TIFF 50 is now in the rearview mirror, and the picture that emerges isn’t one of frenetic dealmaking, but of structural recalibration. On one hand, Row K secured an eight‑figure U.S. acquisition of “Cliffhanger”, signalling bold new ambition. Magnolia picked up “Normal,” reaffirming the value of mid-budget genre thrillers in an uncertain distribution market. On the other hand, many buyers remained quiet, and several usual suspects arrived with full slates—leaving the festival with fewer closed theatrical deals than in past years. Across these tensions lies a critical question: which distributors will adapt, and which will fall by the wayside?
