Market potential at the upcoming Toronto International Film Festival is primed with 52 new companies confirming attendance, the majority of which hail from the u.s., Greece, Italy, France, Germany, Mexico, Switzerland and the u.k.

According to figures from the tiff Sales Office, the tally of registered buyers and sales agents stands at 486 as of Playback press time.

In previous years, Italian and Spanish companies were scarce because of the close timing with the Venice festival and San Sebastian festivals in Spain, but this year representation from both countries is building, says Sales Office executive director Kelley Alexander.

She also notes that the mini-majors are increasing their presence at tiff – sending over larger teams of acquisitions reps, up to 10 per company – to cover the large number of premiering films. ‘It is a recognition of the large volume of films available,’ says Alexander.

Among the registered companies is Hal Films, a new u.k.-based outfit backed by Miramax, which cofinances and produces six films per year with budgets ranging from $7.5 million to $30 million.

Miramax provides Hal with a $75-million revolving production fund, as well as a $4.5 million pot for development. Hal also operates a distribution arm which acquires u.k. films for Miramax to distribute in North America.

‘We are a talent-driven company,’ says partner David Aukin, who will be representing Hal at tiff. ‘We are interested in working with writers and directors and finding them the right projects.’

The first production out of Hal is the $18 million Mansfield Park, a coproduction with the bbc to be directed by Canadian filmmaker Patricia Rozema. Miramax is distributing in North America and Bueno Vista International holds u.k. rights.

Another British company attending the Toronto festival is Dogstar uk. Formed last year as a branch company of Mike Newell’s Dogstar Films, Dogstar uk has a first-look deal with Summit Entertainment, the foreign sales company behind such films as Fear and Loathing in Las Vegas and Johnny Brasco.

Summit will finance both the development and production of Dogstar uk projects, says development executive Carolyn Drebin, and prefers to become involved with projects at the early script stage.

A discretionary development fund has been set up by Dogstar for scripts Summit passes on.

Dogstar uk’s upcoming slate includes a coproduction with Toronto’s Triptych Media, based on Carol Shield’s book Republic of Love adapted by Shelagh Stephenson.

Other projects in development are I Captured The Castle, an adaptation of a novel by Dodie Smith (101 Dalmations), to be directed by Newall and written by Heidi Thomas; and Newton’s Law, a coproduction with London company Hat Trick, scripted by Bev Doyle and Richard Kurti.

New York-based Unapix Films is involved in the financing, production and distribution of a wide range of feature films.

The company cofinances and coproduces 10 to 12 low-budget indie films ($4.5 million and under) per year, putting up 25% to 50% of the budget and taking North American theatrical and television rights, says vp of acquisitions and production Alicia Reilly-Larson, who is registered for tiff.

Projects from first-time filmmakers with unique talent, as well as directors with track records, are being sought.

While films with wide appeal and some commercial elements are the mainstay at Unapix’s production arm, it also operates an art-house line which can either pick up all rights to a film and finance a theatrical release through another distributor, or take tv and video rights on films already tied to a theatrical deal.

However, the company has plans to open its own theatrical distribution arm in the near future. Dramas and documentaries are released through the art-house label.

A third Unapix outlet is the video distribution arm, A-Pix Entertainment, which acquires films in all genres – action, budget, horror, drama, family – for u.s. home video and cable distribution.

Independent Film Channel

IFC Productions, a division of the Independent Film Channel, was a cofinancier of John Sayles’ Men With Guns, which premiered in Toronto last year. ifc finances low-budget indies from established talent, as well as projects from first- or second-time directors attached to a producer with a track record or star cast.

Roughly five films a year with budgets between $1.5 million and $7.5 million are financed, says vp of production Caroline Kaplan. ifc invests anywhere from 25% to 100% of the budget.

The Independent Film Channel acquires films with theatrical distribution attached or significant festival exposure. Short films and documentaries related to the film industry are also picked up. George Lentz does acquisitions for the network.

Peter Broderick, president of Next Wave Films, another division of IFC Productions, will be hosting seminars at tiff on ultra low-budget filmmaking and publicizing Next Wave’s finishing fund.

The completion fund puts up to $150,000 into low-budget indies and works with the filmmakers to set up a distribution and marketing plan. Next Wave finances up to four films per year, and in its first year of operation has offered the finishing money to three films, says Broderick.

The first project to receive the Next Wave cash was Blood, Guts, Bullets and Octane from first-time feature director Joe Carnahan. Produced for $11,000, plus the $100,000 Next Wave top-up, the film has gone on to screen at Sundance, Berlin and Edinborough, and has been picked up by Lions Gate Films.

Next Wave is a revolving finishing fund, so Broderick looks for films which distributors will be likely to ante up advances on.

Given the challenges of finding distribution for low-budget films without stars attached, Broderick says the ideal films are fresh and original, showcase exceptional directing talent, demonstrate high potential for a film festival run and critical acclaim, and have clear theatrical audience potential.

Broderick has fielded more than 450 submissions over the past year from around the world. With all the technical innovations and increased viability of shooting on digital and blowing up to 35mm, he says the average budgets of films are dropping.

While many submissions early last year were budgeted at $75,000 to $90,000, now many are being produced for $1,500 to $2,250. Filmmakers are shooting with digital video cameras, mini dv format, and editing on Avids or home computers, using the latest Adobe Premier software, says Broderick. ‘They can shoot for next to nothing, do effects for virtually nothing, and if it is a great film, Next Wave can provide the money to blow it up to 35mm.’

Banner Entertainment, based in l.a., produces three movies a year ranging in budgets from $1.5 million to $12 million. Robert Berney, senior vp, marketing and distribution, says the company packages scripts from outside writers and directors rather than developing projects in-house.

The company is currently posting Go from Swingers director Dough Liman. Telling Lies In America is another Banner production.

The company also operates a distribution arm, Good Machine International, and releases films through a releasing division. One of its acquisitions is Happiness, which is screening at tiff and comes from Welcome to the Dollhouse director Todd Sollondz.

Richard Steiner, acquisitions program evaluator at Encore Entertainment, a cable and satellite delivery company reaching over 40 million subscribers in the u.s., is heading to Toronto to prebuy and acquire finished films for the company’s various channels.

The strands include Starz!, a premium pay service for first-run movies, hit Hollywood movies and independent films, as well as niche channels for action movies, mysteries, love stories, westerns, documentaries and biographies.

Another channel, a coventure with Black Entertainment Network, showcases African American filmmaking.

Seeking art films

Arrow Releasing focuses on specialized, foreign and American indie films for the international theatrical and video market. Two years ago the company picked up Ponette at tiff and the British film Under The Skin.

Steve Fagan, vp, national sales manager, says the Toronto festival is where he particularly looks for most of his specialized and art-house films, as opposed to more commercial fare.

‘The art-house market is competitive,’ he says. ‘We are up against Sony Classics and Miramax laying out big bucks.’

Fagan’s strategy is to scout for small films making a big buzz. ‘The trick is to get to one of these films people are talking about before the major film distributors get to them or pick up ones they miss – like what happened with Ponette.’

Last year at the Toronto festival, New Yorker Films acquisitions director Sasha Berman picked up Brigitte Rouan’s Postcoitum and she is returning this year in search of foreign films and specialized North American indies. New Yorker, which has been in operation for 30 years, acquires eight films per year for the theatrical, non-theatrical and home video market in the u.s..

Its most recent acquisitions are Emir Kusturica’s Underground (Yugoslavia) and the Belgian film La Promesse, written and directed by Luc and Jean-Pierre Dardenne.

Provocative, edgy, daring films are at the top of the list for Zeitgeist Films’ co-president Nancy Gerstman. The company’s acquisitions include See the Sea from French director Francois Ozon and Taste of Cherries, picked up at the Toronto festival.

Gerstman says the company acquires only six films a year in order to provide innovative and specifically tailored grassroots and mainstream marketing for its releases.

Stratosphere Entertainment, a New York distributor, picks up small ‘discovery films’ for art-house release, says exec vp production and acquisitions, Ronna Wallace. The new company plans to release 12 to 15 films a year. One of its latest acquisitions is the Oscar-nominated film The Thief from Russia

Independent Pictures out of New York acquires roughly eight films per year for distribution by New Line Cinema and also picks up films for the home video and pay-per-view market. Sofia Sondervan, director of acquisitions, is among the company reps heading to tiff.

For more distributor and producer profiles, please note that Playback is producing three special editions during tiff. Issues will be released Sept. 11, 15 and 18 and will be available at the Rogers Industry Centre, the Symposium headquarters and the Sales Office, located at 101 Bloor St. West.