The Power Play: Decoding the Film Industry's Holy Trinity
There’s something undeniably captivating about the way the film industry grapples with its own identity. At this year’s Locarno Pro, part of the storied Locarno Film Festival, a panel of industry heavyweights tackled a deceptively simple question: Power. People. Data. But in which order? On the surface, it’s a semantic debate. But dig deeper, and you’ll find it’s a window into the soul of an industry that’s as much about intuition as it is about analytics.
The Order of Things: A Revealing Disagreement
What struck me most about the panel—moderated by AC Coppers and featuring Yasmine Talli (mk2 Films), Andrea Occhipinti (Lucky Red), and Doris Ruth Eikhof (Design Otherwise)—was how sharply their perspectives diverged. Eikhof’s take? Power, data, people. She argues that power structures and the narratives we build around them (i.e., data) must be addressed before we can create equitable spaces for people. It’s a pragmatic view, one that acknowledges the systemic barriers in the industry.
Occhipinti, on the other hand, places people first. For him, judgment, sensitivity, and experience are the bedrock of decision-making. Data, he insists, is merely a tool—important, but secondary. Talli’s order—people, data, power—suggests that data is the bridge between human creativity and the power dynamics that shape the industry.
Personally, I think what makes this particularly fascinating is how these differing orders reflect broader philosophies about filmmaking. Eikhof’s approach feels almost revolutionary, prioritizing structural change. Occhipinti’s is romantic, championing the human element. Talli’s is strategic, acknowledging the role of data in navigating power.
Conviction vs. Data: The Eternal Debate
One of the most intriguing discussions centered on how much decisions about films are driven by conviction versus data. Occhipinti’s Lucky Red, for instance, leans heavily on instinct. He cited films like Ida and Moonlight—projects that defied conventional data-driven predictions but became critical and commercial successes. What many people don’t realize is that these ‘gut-driven’ decisions are often backed by years of experience and a deep understanding of audience tastes.
Talli’s mk2 takes a more hybrid approach. While they value emotion and taste, they also scrutinize a director’s track record, festival presence, and the team behind a project. It’s a process that feels both human and calculated, a reminder that data isn’t the enemy of creativity—it’s a compass, not a map.
If you take a step back and think about it, this tension between conviction and data is emblematic of the industry’s larger struggle. How do you balance artistic vision with commercial viability? The answer, it seems, lies in finding a middle ground where data informs but doesn’t dictate.
The Data Dilemma: A Double-Edged Sword
Stephen Follows’ presentation, Fear, Lies, and the Illusion of Control, added another layer to the conversation. His data points—like the prevalence of ‘nepo baby creatives’ in top-grossing films—were eye-opening. But what this really suggests is that data, while powerful, can also perpetuate biases and inequalities.
From my perspective, the film industry’s relationship with data is fraught. On one hand, it offers clarity and predictability. On the other, it risks homogenizing storytelling by favoring what’s ‘proven’ over what’s innovative. A detail that I find especially interesting is how even data-driven decisions are often influenced by subjective factors—like the reputation of a director or the buzz around a festival.
The Human Factor: Irreplaceable and Unpredictable
What this panel ultimately highlighted is the irreplaceable role of people in the film industry. Whether it’s Occhipinti’s faith in intuition, Talli’s emphasis on collaboration, or Eikhof’s focus on inclusivity, the human element remains the linchpin.
One thing that immediately stands out is how the industry’s reliance on data could marginalize voices that don’t fit neatly into algorithms. This raises a deeper question: Are we at risk of losing the very essence of cinema—its unpredictability, its ability to surprise and provoke—in our quest for certainty?
Looking Ahead: The Future of Filmmaking
As the industry evolves, I can’t help but wonder how the balance between power, people, and data will shift. Will AI and algorithms further erode the role of human judgment? Or will they empower creators by democratizing access to resources?
In my opinion, the future lies in harnessing the strengths of both. Data can help us understand audiences better, but it’s people who will continue to push boundaries, challenge norms, and tell stories that resonate.
Final Thoughts: A Call for Balance
The Locarno Pro panel wasn’t just a discussion—it was a reflection of the film industry’s ongoing identity crisis. Power, people, and data are inextricably linked, but their order and interplay will always be a matter of perspective.
What this conversation reminds us is that filmmaking is both an art and a science. To dismiss either is to miss the point entirely. As we move forward, let’s not lose sight of what makes cinema magical: its ability to connect, inspire, and transform.
Personally, I think the real challenge isn’t about choosing between power, people, or data—it’s about finding harmony among them. And that, perhaps, is the most compelling story of all.
