Leading global film commissioners respond to urgent issues in the sector as the industry gathers for AFCI Studio Summit in Los Angeles
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Courtesy of Universal Pictures In 2026, everything moves fast. While 2025 saw the global film business tensely try to navigate President Trump’s repeated threats to impose a 100% tariff on movies produced outside of the U.S., this conversation now feels like old news as other urgent issues move to the fore, namely the U.S. war on Iran and the still unforeseen impact of another major Hollywood conglomeration with the recently announced Paramount-Warner Bros. Discovery deal.
Over the last two years, several high-profile productions — such as Guillermo del Toro’s “Frankenstein” and Brady Corbet’s “The Brutalist” — have served as examples of the great benefits of shooting abroad, especially when it comes to coupling mouth-watering tax incentives with highly-experienced local crews. Christopher Nolan’s “The Odyssey” is soon to become the latest to add to this conversation, with the “Oppenheimer” director having shot his epic across the world in Morocco, Scotland, Greece, Italy and Iceland.
Still, despite the increased popularity of shooting outside of the U.S., and the booming business of film commissions, the current sense of geopolitical and overall industry instability threatens to change the way foreign shoots operate. As leading figures in the sector prepare to attend this year’s Association of Film Commissioners International (AFCI) Studio Summit in Los Angeles, Variety has spoken to several film commissioners to take the temperature of the business of taking productions abroad.
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What are productions looking for?
Speaking about the most common demands for clients in 2026, film commissioner for the West Finland Film Commission Teija Raninen is direct: “Cost certainty and efficiency, which requires transparent incentives, predictable schedules, and strong service partners.” She adds that sustainability and green production practices are still key, as well as “never-seen” backdrops that offer “easy access and existing infrastructure nearby.”
“There is also a trend towards flexible, multi‑territory workflows, with shoots combining on‑location work, virtual production, and post in different countries. Finland is positioning itself to fit seamlessly into that model and we can offer services to all or just one of these flows.”
Netherlands Film Commissioner Roeland Oude Nijhuis says he can feel a “definite shift happening” within the global scenario. “It’s being driven by something deeper than just economics,” he adds. “With everything that’s going on in the world — the political uncertainty, the instability in various regions — we’re seeing a renewed and genuine interest in the European co-production model. Productions are looking for partners they can trust, frameworks they understand, and creative relationships that are built to last.”
The Netherlands has acknowledged that shift and reinforced collaborations with neighbors such as Belgium, Germany, France and the Nordics. “There’s a meaningful appetite for projects that draw on multiple European territories, both financially and creatively,” says Oude Nijhuis.
“Sentimental Value,” courtesy of Neon Projection is key
Countries like Norway have recently benefited from a major global window when “Sentimental Value” was nominated for a whopping nine Oscars, going on to become the first-ever Norwegian film to win the coveted golden statuette when Joachim Trier took home Best International Feature. This is one prime example of the importance of how international projection can help boost visibility to a particular country or location.
Norwegian Film Commission’s Meghan Beaton says their national productions have “increasingly competed on the global stage” in recent years. “Norwegian films and series now rank among the most viewed non-English language titles globally on Netflix. For a country of under six million people, that speaks to the production quality we can deliver, to the strength and distinctiveness of our creative talent.”
“A success like ‘Sentimental Value’ reinforces that trajectory,” she goes on. “It signals to the international industry that Norway delivers both artistic excellence and production value at the highest level. That kind of recognition doesn’t just celebrate a single film — it builds long-term confidence in Norway as a production destination. What’s important now is not just the moment, but how we in Norway build on it. There is real momentum, particularly in terms of visibility and industry relationships, and our focus is on converting that into sustained interest in Norway as a place to produce.”
The threat of AI
When asked about how the increased usage of digital soundstages and production facilities, as well as the expansion of AI technology, might affect their business, Ottawa Film Commissioner Sandrine Pechels de Saint Sardos says those technologies “are transforming production workflows,” but she doesn’t “see them replacing the value of authentic on-location filming anytime soon.”
“Productions still seek the textures, scale, and organic energy that real locations provide — Ottawa’s historic streets, government architecture, and natural landscapes can’t be fully replicated digitally,” she adds. “That said, these technologies complement on-location work rather than replace it. Virtual production and AI tools can streamline previsualization, reduce costs for certain effects, and enable hybrid workflows, but the demand for real-world environments, experienced crews, and flexible production support remains strong.”
Oude Nijhuis mentions how the Dutch film “IHostage” served as a “really instructive example” for the film commission due to its “creative use of combining location shooting, virtual production, and traditional set building.” “It wasn’t a case of technology replacing location work — it was technology extending what was possible on location. That integration is, I think, where the real opportunity lies.”
“What remains constant is the audience’s desire for authenticity,” chimes in Beaton. “This stems from human stories, compelling performances, and the tangible qualities that come from working in real environments. Physical locations, creative collaboration, and lived experience are not easily replicated, and they will continue to be central to filmmaking.”
Getty Conglomeration: Will it affect global locations?
Despite it being a Hollywood-centric development, a major deal like the Paramount-Warner Bros. Discovery merger sends ripples across the entire global industry. With this in mind, what are film commissioners’ first thoughts on how the deal might affect their business?
“It’s a significant development, and I think it would be disingenuous to pretend it doesn’t have implications across the industry,” affirms Oude Nijhuis. “Consolidation at that scale concentrates decision-making power, it changes the kinds of projects that get greenlit, and it can reduce the diversity of voices and stories that reach global audiences. Those are real concerns, and I think they’re widely felt.”
Austria’s film commissioner, Juliane Buchroithner, echoes that thought: “There is no doubt that industry conglomeration has a significant effect on diversity, which remains one of the fundamental qualities that makes cinema so captivating and unique. The consolidation of major players can potentially narrow the range of voices and stories being told. However, it is important to recognize that independent filmmakers will always exist—driven by their determination to forge alternative creative paths. We are committed to supporting these filmmakers and their pursuit of distinct perspectives, ensuring that the spirit of diversity continues to thrive within the industry.”
Pechels de Saint Sardos says consolidation “influences the types of productions coming to Canada, [as well as] their budgets and timelines.” “It reinforces the importance of Ottawa’s boutique, community and nimble approach: being able to respond quickly, offer diverse locations, and support crews and talent efficiently gives us a competitive advantage regardless of how the big players merge.”
Geopolitical instability
Perhaps the greatest issue affecting the logistics of shooting productions outside of their countries of origin today is the unpredictability of global conflict, especially the ongoing wars in the Middle East. Flights across the region have been either entirely suspended or reduced, and there isn’t a clear pathway ahead when it comes to the rapidly developing situation. As professionals try to navigate the unsteady road, the know-how and expertise of film commissions will become even more valuable.
Commenting on the issue, Raninen says that, “in times of instability, film commissions become more important as they work very closely with the local companies, public authorities and communities.” “Productions need accurate, up‑to‑date information on safety, logistics, regulations and risk management. Finland can offer a stable, predictable structure and environment, which is a great asset when other regions may be harder to access. Our goal is to ensure that creative work can continue as safely, predictively and smoothly as possible.”
“First and most importantly: we genuinely hope the situation stabilizes, that the violence ends, and that people everywhere can live in safety and peace,” says Oude Nijhuis. “With that said — and without wanting to derive commercial advantage from human suffering — the practical reality is that Western Europe is, right now, a stable, safe, and highly accessible place to make films. If productions are reassessing their geography — asking harder questions about travel routes, crew welfare, insurance implications, logistics — I think the Netherlands offers genuinely strong answers on all of those fronts.”
Beaton is equally empathetic, stating that “on a shared planet, conflict and instability cannot be framed as an advantage.” “What we can say is that Norway consistently ranks highly in terms of safety, stability, transparency and trust. More broadly, Europe remains a highly competitive production region because of its skilled workforce, diverse locations, strong infrastructure, and rich storytelling traditions.”
AFCI Studio Summit runs in Los Angeles between March 23-26.
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