For hundreds of international film executives flying into Los Angeles this week, attending the American Film Market isn't just about brokering deals or locking in cast for their next thriller. This year, simply getting into the United States has emerged as one of the most stressful parts of the journey.
Amid the usual negotiation chatter about budgets, distribution windows and slate financing, the dominant topic in hallways, hotel lobbies and Telegram group chats is border control. Some delegates are quietly admitting they've wiped personal devices clean or brought "travel-only" phones — not because of espionage-level secrets, but out of fear that a stray political meme or message might prompt extra scrutiny from U.S. customs agents.
“It’s nerve-wracking because it feels arbitrary,” says a European sales executive who asked that his name not be used. “You don’t know which mood the officer will be in. I actually deleted a family group chat because my cousin goes off on political rants.”
These concerns aren't unfounded. Confusion over visas has risen in recent months, says Jean Prewitt, president and CEO of the Independent Film & Television Alliance, the organization behind AFM. “We've seen inconsistent enforcement and delays, particularly for delegates from specific regions,” she says. To help, AFM has begun issuing official documents attendees can show at passport control, verifying the event and their professional role. “It sounds bureaucratic, but it can mean the difference between a smooth entry and a very long day.”
The timing is particularly unfortunate. With the federal government still partially shut down for weeks, U.S. airports have dealt with staffing shortages and delayed flights. Los Angeles International Airport and San Diego International were among those hard hit as air-traffic controllers called in sick en masse. And the FAA has warned of potential further disruptions heading into the busy Thanksgiving travel season.
Adding to the complication is renewed political rhetoric: President Trump has revived a campaign-trail promise to impose a sweeping "100 percent tariff" on foreign-produced films — a proposal short on legal clarity but heavy in symbolic messaging. For global producers reliant on international co-financing, foreign tax incentives, and cross-border production, the threat raises real concern.
“It’s impossible to see how it would even work in practice,” says David Garrett, CEO of Mister Smith Entertainment. “Is he going to tariff Warner Bros. for shooting the Harry Potter films in the U.K.? The economics don’t even begin to add up.” Still, uncertainty alone has a cost — and executives feel it.
Border anxiety and political noise notwithstanding, AFM attendance is robust. Every office in the Fairmont Century Plaza — the market's new Los Angeles home — has been booked, with some companies turned away for lack of space. The biggest draw? Being back in L.A., where meetings with studios, agencies, financiers and producers happen just a few blocks apart.
"Buyers aren't only here for AFM," says Matt Brodlie of Upgrade Productions. "They're here because Los Angeles is still the center of the film business."
AFM continues to thrive as the marketplace for commercial genre films — thrillers, action projects, and the kind of elevated horror that travels well internationally. More delicate or auteur-driven titles remain better suited for Cannes, Berlin, Venice or Toronto’s market frameworks.
But for the companies focused on pre-sales, AFM remains indispensable.
“My schedule is packed,” says London-based Protagonist Pictures’ Janina Vilsmaier. “If you rely on pre-sales, this is the week that matters.”
The one truth, though, that has persisted through the recent tumult is this: independent cinema endures because the people driving it refuse to stop. Perhaps the visa stamps are vexing and the tariff talk rattles nerves, but the business of film remains a global one run through Los Angeles — and for now, that is more than enough to keep the planes full.
