festival of India, held annually from November 20-28.

What This Means

The changes to the European Film Market reflect broader shifts in how the entertainment industry operates. Traditional film financing and distribution are no longer enough. Producers need to think across multiple platforms and formats. They need to understand gaming, extended reality, and digital distribution. And they need access to international partners and funding sources.

For European producers, the stakes are high. The continent has a long tradition of filmmaking and storytelling, but it faces competition from larger markets with deeper pockets. The market's new initiatives—Animation Days, EFM Beyond, expanded international collaborations—are designed to help European creators remain competitive.

The presence of India's Bharat Pavilion signals something else: the global entertainment industry is increasingly multipolar. Major production hubs are emerging outside traditional centers. International co-production is becoming the norm rather than the exception. For European filmmakers and companies, building relationships with partners in Asia, Africa, and other regions is no longer optional—it's essential to survival.

Meissner's approach suggests the European Film Market will continue to evolve. But evolution, she insists, does not mean abandoning what made the market valuable in the first place. Traditional film trading remains at its heart. The new programs and partnerships are meant to strengthen that core, not replace it.