After a banner 2021 for high-end genre films, industry vets are hopeful that the fantastic can resurrect the corpse of pre-COVID theatrical distribution.

As bolts of lightning reanimated the body of Frankenstein’s monster, Julia Ducournau’s “Titane,” which turned heads when it took the Palme d’Or at Cannes, and Sundance Grand Jury prize-winner “Nanny,” a supernatural tale from director Nikyatu Jusu, have revitalized the festival scene.

While “Nanny” may have been the jewel in the genre crown at Sundance, the influence that genre cinema held over 2022’s first major festival was wide-ranging and undeniable. Chloe Okuno’s psychological thriller “Watcher” impressed — segueing into several sales deals — as did Hanna Bergholm’s psycho-horror feature “Hatching,” sold by Wild Bunch and Charades-sold Spanish standout “Piggy,” the follow-up to Carlota Pereda’s 2019 Spanish Academy Award-winner “Cerdita.”

Among genre titles at Berlin this year are Dario Argento’s serial killer thriller “Dark Glasses” in the Berlinale Special section, while Bertrand Bonello’s subconscious voyage “Coma” and Peter Strickland’s gory “Flux Gourmet” (pictured above) feature in Encounters. In the Forum section, Max Linz’s ghostly “L’état et Moi” is scaring up laughs while psychological drama “We Haven’t Lost Our Way” questions reality. And from Generation, animated feature “Bubble” unspools in a dystopian Tokyo.

Shifting to sales, several key genre titles at the EFM saw movement before this year’s market even kicked off. Following an excellent Sundance reception and IFC/Shudder domestic deals, AGC Studios sold “Watcher” outside North America to Focus Features. IFC and Shudder also snagged Andrew Semans’ Sundance player “Resurrection,” and ahead of its Sundance Midnight screening, Chistian Tafdrup’s Danish thriller “Speak No Evil” was pre-bought by the AMC Networks streaming service.

Major genre titles primed to move at this year’s EFM take in Gerard Butler’s action sequel “Den of Thieves 2: Pantera,” repped by Sierra/Affinity; Cornerstone’s supernatural horror “Starve Acre”; and HanWay Films-sold “Morning” from Justin Kurzel, boasting A-list talent in Laura Dern and Benedict Cumberbatch. Several thrillers also stand out, such as “Bad Genius,” sold by Patrick Wachsberger’s Picture Perfect Federation, and “I’ll Be Watching,” starring “The 100” leads Eliza Taylor and Bob Morley, sold by and Iuvit Media Sales.

“Genre is more easily marketable, whereas the pre-buy market for drama feels riskier,” said HanWay Films managing director Gabrielle Stewart. “To sell those films you often need strong reviews, festival accolades or awards, so there is more risk, whereas with a high-concept film with a good hook, you can market it that way rather than relying on critical buzz.”

Added Constantin’s Martin Moszkowicz, “The big question for independent distributors is: Are you going to get into smaller, niche movies with a very defined audience and maximum $10 million-$15 million budgets which are hard to eventize?”

Another trend recognized by many buyers participating in this year’s EFM is a demographic shift among cinemagoers. For years, debates raged on how to get young audiences to go to the cinema. It turns out, as any parent will attest, that all a kid needs to want something is to be denied that thing.

“Young people are craving to go out and share a communal experience after having been cooped up for so long,” said Stewart.

“Sellers and buyers are leaning towards action, horror and thrillers that can still reliably both drive box office audiences under 30 and generate downstream revenue,” agreed AGC chairman and CEO Stuart Ford.

As theatrical distribution’s vital signs continue to strengthen, perhaps the undead, serial killers, aliens, monsters and ghosts can scare some life back into the cinema going experience.

“I don’t think anyone knows exactly what future audiences will look like, but while we have the attention of younger audiences, let’s try and explore what we can do with it,” Stewart summed up.

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