After several years of a pandemic, venue roulette and industry uncertainty, AFM’s return to Los Angeles feels, at long last, like a market with its confidence back. By mid-week, the Fairmont Century Plaza was humming with buyers, sellers, and producers who seemed relieved to be doing business in a space that actually fits the scale and ambition of the American version of Cannes. This is the AFM I know and love.
The Fairmont itself has been the unexpected breakout star of the market. Spacious, polished, and easy to navigate, it’s the first venue in recent memory that feels tailored to the industry’s needs instead of something AFM had to “make work.”
The streamlined layout, with exhibitors spread across several floors and a dedicated pavilion, has kept meetings flowing and stress levels low. After years of pandemic disruption and venue changes, simply having a functional, elevated home base is no small win.
Not everything is centralized, of course. Some companies, including Black Bear, A24, FilmNation, and 193, opted for off-site suites at Beverly Hills hotels or private residences. That meant a steady parade of attendees juggling rideshares and L.A.’s futuristic driverless taxis. But even those off-site treks didn’t dampen the overall mood, which leaned more energized than exhausted.
Inside the Fairmont, foot traffic has been steady, and international turnout has been strong, with only a few drop-offs from regions grappling with travel complexities or political tensions. One trend: buyers arriving with leaner teams, staying for shorter stretches, and making every meeting count. Sales teams noted that producers wandering the floors to pitch projects early in the week caused occasional bottlenecks—a long-standing tension the market may need to revisit.
But the real story of AFM 2025 is the shift in tone. After several fractured years, the atmosphere feels… cohesive again. Deals aren’t flying off the table in real time the way they used to; those days are gone, but conversations are steady, relationships are being renewed, and packages are gaining traction that will continue well beyond the market.
Several buzzy projects drew heat early, from faith-driven tentpoles to prestige dramas and star-driven packages featuring Daisy Edgar-Jones, Margaret Qualley, Dev Patel, and Renée Zellweger. Presentations for titles like Ibelin packed the rooms, reminding attendees that AFM can still generate genuine excitement when the right teams show up with the right material.
With TIFF announcing its own dedicated market for 2026, some expected quiet anxiety about how the two events might compete. Instead, AFM’s strong showing appears to have firmed up its footing. The Fairmont—both its layout and its energy—has given the market a sense of permanence and purpose it’s been missing.
If this year is any indication, AFM may have finally found the home it’s been searching for. The industry seems ready to meet it there.
Can’t wait until next year.
Credits in Photo: Moderator, Jeff Caruso, SVP, Sales & Success, Wrapbook, from left, Sam Pressman, CEO, Pressman Film, Jeaneane Davey, Founder, Callisto Advisory, Inc., Jeremy Ross, Head of Film, Rabbits Black, and Josh Rosenbaum, Partner and Producer, Waypoint Entertainment speak at the 46th American Film Market at the Fairmont Century Plaza on November 12, 2025 in Los Angeles, Calif.
Colin Costello is the West Coast Editor of Reel 360 News. Contact him at colin@reel360.com or follow him on Instagram at @colin_francis_costello
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