Lights, Camera, Anxiety: International Film World Frets Over Trump’s Next Move

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Visitors attending the Berlin Film Festival may have hoped for a respite from constant news about Donald Trump, yet found that he remained omnipresent in Berlin. While it’s unlikely that Trump would grace the Berlinale red carpet (except perhaps if they extended an invitation), his influence was certainly felt throughout the city.

In the world of gaming, it’s like I’m immersed in stories where movie directors take aim at the 47th U.S. President and his policies. For instance, in Bong Joon Ho’s sci-fi satire “Mickey 17”, we witness a fanatical following of an arrogant, self-centered politician, often seen sporting flashy red MAGA-style caps. On the other hand, Michel Franco’s “Dreams” offers a stark portrayal of a Mexican ballet dancer who traverses borders to be with his affluent U.S. girlfriend, serving as a pointed critique of Trump’s immigration policies. And during this European Film Market gathering, the conversation around Trump and his effects on the global film industry is unavoidable.

Film production and sales companies are worried that President Trump might impose tariffs or trade barriers on the movie industry, similar to what he’s done with other sectors. It’s possible that American productions filmed overseas could be a focus of these measures. This practice, known as “runaway production,” has grown increasingly common due to escalating filming costs within the U.S.

Josh Rosenbaum from Waypoint Entertainment, a company involved in producing and financing films like “Longlegs”, “Mid90s” and “The Favourite”, has stated that everyone is asking each other if filming will be possible in Mexico or Canada due to recent events. The truth is, it’s uncertain because the situation is unpredictable, with no clear rules established. Although there are guidelines issued by Trump, their implications remain unknown.

There are several points about the global film business that might provoke Donald Trump’s disapproval. The problem of runaway production becomes complex due to the substantial tax incentives given by numerous countries to lure American movies and TV shows for filming, which could mean fewer jobs for U.S. actors and crew members. Additionally, many countries heavily fund their own films and series, a practice Trump may view as unfair competition and look to address through restrictions or import taxes.

For years, American industries have advocated for domestic tax breaks to combat the allure of filming overseas. Prior to the last elections, Governor Gavin Newsom of California suggested increasing the state’s tax incentives for film and TV production to $750 million annually, with the aim of reclaiming jobs lost due to out-of-state and foreign productions. However, following the Los Angeles fires, the state government is prioritizing city reconstruction over Hollywood subsidies. There have been calls for federal tax relief or incentives, but under the current Trump administration, it appears unfeasible that Washington would enact policies that predominantly benefit deep-blue states like New York and California.

In the area that Donald Trump has started calling a potential 51st state, preparations are underway for the Toronto Film Festival to stand firm against any changes. Starting next year, TIFF plans to establish an official content market, and they’ve already appointed key figures from the independent film industry to their advisory committee. Notable members include Roeg Sutherland from CAA, Vincent Maraval of Goodfellas, Noah Segal who co-presides over Elevation Pictures, and Niv Fichman, founder of Rhombus Media.

Judy Lung, TIFF’s vice president of strategy, communications, and stakeholder relations, emphasized in Berlin that TIFF has historically been a hub for global collaboration and unity. As we navigate through times of political and economic instability, she stressed the need for Canada’s premier film festival to further cultivate and fortify our international connections.

A more urgent matter that needs addressing is the question of corporations’ increasing self-censorship following the MAGA movement, which has sparked concerns about freedom of speech and expression.

In advance, we’ve observed a similar pattern, as with numerous DEI programs collapsing like dominoes under the Trump administration. Todd Haynes, president of this year’s Berlinale jury, commented to The Hollywood Reporter that corporations, companies, and individuals initially adopted a passive approach, thinking they could play a long game. However, history has shown us that giving in doesn’t earn you rewards from such people. Instead, they are insatiable.

As a gamer, I’d rather steer clear of games or topics that might rouse the anger of certain influential figures, like Trump and his associates. For instance, watching a game based on Trump’s life, such as “The Apprentice,” could provide a valuable lesson. This game, which was warmly received at Cannes last year with an eight-minute standing ovation and has since made waves in the awards circuit, earning two Oscar nominations for Sebastian Stan as Trump and Jeremy Strong as Roy Cohn, Trump’s mentor who taught him political tricks back in the 80s. However, opposition from Trump’s camp nearly sabotaged its release in the U.S. The game’s primary financier, Kinematics, founded by producer Mark Rapaport, son-in-law of billionaire and known Trump donor Dan Snyder, didn’t appreciate Abbasi’s portrayal of Trump. As a result, no one wanted to touch the game. It was only after Tom Ortenberg’s independent studio Briarcliff Entertainment made an offer, and James Shani, one of the producers, joined as a full co-distributor, that “The Apprentice” finally reached U.S. screens.

Via email, Shani pointed out that The Apprentice hasn’t secured a streaming agreement in the U.S. yet. “I think we’re unique among Oscar-nominated films for this,” he said. “It’s plain to see why, and that’s an issue.

The experience on The Apprentice could potentially be a cautionary tale for production teams and filmmakers based in Berlin: Tangle with Trump at your own risk.

A European sales agent expresses a genuine concern to THR that U.S. distributors may shy away from content perceived as anti-Trump or critical of MAGA, even if the film addresses sensitive topics like immigration or transgender rights, due to potential risks involved.

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2025-02-16 10:25