LOCARNO, Switzerland — A central debate over the hierarchy of "Power. People. Data." dominated discussions at the 15th edition of Locarno Pro, the industry arm of the prestigious Locarno Film Festival, currently underway for its 79th iteration in the Swiss lakeside city. A panel of film industry leaders offered starkly divergent perspectives on how these fundamental concepts should be ordered and leveraged, underscoring a broader tension within the global entertainment landscape regarding creative intuition versus algorithmic analysis. The core question for attendees and panelists alike revolved around whether human judgment, institutional power structures, or quantitative insights should take precedence in shaping the future of cinema.
The Enduring Question: Power, People, Data in the Film Industry
The Locarno Film Festival, renowned for its focus on auteur cinema and independent voices, established "Power. People. Data." as a defining theme for its industry program, Locarno Pro. This theme reflects the evolving challenges and opportunities confronting film professionals, from financing and production to distribution and audience engagement. As the industry grapples with the transformative effects of digital platforms, artificial intelligence, and shifting consumption habits, understanding the interplay between these three pillars has become paramount. Markus Duffner, in his sixth year leading Locarno Pro, curated a discussion designed to illuminate these complex relationships, gathering experts whose daily operations are directly influenced by these very considerations.
Diverse Perspectives on a Core Theme
Moderated by AC Coppers of The Catalysts, the panel featured three distinct voices, each approaching the "Power. People. Data." conundrum from their unique vantage points within the film ecosystem. The participants included Yasmine Talli, acquisitions manager at the prominent sales agent, producer, and distributor mk2 Films; Andrea Occhipinti, president and founder of Italian production and distribution powerhouse Lucky Red, which recently saw StudioCanal acquire a majority stake; and Doris Ruth Eikhof, CEO of Design Otherwise, a University of Glasgow spin-out company dedicated to enhancing inclusion and diversity within the cultural sector. Their collective insights provided a multifaceted examination of the industry’s foundational elements.
When asked to sequence the three keywords, Eikhof presented a structured approach, prioritizing "Power, Data, People." She posited that human nature, with its inherent wisdom and flaws, necessitates a prior establishment of robust power structures. According to Eikhof, "People will be people. They’ll be more or less wise or more or less flawed." She emphasized the importance of first addressing power dynamics and the narratives society constructs, which she equated to "what data really is." By solidifying these foundational elements, she argued, the industry can create an environment conducive to widespread prosperity, suggesting that systemic change precedes individual flourishing.
Occhipinti, representing a long-standing tradition of European independent filmmaking, offered a humanist counterpoint, placing "People" at the forefront. "I’ll go with people first," he stated, highlighting that "Judgment, sensitivity and experiences come first. Then comes power. And data is a very important tool that we have to use." His perspective underscored the enduring belief in individual discernment, creative vision, and lived experience as the primary drivers of successful artistic endeavors, with power and data serving as secondary, albeit valuable, instruments.
Talli from mk2 Films presented a third ordering: "People, Data, Power." Her rationale acknowledged a practical reality of the industry. "It’s probably true that people need to gather some data in order to keep power," she explained. This sequence suggests an iterative process where human agents gather and interpret data to maintain or exert influence, recognizing data as a strategic asset in the competitive landscape of film acquisition and distribution.
The Instinct vs. Algorithm Debate: Shaping Film Selection
Beyond the abstract ordering of concepts, the panel delved into a more tangible industry dilemma: the extent to which film selection is driven by conviction and intuition versus data and algorithms. This question strikes at the heart of creative freedom versus commercial imperative, a perennial tension in the arts.
Andrea Occhipinti passionately defended the primacy of human instinct in the decision-making process at Lucky Red. "We don’t use algorithms to choose a film that we want to distribute or produce," he affirmed. He detailed a philosophy rooted in "instinct, sensitivity and experience," asserting that if a film resonates on a deeper level, his company will often pursue it even if quantitative metrics or comparables suggest otherwise. Occhipinti cited examples such as Pawel Pawlikowski’s "Ida," a black-and-white Polish film, and Barry Jenkins’ "Moonlight," both critically acclaimed but perhaps not obvious commercial successes "on paper." These films, he noted, defied conventional data-driven predictions, proving that artistic merit and a discerning eye can lead to unexpected triumphs. While Lucky Red does engage with audience data, particularly through its community feedback mechanisms, Occhipinti stressed that this data primarily informs understanding audience reactions rather than dictating initial film choices.
Yasmine Talli’s account of mk2 Films’ acquisition strategy revealed a more integrated, yet still human-centric, approach. While acknowledging the importance of "emotion, taste and the human aspects," she also detailed a meticulous process designed to mitigate risk and increase certainty. Key factors include a director’s track record, their previous festival appearances, and the caliber of their collaborators, such as producers and cast, particularly for English-language projects targeting the international market. Talli emphasized the use of "comparables"—films that, despite not sharing identical narratives, offer valuable market insights based on their recent performance. Ultimately, mk2’s process is "a process that actually involves a lot of people," from a pool of initial readers to the acquisitions team, culminating in a group decision that balances artistic judgment with strategic market analysis.
Broader Implications for Independent Cinema and Creative Control
The diverse viewpoints articulated at Locarno Pro highlight a critical juncture for the film industry. The increasing sophistication of data analytics and the rise of streaming platforms, with their vast troves of user data, have intensified the pressure to make "data-driven" decisions. However, the panel’s discussion served as a powerful reminder of the enduring value of human expertise, cultural sensitivity, and the courage to back unconventional projects. For independent cinema, in particular, the ability to rely on instinct and conviction remains vital for fostering diverse storytelling and nurturing emerging talent that might not fit neatly into algorithmic boxes. The acquisition of a majority stake in Lucky Red by StudioCanal, a major European player, further complicates this dynamic, as larger corporate entities often bring with them greater emphasis on predictable returns and data-informed strategies. The challenge for companies like Lucky Red is to maintain their distinctive, conviction-led approach while navigating the demands of larger ownership structures.
Challenging Assumptions: The "Fear, Lies, and the Illusion of Control" Presentation
The panel session was part of the 2026 StepIn kick-off event, which also featured a provocative presentation by film industry data analyst Stephen Follows. His talk, titled "Fear, Lies, and the Illusion of Control," directly challenged many conventional assumptions within the industry, providing a data-backed counterpoint to the more instinctual arguments heard from the panelists. Follows’ presentation, known for raising eyebrows with its stark "data points and hard truths," underscored the very complexities the panel was debating.
Follows presented compelling statistics on issues such as the prevalence of "nepo baby creatives" among the top-grossing films of the century, revealing how familial connections might influence access and success in the industry. He also shed light on the low percentage of independent films that genuinely generate a profit, a sobering reality for many aspiring filmmakers and investors. His findings reinforced the idea that while instinct is crucial, the industry’s economic realities are often shaped by less romantic, more structural factors that data can expose. This data-driven perspective served as a critical backdrop, demonstrating that even as filmmakers champion intuition, they operate within a highly competitive and often unforgiving market where quantifiable trends cannot be ignored. The tension between the subjective value of art and the objective metrics of commerce remains a defining characteristic of the global film landscape.
Navigating the Future: A Dynamic Balance
The discussions at Locarno Pro underscore that there is no single, universally agreed-upon ordering of "Power. People. Data." Instead, the most effective approach likely involves a dynamic interplay, where human intuition guides creative vision, data informs strategic decisions, and established power structures provide the necessary framework for execution. As the film industry continues to evolve, adapting to technological advancements and shifting audience behaviors, the ongoing dialogue around these core concepts will be essential. The festival’s initiative to foreground this debate highlights a recognition that the future of cinema will be shaped not just by compelling stories, but by a thoughtful and strategic engagement with the forces of power, the insights of data, and above all, the enduring creativity and judgment of people.
