After years of operating one of the world’s busiest unofficial film markets, the Toronto International Film Festival has finally made its official announcement. Next September, TIFF will launch its first integrated content marketplace, a move that CEO Cameron Bailey says has been “years in the making” — one designed to reshape the dealmaking landscape in North America at a moment of rapid change in the industry.
The TIFF Market arrives with ambitious goals: bridging the long gap between Cannes and Berlin, offering a more structured alternative to the festival’s longstanding informal market, and positioning Toronto as a global hub where film, television and emerging media converge. As Bailey points out, the goal is to create a space that reflects how businesses themselves have evolved, with intellectual property now flowing freely between formats and platforms.
Leading the efforts on the ground is newly appointed Market President Charles Tremblay, a veteran distributor and executive with more than two decades of experience in the Canadian and international film industry. Tremblay began his career as a lawyer before joining UTA as a trainee agent, later co-founding Metropole Films Distribution with Mongrel Media, where he served as Managing Director for 11 years. Went to launch MK2| MILE END in partnership with French mk2, which was later acquired by Sphere Media and became Sphere Films, where he served as President until 2024. Most recently, he worked at MUBI, where he oversaw Canadian releases of titles including Article, gay and Maria. Over the years, he has had and released a wide range of festival hits, from parasite to afternoon and The worst person in the world.
Together, Bailey and Tremblay are betting that Toronto’s existing strengths — its global audience, dense festival footprint and reputation for industry-friendly logistics — can translate into a market not of competition on scale, but of convenience and complementarity. The pitch: A blended, navigable, “full-service” marketplace built on curated offerings, expanded buyer programs, and an increased focus on cross-platform storytelling.
As Tremblay puts it: “Once we explained to people that it was going to be a full-service marketplace, they would join.”
You have been planning the TIFF film market for several years. What is the biggest challenge in getting over it?
Cameron Bailey There have been all kinds of challenges. We faced strategic, logistical, financial and operational challenges in achieving this. Of course, we have been doing informal market activity and making it possible at the festival for many years, but this is different. We want to provide a greater platform for people to do business, meet each other and develop the networks necessary in today’s rapidly changing industry. So it took not just months, but years to be fully operational. We now have a great team, and we’re thrilled to be able to bring more dealmakers, creatives, financiers, buyers and sellers to Toronto every year.
Charles Tremblay I just joined seven months ago, so I haven’t been part of all the work. But I remember when Cameron mentioned his idea to me a while ago, I always thought it was a good idea. It is not built from scratch. The TIFF industry has been around for a long time. It has been providing very good services to the industry, and a large portion of employees from the TIFF industry are moving into the market. We still have those veterans with us. Senior festival staff were also heavily involved in putting this together. These are the people who put together what is widely considered to be one of the best organized festivals in the world. There is a very solid base to build upon and expand upon.
Toronto has had a successful casual market for many years. What benefits come from creating a formal one?
Tremblay I’ve been a distributor for over 20 years, so I attend a lot of festivals, especially TIFF every year. I always felt like it was a missed opportunity given the size of the festival and all the people attending. I could have used a more regulated market, and I think a lot of people feel the same way. There is an eight-month gap between Cannes and Berlin, both in Europe. None in North America. Meeting in lobbies and Zoom works when that’s the only option, but people prefer in-person interaction in a structured environment. That’s why [Berlin’s] EFM and cinema market [in Cannes] It was a success.
One of the biggest changes will be the market’s offerings [at TIFF]. This is a game-changer because it allows sales agents to showcase films that are not necessarily at the festival to buyers. We will have about 400 slots, including two days before launch. This allows promotional reels and films to be shown before the market officially starts.
One of the major advantages of Toronto is that people no longer have to rush finished films, promotional materials or artwork in time for Cannes. They can step back and know they have a solid choice three months later.
Billy We’re going to do something really unique in North America. Currently, there is no official market associated with a major film festival. A major festival that brings together filmmakers, talents and professionals already in the city. We build on that through market activity. Toronto is a very cosmopolitan city, and we have always designed our festival to be very cosmopolitan. That will be part of the market as well. We have professionals who speak your language and understand your culture. This will allow us to attract people from all continents. It’s an easy place to do business, and that’s something we can offer that no one else does.
Are you hearing concerns from international executives about travel, visas and border restrictions in the US?
Billy We’ve heard from some international colleagues that American industry is still very important, but some are hesitant to travel to the United States right now. We have always been a place where the world meets the American film industry, and that will continue. There is already a definite desire to do business in Toronto even without a formal market. We just want to provide more services and causes to come. We also worked on affordability. Hotels will start around $200-$220 USD [early bird rates for attendees that book by June 5]. It will be affordable, comfortable and walkable. We’re trying to build something that serves the industry in ways that can’t be found anywhere else.
To what degree does this international focus reflect broader changes in the industry, and the global success of non-English speaking content?
Billy Toronto’s audience has been international for years – anime, K-dramas, Latin American TV series. People here are already watching international content. This has been part of the festival’s DNA for decades, and will be part of the market as well. We hear a lot about emerging regions like Southeast Asia. We want this to be a place where these businesses take place.
Your vision is broader than the traditional film market. Can you explain that?
Tremblay Everything will be located at the Metro Toronto Convention Centre. Film will still be the mainstay, but there will also be room for series and immersive industry. We will have an innovation center with eight XR businesses. Programming will include speakers from the television and innovation sectors. Over time, we want to grow into a full-fledged content marketplace serving films, series and innovations.
Billy Intellectual property moves seamlessly across platforms. A video game can become a TV series, movies become shows, and immersive media becomes something else. We want to focus on great stories that are looking for funding and the right way to reach audiences. Audiences are now multi-platform, and the market must reflect that.
Do you see competition with AFM or on the TV side with MIPCOM?
Billy Budgets are limited and companies have to be smart. Our response is to build the most relevant market possible. Everything will be within a 12-minute walk. The Metro Toronto Convention Center will be the hub with businesses located nearby. Shows and party venues are also close by. We want to reduce the pain points that people have in other markets and make this as attractive as possible.
What do you do specifically for buyers?
Tremblay We have done it 200 new buyers — people who stopped attending or did not attend TIFF. We worked with stakeholders to ensure we got the right buyers. This is in addition to the approximately 800 people who already attended. The response so far has been very strong.
What are your attendance goals?
Tremblay Historically, the TIFF industry has had about 5,000 delegates. We hope to add about 1,000 in the first year, so about 6,000. We will have about 120 exhibitors at MTCC and additional space at partner hotels like the Ritz and InterContinental. In total, about 160 exhibition spaces, with room to grow.
What kind of companies do you expect to attend?
Tremblay We will still have a strong presence from film agencies, but also more sales agents taking up space as they do in other markets. We expect a very global mix – North America, Europe, Latin America and Asia. Our buyer calls have been designed to reflect this global reach.
How integrated is the market with the festival?
Billy It is one organization that manages both. There is integration, but there is also a dedicated market team. We bring decades of seamless festival management experience to the market. Much of the TIFF industry team has moved on. We build on long-term relationships with industry leaders and speakers. This gives the market a head start.
Tremblay They take place in the same compact area. This creates energy and allows interaction between festival goers and industry participants. We will also be conducting curated market shows, which will be private shows but with a mix of buyers and curated audiences. For example, a sales agent might ask for 50 buyers and 150 audience members. Using the TIFF database, we can target specific demographics. This creates a real experience for the audience, which is unique [among film markets].
Will the market also include packaged projects, not just ready-made films?
Tremblay It will still have a strong showing for the final films, but we’re also seeing interest in packages. Agencies like CAA, WME and UTA are eager to launch packages in Toronto. One advantage is timing – it allows them to close the financing before the end of the year.
What’s still keeping you up at night before launch?
Billy Travel challenges are a concern, as are costs. We want to make sure we are affordable and accessible to everyone. Beyond that, it’s like hosting a dinner party – you set everything up and wait for the guests to arrive. We are excited and looking forward to opening the doors.
Tremblay I share these concerns, but I sleep well. We have assembled a great team. The feedback has been very positive. Of the roughly 150 meetings, most people are excited and say they’ve been waiting for this. We are confident that we will offer a great market.
