Category: Entertainment

  • NowThis Hires Georgie Guinane as Head of L.A. Studio

    NowThis Hires Georgie Guinane as Head of L.A. Studio

    NowThis, the digital-first and social news outlet that targets Gen Z audiences, has hired producer Georgie Guinane as head of studio, L.A.

    In the new role, Guinane will lead NowThis’ Los Angeles studio, in charge of the company’s slate of original digital series. She reports directly to editor in chief Michael Vito Valentino.

    Guinane joins the company from Flighthouse Media, a media publisher, creative agency and content studio that says it bridges “the gap between brands and Gen Z.” She worked at Flighthouse for five years as director of content, overseeing creative vision and strategy for the company’s owned-and-operated channels, as well as branded integration content across all platforms. Earlier in her career, Guinane was a senior producer at viral-video company Jukin Media and was a producer and writer for Clevver Media.

    “What makes Georgie the right fit for L.A. is the combination of editorial instinct, relationship-building and operational know-how she’s spent her career developing,” Valentino said in a statement. “She has an impressive track record of format-first programming, and now she’ll be applying that same thinking to building out our studio infrastructure and connecting it to the relationships across studios, talent and creators that make L.A. work.”

    Guinane commented, “NowThis has built a standout slate of content that consistently resonates with Gen Z women, and I couldn’t be more excited to join the team at such a pivotal moment. From Los Angeles, I look forward to building original formats and franchises that bring together entertainment, talent and internet culture in ways that create new opportunities for growth and keep audiences coming back.”

    NowThis, based in New York City, first launched in 2012. It was spun off from Vox Media in 2023 through a deal with the Accelerate Change not-for-profit advocacy network. NowThis says it has 92 million followers across internet platforms and generates hundreds of millions of monthly views.

  • Why I’m Suing to Block the Paramount-Warner Bros. Merger (Guest Column)

    Why I’m Suing to Block the Paramount-Warner Bros. Merger (Guest Column)

    Paramount Skydance CEO David Ellison may think the promise of the Paramount Warner Bros. Discovery mega-merger is an offer we can’t refuse, but I’m here to say: He’s wrong.

    I am leading a coalition of 12 state Attorneys General in taking Paramount and Warner Bros. to court to stop this unlawful merger.

    The entertainment industry doesn’t exist simply to hawk movies and TV shows like they’re any other commodity. It exists to tell stories, spark ideas and curiosity, inspire and inform, and open our eyes to new perspectives that we may never have encountered otherwise.

    It’s why movies and shows so often play a starring role in our lives — in first dates and last dates, cherished family memories, debates over dinner, moments of quiet self-care, and moments that bring communities together, as we’ve seen throughout the World Cup.

    Whether it’s the living room TV, the big screen, or the small devices we carry everywhere we go, there is no doubt that the entertainment industry touches the lives of Americans daily.

    That is why we should all be concerned about the $110 billion proposed merger between media giants Paramount Skydance and Warner Bros.

    By combining two of the five largest film distributors and two of the five largest basic cable channel owners, the resulting media behemoth would control nearly one-third of theatrical movie distribution and nearly one-third of basic cable channels. It would control more than 30% of the blockbuster release distribution that buoys the movie theater business and 50 of the most popular cable TV channels, spanning an unrivaled slate of news, sports, entertainment, kids, family, factual, and lifestyle content.

    Giving that much power to one media company would wipe out competition, jack up prices, hurt the quality of content we’re offered, and bring fewer movies and shows to our screens. Combining cable news channels would mean fewer journalists informing our electorate and fewer opportunities for Americans to hear the full breadth of information and opinions on a subject. Consolidation would mean fewer voices speaking truth to power and fewer documentarians, filmmakers, showrunners, producers, writers, and artists shedding light on important stories that too often go untold.

    That’s a death knell for the film and TV industry — and for our democracy.

    For more than a century, Paramount and Warner Bros.’ fierce competition has fueled powerful projects that have stood the test of time. We’re talking about “Titanic,” “The Godfather,” “The Matrix,” “Barbie,” “Harry Potter,” “Lord of the Rings” and “Casablanca” — just to name a few.

    If we allow them to extinguish the flame of competition, they will no longer have the same incentive to distribute their best, most creative work, to innovate, to greenlight interesting and risky projects, and to offer viewers fair prices.

    Competition is the heartbeat of a vibrant entertainment industry, just as it is the lifeblood of a healthy economy.

    Competition ensures that companies rise to the top based on what they put in the market, not based on backdoor deals. And, it ensures that consumers have an array of choices in both product and price. History has shown us that consolidation in markets at the center of American economic life does not serve our economy, consumers, or competition well. Instead, it leads to increased unaffordability, a loss of good-paying job opportunities, and fewer choices for consumers. Just think of the robber barons of the Gilded Age who dominated the oil, railroad, and steel industries, pocketing obscene profits while exploiting workers, corrupting the political system, and squashing potential rivals.

    Monopolies give too few too much power. That’s why we have antitrust laws to prevent them and control mergers. Laws like the Clayton Act, which this proposed merger violates. Antitrust enforcement is democracy’s check on oligarchy. It’s a check on wealthy businesses seeking to game the system and cheat to knock out competition. It’s a check on billionaires currying favor with the president so he’ll do their bidding and hand-pick winners and losers, bypassing the law and the meritocracy that makes our economy thrive. And it’s a check on the elite few who think they’re above the law, when they’re not.

    No one is. No company is.

    If you need proof that antitrust enforcement fuels a healthy economy, just look at California. We’ve got some of the strongest antitrust and consumer protections on the books — protections we are not afraid to uphold. And, at the same time, we’re the fourth largest economy in the world, home to more Fortune 500 companies than any other state, and home to nearly two-thirds of all U.S. venture capital investment. That’s no accident.

    Americans deserve fair prices and a fair market. They deserve options. They deserve to know that they’re not being cheated by corporations that break the law, and take advantage of workers and consumers to fill their coffers.

    We are taking Paramount and Warner Bros. to court to preserve an industry that has the power to make us laugh, cry, question, and take action. To protect an industry that helps shape who we are, how we see the world, and what we care about.

    As Attorney General of the Golden State, I am proud to stand up for an industry deeply ingrained in California’s history, identity, and economy.

    With this lawsuit, we are standing up for a free and fair market, not a rigged market. Because America has no kings in government or our economy.

    Rob Bonta is the attorney general of California.

  • Sundance Institute Reveals Producers Labs Fellows

    A group of 10 producers booked a trip to the Sundance Institute’s Producers Lab.

    The institute has revealed the roster for its upcoming labs set to take place for feature film producers from July 13-18, and for documentary producers July 20-25. Labs will take place at Ucross Foundation in Clearmont, Wyoming.

    The selected producers and their projects are Jaelyn Ellis with Likeness, Kara Grace Miller with Make Me a Pizza, Natalie Remplakowski with Sweetwater, Marie Alyse Rodriguez with How Not to Drown in a Glass of Water, and Sean Weiner with The End of All Rivers on the feature film side. Those selected on the documentary side are Chelsea Hernandez with The School of Hope, Vero Kompalic with Yosi, Hansen Lin with God Lives Here, Julia Pontecorvo with Unfiltered (working title), and Cherrelle Swain with Southmont Drive.

    The labs offer project-specific support including one-on-one meetings and group sessions with experienced producers and industry advisors designed to help with pitching, financing, production, navigating the marketplace and more. After the lab concludes, producers engage in a yearlong fellowship.

    Feature film lab advisors include Allison Rose Carter (I Love Boosters), Deniese Davis (One of Them Days), Eugene Pikulin (law firm Bruns Brennan Berry Pikulin & Jacobs PC), Lucas Joaquin (Death of a Unicorn), and Peter Saraf (The Farewell). Doc lab advisors include Andrea Meditch (Grizzly Man), Gema Juárez Allen (The Castle), Rémi Grellety (Soundtrack to a Coup d’Etat), Darcy McKinnon (Natchez), and Lance Kramer (Holding Liat).

    “This year’s projects reflect extraordinary depth of vision, originality, and storytelling ambition, and we’re proud to support the producers shepherding them,” said documentary film program and artist programs director Kristin Feeley and feature film program producing and artist support director Shira Rockowitz in a joint statement. “Working in partnership with a remarkable network of accomplished producers and industry advisors, we look forward to working with these filmmakers from development through release, helping them navigate a dynamic landscape that necessitates curiosity, creativity and grit.”

    The Sundance Institute Producers Program is supported by an endowment from the Sandra and Malcolm Berman Charitable Foundation with additional support from John D. and Catherine T. MacArthur Foundation, Amazon MGM Studios, Wyck Godfrey, RAMO, APM Music, ESME GRACE and an anonymous donor.

    More about the fellows and their selected projects can be found here.

  • Prime Video Releases First Look at Mike Flanagan’s ‘Carrie’ Series

    Prime Video Releases First Look at Mike Flanagan’s ‘Carrie’ Series

    Prime Video is teasing the first look at the upcoming new original series, Carrie, based on Stephen King’s classic debut novel.

    The series, which marks the first time the story has been adapted for television, is reimagined by showrunner Mike Flanagan (Midnight Mass, The Haunting of Hill House).

    Carrie will premiere exclusively on Prime Video this fall in more than 240 countries and territories worldwide.

    The series will be comprised of eight episodes, expanding on King’s original story about a high school girl with telekinetic powers by “deepening its characters and tensions” and chronicling a “deeply human story about kindness versus cruelty, and whether we’re witnessing the making of a hero, a monster, or something far more complicated.”

    Summer Howell stars as the series’ title character Carrie White.

    The show synopsis reads: “Misfit high‑schooler Carrie White (Howell) has spent her life hidden away inside the walls of her home with her fiercely protective mother, Margaret (Samantha Sloyan). After her father’s sudden, untimely death thrusts her into the unforgiving ecosystem of public high school, Carrie is forced to navigate a viral bullying scandal that tears through her community, the relentless pressure and casual cruelty of the social‑media age, and the awakening of mysterious telekinetic powers that rise alongside her adolescence.”

    Sloyan (The Pitt) stars as Margaret White, Siena Agudong (Resident Evil) as Sue Snell, Alison Thornton (Fire Country) as Chris Hargensen, Joel Oulette (My Life with the Walter Boys) as Tommy Ross, Josie Tota (The Buccaneers) as Tina, Arthur Conti (Beetlejuice Beetlejuice) as Billy, Thalia Dudek (The Running Man) as Emaline, Amber Midthunder (Prey) as Miss Desjardin, and Matthew Lillard (Man of Tomorrow) as Principal Grayle.

    In addition to being the showrunner, Flanagan also writes and exec produces the series. He also directs four episodes.

    King serves as executive producer on the series from Amazon MGM Studios production.

    The author’s debut novel was published in 1974, spent 14 weeks on The New York Times bestseller list and has been translated into more than 35 languages.

    Brian De Palma’s 1976 film adaptation of Carrie, which starred Sissy Spacek and Piper Laurie, earned an Academy Award nomination for best actress for Spacek and best supporting actress for Laurie. This year marks the film’s 50th anniversary.

    Summer H. Howell in Carrie.

    Robert Falconer/Prime

    From left: Siena Agudong and Joel Oulette.

    Robert Falconer/Prime

    From left: Thalia Dudek, Summer H. Howell, Alison Thornton.

    Robert Falconer/Prime

    Amber Midthunder in Carrie.

    Robert Falconer/Prime

    Samantha Sloyan in Carrie.

    Robert Falconer/Prime

    From left: Arthur Conti and Alison Thornton.

    Robert Falconer/Prime

  • Paramount Sued By States In Bid to Block $111 Billion Warner Bros. Merger

    Paramount Sued By States In Bid to Block $111 Billion Warner Bros. Merger

    A coalition of state attorneys general have sued Paramount to stop its $111 billion takeover of Warner Bros. Discovery, a sweeping legal challenge to a merger that threatens to reshape Hollywood amid the absence of the Trump administration’s intervention in big deals.

    In a much-anticipated lawsuit filed in California federal court on Monday, the states allege that the acquisition will substantially throttle competition in wide-release and top-grossing theatrical distribution and cable licensing in violation of antitrust laws. They argue that the merger will combine two of the two five studios in Hollywood, leading to higher prices, fewer movies in theaters and a reduction in the variety and quality of content.

    The states allege a violation of the Clayton Act, an antitrust law accounting for potential monopolies. They’ve asked Paramount not to close the deal until the case is decided. If not, they say they’ll file a temporary restraining order. The coalition is comprised of Arizona, Colorado, Connecticut, Massachusetts, Minnesota, Nevada, New Jersey, New Mexico, New York, Oregon and Washington.

    “The unlawful merger of these two entertainment behemoths would lead to higher prices, lower quality, and less content for film and television, harming movie theaters, basic cable distributors, and ultimately, audiences on every sofa and movie theater seat in the U.S.,” said California Attorney General Bonta in a statement. “California’s film and entertainment industry touches the lives of Americans daily — it comes into the living rooms of families, has a starring role in many young people’s first dates, and is a point of immense pride and employment for Californians up and down our state.”

    The lawsuit, which may stretch on for years, marks another effort by state attorneys general to oppose major mergers as the government embraces a more lenient view on consolidation, particularly in media and entertainment. The Justice Department in June signed off on Paramount’s bid to purchase Warner, finding that the merger will increase competition in the markets for streaming, linear TV and the development, production or distribution of films for theatrical release. The green light doesn’t require any divestitures, behavioral remedies or concessions.

    The approval and absence of concessions have magnified speculation of Trump putting his thumb on the scales for Paramount CEO David Ellison’s plans to assemble a media conglomerate. His father, Oracle scion Larry Ellison, has leveraged a symbiotic relationship with Trump, who has been critical of most mainstream coverage, to aid that effort. A merger between Paramount and Warner will bring CNN under the family’s control.

    At the forefront of Paramount’s multipronged defense: tech giants like Netflix, Amazon and Google cornering Hollywood such that the only way to compete is through consolidation. Paramount chief Makan Delrahim has repeatedly pointed to “tech monopolies” threatening consumers, talent and labor across the industry.

    So far, antitrust enforcers in China, South Africa, Saudi Arabia, Ukraine, Serbia and North Macedonia have found that the deal doesn’t violate antitrust laws. Regulators probing foreign investments from Gulf sovereign wealth funds in Germany, Italy, France, Romani, Slovenia, Belgium, Czechia, New Zealand and Spain have also approved the merger.

    Paramount awaits regulatory approvals from the Federal Communications Commission, U.K. antitrust regulators and the European Commission, which is expected to sign off on the merger ahead of an upcoming deadline to open an in-depth probe.

    Another obstacle is posed by consumers who’ve sued to block the deal. In a lawsuit filed in April, Paramount subscribers alleged that the acquisition will substantially reduce competition in streaming, news and theatrical distribution. The merger will consolidate “Paramount’s ability and incentive to raise prices, reduce output, narrow slates, reduce quality, and worsen consumer-facing terms, including through control of distribution, exclusivity, windowing, and licensing,” stated the complaint.

    If the deal is consummated, the combined company would have the third largest streaming platform behind Netflix and Disney and control roughly 24 percent of theatrical distribution, per the lawsuit.

    To curry favor for the merger and quell concerns, David Ellison has pledged to release at least 30 movies a year theatrically with minimum 45-day theatrical windows and operate Paramount and Warner Bros. as independent studios. The former commitment has drawn criticism from some in the industry who are skeptical the company can maintain that output. A major concern is the estimated $79 billion in debt the combined company would carry if the deal is completed, with only $3 billion in annual free cash flow.

  • Puerto Rico Film Festival Welcomes Costa Rica as Official Country in Focus (EXCLUSIVE)

    Puerto Rico Film Festival Welcomes Costa Rica as Official Country in Focus (EXCLUSIVE)

    The Puerto Rico Film Festival has announced Costa Rica as the official country in focus for its upcoming 17th edition, taking place August 19–23. The announcement marks the first time the festival elects a country of honor, and comes ahead of this year’s Costa Rica Media Market, a leading industry event taking place in San José on July 14-15.

    According to the festival, the choice reflects a “growing relationship between both territories and opening new opportunities for artistic and industry collaboration.” The special spotlight will see a series of dedicated initiatives, including welcoming a delegation of Costa Rican filmmakers and a showcase of contemporary Costa Rican cinema. Costa Rica Film Commissioner Marysela Zamora-Villalobos will also attend the festival, where she will take part in industry activities focused on international collaboration, production incentives and regional partnerships.

    A festival statement highlighted how having Costa Rica as the festival’s country in focus emphasizes the event’s “long-term commitment to building stronger bridges between Caribbean and Latin American film industries at a time when international co-productions, shared funding opportunities and cross-border distribution have become increasingly important for independent filmmakers.”

    “The partnership offers an opportunity to deepen ties with Puerto Rico while introducing audiences and industry professionals to a new generation of Costa Rican storytellers,” the statement continued. “For Puerto Rico, it reinforces the island’s ambition to become a strategic hub where Caribbean and Latin American cinema can collaborate, develop projects and create sustainable industry relationships.”

    Lester Rivé, founder and festival director of the Puerto Rico Film Festival said: “For Puerto Rico, having Costa Rica as our Country in Focus represents much more than a cultural exchange. It creates new opportunities for our filmmakers to connect internationally, showcase their work, develop co-productions and explore new business and distribution opportunities across Latin America. Building these relationships today will strengthen the future of our regional film industry.”

    Speaking with Variety, Zamora said the festival’s invitation “reflects the growing recognition of Costa Rica as an active player in the regional audiovisual ecosystem.” 

    “It gives our filmmakers, producers, and companies another platform to build international partnerships and showcase the quality of the work being created in the country,” she added. “It’s also a sign that Costa Rica is increasingly contributing to regional conversations—not only through its locations, but through its talent, stories and industry initiatives.”

    Costa Rica’s audiovisual industry has grown exponentially in the last decade, with breakout films by directors such as Valentina Maurel, Antonella Sudasassi Furniss, Paz Fábrega and Sofía Quirós Ubeda making waves at major festivals such as Cannes, Berlin and Rotterdam.

    Well-known for stunning landscapes and rich biodiversity, the small but mighty Central American country has also emerged as a hungry player on the international production scene. In 2021, the country introduced its Law of Attraction of Film Investments, consolidating VAT refunds and tax exemptions for foreign productions. Today, the country offers an up-to-90% VAT refund on local services for qualifying projects, which equates to an around 11.7% tax rebate with a promise to repay within 90 days. 

    Last year, Costa Rica attracted $11.2 million in audiovisual investment through 87 international business opportunities, more than double the 41 from the year prior. The country lured projects from Warner Bros. Discovery, Universal and BBC Studios, with the film commission closely supporting their production by minimizing bureaucracy and expediting technical documents.  

    Beyond the Costa Rica-tied activities and a full program of screenings, the Puerto Rico Film Festival has become known for a growing industry platform designed to connect Puerto Rico with the global film community while celebrating diverse voices and emerging talent from around the world. This year’s full program is yet to be announced. 

  • ‘Nightmare on Elm Street’ Getting Rebooted by Paramount in Deal With Wes Craven Estate

    ‘Nightmare on Elm Street’ Getting Rebooted by Paramount in Deal With Wes Craven Estate

    Freddy Krueger is ready for another close up.

    Paramount has closed a deal for the U.S. rights to adapt the original screenplay for “A Nightmare on Elm Street,” under its new genre label Paramount Primal. Domestic rights are being licensed from the Wes Craven estate, which includes Craven’s widow Iya Labunka and son Jonathan Craven. The duo will produce the film with Marc Toberoff, an attorney who helped the filmmaker’s family regain ownership of the kickoff film.

    The yet untitled film is in development under Paramount Primal. Plot details have yet to be revealed, but it will be set in the world of “A Nightmare on Elm Street” and based on the first 1984 film. That means more of Kruger, the iconic child killer with the burned face and metal claws.

    Paramount’s new genre label is being led by J.D. Lifshitz and Raphael Margules, the producing team behind “Weapons,” “Barbarian,” “Companion” and “Friendship.”

    “Jonathan and I are so excited to be partnering with J.D. and Rafi along with the terrific team they’ve assembled at Paramount Primal,” Labunka said in a statement. “We look forward to bringing the world of Wes Craven’s ‘Nightmare on Elm Street’ to a new and completely engaged generation of fans. We know that Wes would have been thrilled to see how horror is taking its long overdue place in the cultural canon. We can’t wait for all of us to sit together in a dark theater — around the campfire of today — as the next chapter of the ‘Nightmare’ story unfolds.”

    Paramount Pictures also revealed that its previously announced label will be known as Paramount Primal. The label will partner with up-and-coming storytellers and established filmmakers to produce smartly budgeted films across the horror, comedy, action and science fiction genres.

    Lifshitz and Margules will executive produce for Paramount Primal. WME, Industry Entertainment and Ziffren Brittenham LLP represent the Wes Craven estate.

    Kruger has appeared in nine films, as well as a TV series and video games. He was last seen slicing and dicing on screen in 2010’s reboot, “A Nightmare on Elm Street,” which grossed more than $117 million on a $35 million budget. New Line previously released the “Elm Street” movies and retains international rights to the series. Paramount is in the process of buying New Line’s parent company Warner Bros. Discovery.

  • Top 5 Most Memorable ‘Love Island USA’ Season 8 Moments

    Top 5 Most Memorable ‘Love Island USA’ Season 8 Moments

    From Kenzie’s “Clam Slams” to Zach and Bryce’s bromance, here are some of the most viral moments from the latest season of the hit Peacock reality series.

    Love Island USA season eight delivered not only romance, friendship and heartbreak but also plenty of memorable moments viewers will be thinking about long after Sunday night’s finale.

    When you stick a group of sexy singles in a Fijian villa for six weeks and film almost all of their interactions, there’s undoubtedly going to be viral moments, especially from season eight Islanders Melanie, Sol, Tierra, Kenzie, Bryce and Zach.

    While there are probably too many iconic moments in the villa to count, The Hollywood Reporter is highlighting some of the best and worst moments from the latest season of Peacock’s Love Island USA, below.

  • Would David Ellison Really Pull Paramount Out of California if the State Tries to Block Warner Bros. Merger?

    Would David Ellison Really Pull Paramount Out of California if the State Tries to Block Warner Bros. Merger?

    Is David Ellison considering a nuclear option of relocating Paramount’s headquarters from California — and potentially diverting billions of production dollars from the Golden State — if California Attorney General Rob Bonta files his expected challenge to the Paramount-Warner Bros. Discovery deal?

    That was the suggestion in an anonymously sourced item published by Semafor on Sunday, which said that Ellison’s “friends and advisers” have been “pushing the media executive to consider shifting his business out of the state.” The report cautioned that Paramount has made no decisions on this front and that such talk “may just be a show of brinkmanship.”

    Indeed, the Semafor report comes as California’s AG appears to be moving forward with plans to file a lawsuit to block Paramount’s $111 billion acquisition of Warner Bros. Discovery “as soon as this week,” the New York Times reported Sunday. California would be joined by states including New York, Washington and Connecticut in the legal challenge, in arguing the deal would “harm competition in the market” for tentpole films among other claims, per the Times report.

    Representatives for Paramount Skydance did not respond to repeated requests for comment.

    The message in the suggestion that Ellison’s Paramount might exit California: If you try to block or slow down our Warner Bros. takeover, we’ll take our business elsewhere. It’s obviously a saber-rattling move, but it isn’t clear whether the threat will give pause to California or other states with Democratic attorneys general who are opposing the deal.

    Paramount last year moved corporate headquarters after buying Paramount Global, relocating from New York City to Los Angeles. Other companies, including Elon Musk’s SpaceX and Larry Ellison’s Oracle, in recent years have moved their HQs out of California for tax reasons or over objections to California laws and regulations.

    It would be one thing for Paramount to shift its corporate headquarters out of L.A. That would potentially affect a few hundred jobs. But the logistics and repercussions of diverting Paramount-Warner Bros. film and TV productions out of California would be daunting — not only would it take several years to do that, it would poison the merged company’s relations with Hollywood professionals, who are already concerned that Paramount-WBD will curtail job opportunities.

    Paramount has lobbied Bonta about the alleged pro-competitive benefits of its Warner Bros. deal, and why specifically it would be a good thing for the state. In May, Paramount chief legal officer Makan Delrahim a letter to Bonta in which he “reiterate[d] our continued commitment and support to Californian movie theaters and audiences” coming “in response to certain misinformation about the marketplace expressed in recent public commentary.” Delrahim also noted Ellison’s repeated pledges that the merged company will release at least 30 films per year.

  • MrBeast Producer, Disney, Women in Fan LatAm Fuel Costa Rica Media Market

    MrBeast Producer, Disney, Women in Fan LatAm Fuel Costa Rica Media Market

    Revitalized last year as an offshoot of the Central America and Caribbean Audiovisual Market, the Costa Rica Media Market (CRMM) promises a packed two-day conference over July 14-15, followed by fam tours for most of its participants.

    Organized by Costa Rica’s Film Commission, its Trade and Investment Promotion Agency (Promocomer), and tourism agency Essential Costa Rica, CRMM aims to bolster its position as a key platform for regional projects in the international market.

    Spearheaded by film commissioner Marysela Zamora, the market expects to host 900 business meetings among a host of international players numbering some 350, an uptick from last year’s 275.

    Round Table Talks, CRMM

    “One of the most exciting developments this year is the mix of industry perspectives coming together. We’re welcoming Disney, MrBeast, a new generation of producers working in Hollywood and leading players from countries like Mexico and Colombia—two of the region’s strongest audiovisual industries,” Zamora tells Variety.

    “Bringing them into conversation with talent from Central America and the Caribbean creates a unique space for new ideas, partnerships and a more connected regional industry.”

    Ari Cheren, the producer of MrBeast, the YouTube and TikTok phenomenon known for his fast-paced videos built around elaborate challenges and philanthropic efforts, will have the opportunity to meet with local producers and location managers, as well as join CRMM’s familiarization tours. “For us, it’s a valuable opportunity to showcase the talent, capabilities and locations that Costa Rica offers to international productions,” says Zamora.

    Among this edition’s highlights is the launch of Women in Fan LatAm, an extension of the WomanInFan initiative founded by the Sitges Int’l Film Festival as well as the continuation of Fantastic Lab Central America & Caribbean, introduced last year.

    “Through Fantastic Lab and Women in Fan LatAm, we’re opening new doors for genre cinema in Central America and the Caribbean, while showcasing 24 curated projects across fiction, documentaries and series. Together, they reflect a region with increasingly ambitious stories that are ready for the international stage,” Zamora notes.

    Tuesday’s Day 1 kicks off with a conversation with Costa Rica’s first-ever Oscar-nominated talent, Felipe Pacheco, who was recognized in the best sound category for his work on Ryan Coogler’s “Sinners.”

    This is followed by a much-anticipated talk on how studios choose where to film and questions what drives these all-important decisions. Panelists will include reps from Disney, 20th Century Studios and The Mediapro Studio’s Cimarrón Cine, known for a host of noteworthy credits, including J.A. Bayona’s Oscar- nominated “Society of the Snow.”

    The second panel, titled “The Future of Storytelling,” features Julye Cuartas from 11:11 Films & TV, Diego Hurtado de Mendoza, CEO Alegría Films and Greta Talia Fuentes, Development VP of Macro.

    On Day 2, Charlye Sextro, senior VP of acquisitions & business development, Utopia will address one of the most perplexing issues that filmmakers face: “What Makes a Film Break Through? How Festivals, Buyers and Distributors Decide.”

    This is followed by a panel comprising TIFF programmer Diana Cadavid, Puerto Rico Film Festival’s Lester Rive and Patricia Velázquez of the Costa Rica Film Festival who will discuss how festivals drive talent, industry and audiences.

    The thorny issue of AI will of course be debated with Adriana Ramírez of Megatrax leading the discussion. Pitches and Workshops also form part of the agenda.

    Lastly, Sitges Festival director general Mónica García and director-producer Luis Javier Enaine will discuss the notable expansion of genre cinema in Latin America with Pablo Guisa, CEO Grupo Mórbido, moderating.

    “Our ambition is to establish Costa Rica Media Market as the leading audiovisual market for Central America and the Caribbean. We want it to be the place where international decision-makers come to discover the region’s next stories, talent and production opportunities. Ultimately, we hope the market becomes a catalyst for projects that move from development to production and reach audiences around the world,” Zamora concludes.

    Costa Rica Media Market