8legs: Göteborg film festival

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#1 out of 5

Ampere Analysis at Göteborg says streaming will overtake legacy media in 2028, reshaping global content spend.
Unscripted and sports are here to stay, with sports taking a growing share of streamer budgets.
YouTube is increasingly a distribution layer for streaming and legacy spaces, influencing CPM dynamics.
Consolidation chats follow Netflix-Warner Bros. as platforms pursue global reach and diagonal integration.
The report highlights the rise of microdramas as a major opportunity in major markets.
AI is viewed as a threat to the creator economy, not just to production costs.
Sports spending on streaming could rival traditional TV budgets if current trends continue.
Content partnerships are expanding to address distribution cannibalization between platforms.
YouTube’s reach supports a broader distribution strategy for both streaming and legacy players.

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#2 out of 5

Karla stars Elise Krieps, Vicky Krieps' 12-year-old daughter, in the breakout lead role.
Karla centers a young girl seeking justice in 1962 Munich, avoiding explicit abuse scenes.
Tournatzés chose to shoot chronologically and brief the adult cast to support Elise on set.
Elise Krieps could work only five hours a day with a three-hour filming limit.
Karla uses ethereal flashbacks of nature to convey trauma without depicting abuse directly.
Playmaker Munich handles world sales for the feature debut from Christina Tournatzés.
Karla’s focus is on Karla’s legal journey and empowerment, not on depicting trauma.
Karla explores the aftermath of abuse via courtroom and legal proceedings.
The Bergman competition at Göteborg Film Festival features Karla as a centerpiece.
Karla’s production aims to empower children in difficult situations and inspire dialogue.

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#3 out of 5

Deadline first revealed an exclusive teaser for Zejtune, marking its Göteborg competition entry.
The film stars Michela Farrugia as Mar, who plans to quit Malta after her mother’s death to fund a move.
Nenu Borg plays an 80-year-old folk singer whose music challenges Mar’s escape plan.
The project is produced by Oliver Mallia and Ramin Bahrani, with Camilleri also taking a producer credit.
Films Boutique handles sales, highlighting the film’s international distribution potential.
Luzzu, Camilleri’s previous feature, debuted at Sundance in 2021, signaling an ongoing international footprint.
Zejtune is described as exploring homeland and belonging through Mar’s return to Malta.
The production involves Solari Productions, One Two Films, and other international partners.
Göteborg Film Festival context anchors Zejtune among other contemporary European premieres.
Deadline positions Zejtune as part of Malta’s growing film production profile.

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#4 out of 5

Rapace says her public image as angry does not match who she is, noting blunt American reactions in early press events.
She urges more funding for Swedish film, pointing to Nordic comparisons and broader world-stage opportunities.
Rapace reflects on European cinema's freedom after experiences with big-studio systems.
Rapace dedicates the Nordic Dragon Award to her son Lev, calling him her closest witness.
Rapace emphasizes balancing present focus with ambition and continual growth as an artist.
Rapace calls for more national support to keep Swedish talent on the world stage.
Rapace notes the challenges and ambitions of European cinema away from the big-studio system.
Rapace highlights the balance between creativity, independence, and the realities of financing.
Rapace discusses notable roles and her connection to iconic characters across films.
Rapace reflects on motherhood and career balance, acknowledging personal fears and motivations.

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#5 out of 5

Schamus cautions that consolidation in streaming is the dominant trend, warning it could be bad for a while.
He calls the attention economy a distraction economy driven by platform control over viewer data.
Schamus asserts it will be bad news for a while on Netflix-Warner Bros. deals and related strategies.
Netflix’s ‘taste communities’ shape what appears on the landing page and tailor content.
Schamus discusses Minnesota’s recent social actions and community resilience amid local shootings.
Schamus remains focused on storytelling and early-career cinema through Göteborg’s Ingmar Bergman competition.
He notes Netflix’s spending on content as a factor in the evolving industry dynamics.
Schamus highlights the challenge of distributing content in a controlled data environment.
He discusses his current role leading Symbolic Exchange and recent indie projects.
Schamus emphasizes the value of human connection and community in storytelling.

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