Venice's VPB: Where the Industry Still Chooses Culture Over Commerce

Venice's Indie Market Still Reigns Supreme

When I first stepped onto the Lido in Venice this year, the buzz was unmistakable. The Venice Production Bridge (VPB), the festival's informal indie market, had kicked off with nearly 4,000 industry executives — a who's who of producers, sales agents, and distributors — all converging on the iconic island for what's become one of the most important film markets in the world.

"So far, the Toronto market has not had any impact on our numbers," said Pascal Diot, VPB chief. "We will see what happens next year."

As someone who's covered this scene for years, I've seen many market wars play out over the decades. But Diot's calm demeanor in the face of Toronto's new entrant — TIFF: The Market — tells a story about how deeply Venice is embedded in film culture. It's not just a business event; it's a cultural moment that industry players can't afford to miss.

Not Just Another Film Market

Venice may lack the formal infrastructure of Cannes or Berlin, but what it lacks in structure, it makes up for in heart. The VPB is all about production — from development to distribution — which sets it apart from more transactional markets like Cannes Marché du Film or the European Film Market in Berlin.

What Diot and his team have cultivated here is a unique ecosystem where filmmakers and financiers don't just sell projects; they collaborate. This year's VPB featured 37 feature-length fiction and documentary projects, along with 14 immersive ones — all in various stages of development. And the lineup? A who's who of international auteurs like Jessica Hausner, Lav Diaz, Ursula Meier, and Asmae El Moudir.

But it's not just about star directors. It's also about the underdog stories — films that might not get attention in other markets but are being nurtured here with genuine passion for the craft. That's what makes Venice so compelling.

The Toronto Challenge

Enter TIFF: The Market, a new player on the global film circuit that debuts just a day after VPB wraps. With its flashy stands and ambitious ambitions, Toronto's new film market is clearly trying to capture some of the momentum that has long belonged to Cannes, Venice, and Berlin.

Diot doesn't seem rattled by this. He notes that while some industry executives are now in Venice, they've also been invited to Toronto. But he adds, "I think it's not what the industry wants now." And I tend to agree.

It's true: there's something timeless about Venice's charm. It's a place where film is still about stories, not just numbers. The market isn't trying to be like other big players — it's trying to be itself. And that makes all the difference.

A Cultural Launchpad

One of the most striking aspects of Venice's appeal is how it functions as a launchpad, not just a marketplace. The French film industry, for instance, sees Venice as a crucial meeting point and showcase — especially when four French movies are set to compete for the Golden Lion this year.

I spoke with Gilles Renouard, deputy managing director of Unifrance, who explained that Venice's importance isn't just financial. "There are projects that are interesting for French distributors, films they want to see," he said. "Venice isn't very big, so there are always people around, there's a lot of traffic and you constantly run into people."

That personal connection — the chance encounter between filmmakers, producers, and distributors — is what makes Venice so special. It's not just about selling or buying; it's about building relationships and fostering creativity.

The Value of Time

Another thing that differentiates Venice from other markets is time. Diot pointed out that “sales, meetings that are quite relaxed because you have more time.” In a world where executives are increasingly stretched thin by travel budgets and tight schedules, the slower pace of Venice can be a gift.

This year's VPB also included a Book Adaptation Rights Market with 30 international publishers and literary agencies meeting with producers. It's a reminder that the festival isn't just for filmmakers — it's also a hub for storytelling in all its forms.

Why Venice Matters

The reason why Venice remains so relevant is simple: it's not just about business, but about culture and legacy. As Daniela Elstner, managing director of Unifrance, noted, "You have Cannes and then, to kick-start the fall season again, you have Venice."

It's a moment in the year that renews excitement for cinema — and not just commercial cinema, but artful storytelling that pushes boundaries. Diot's assertion that Venice isn't affected by Toronto's market is less about competition than it is about identity. Venice has carved out its own niche, and industry players know that.

And as I walked through the Lido this week, watching film execs meet with producers and discuss ideas over coffee, I couldn't help but feel that Diot's confidence was well-placed. This isn't just another film market — it's a cultural force that refuses to be ignored.

Whether you're planning to attend next year or simply following along from afar, one thing is clear: Venice Production Bridge will continue to be the place where filmmakers come to tell stories — not just sell them.