{"id":4981,"date":"2026-07-27T11:39:48","date_gmt":"2026-07-27T11:39:48","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4981"},"modified":"2026-07-27T11:39:48","modified_gmt":"2026-07-27T11:39:48","slug":"locarnos-stepin-focuses-on-power-people-data-and-the-future-of-film-the-counter-algorithm-is-a-human-being-who-gives-a-damn-exclusive","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4981","title":{"rendered":"Locarno\u2019s StepIn Focuses on \u2018Power, People, Data and the Future of Film\u2019: \u2018The Counter-Algorithm Is a Human Being Who Gives a Damn\u2019 (EXCLUSIVE)"},"content":{"rendered":"
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\n\tNow in its 15th year, Locarno\u2019s think tank StepIn will debate \u201cPower, People, Data and the Future of Film.\u201d<\/p>\n

Read more Bill Oddie, Wildlife Presenter and Comedian, Dies at 85<\/a><\/p>\n

\n\t\u201cLast year, StepIn focused on one of the defining qualities of independent cinema: the willingness to embrace risk. One of the strongest conclusions from those discussions was that playing it safe is rarely the smartest strategy,\u201d said Marcello Paolillo, Locarno Pro, StepIn and U30 Project Manager.<\/p>\n

\n\t\u201cAfter all, audiences fall in love with films because they\u2019re original, surprising and emotionally truthful. Yet we are increasingly surrounded by algorithms, sophisticated data analysis, AI and systems designed to reduce uncertainty, predict outcomes and optimize decisions.\u201d\u00a0<\/p>\n

\n\tThe event will explore how power structures, human capital, politics, AI, data-driven decision-making and increasing industry consolidation are reshaping the future of independent cinema.\u00a0<\/p>\n

\n\tApproaching the subject from \u201cfour interconnected perspectives,\u201d it will allow the participants to discuss the following topics: \u201cFilms vs. Formula: Algorithms, Consolidation and Creative Freedom,\u201d \u201cSustainable Indie Financing: Connecting Private Investors with Sales Agents and Market Realities,\u201d \u201cWhy Cinema Still Matters: Activism, Social Relevance and Audience Renewal\u201d and \u201cGender Equality and the Cost of Inclusion: Who Can Afford to Build a Career in This Industry?\u201d<\/p>\n

\n\t\u201cFor many people, algorithms have become synonymous with the death of art. At the same time, there\u2019s another perspective. Used intelligently, data can become a valuable tool rather than a creative constraint,\u201d noted Paolillo. The same is true of AI.\u00a0<\/p>\n

\n\t\u201cWhether we like it or not, it\u2019s already impacting every stage of the filmmaking process, from development and financing to marketing and distribution. Ignoring it is no longer an option. StepIn wants to create a space where these questions can be discussed openly and honestly, acknowledging both the opportunities and the risks.\u201d\u00a0<\/p>\n

\n\tThe out-of-the-box introduction called \u201cFear, Lies, and the Illusion of Control\u201d will be delivered by analyst Stephen Follows.\u00a0<\/p>\n

\n\t\u201cFor a century, this industry has bought tools that promise to control the inherent uncertainty in an arts-based business. This has included the use of stars, test screenings, tracking surveys, franchises, and now algorithms,\u201d he told\u00a0Variety<\/em>.\u00a0<\/p>\n

\n\t\u201cMy thesis is that while most of them do work to some degree, (a) they don\u2019t work nearly well enough; and (b) the industry uses them wrong. They test what they test and they produce real numbers. Sometimes those numbers even make things marginally better \u2013 or at the very least more defensible. The trouble starts with what we do next, because we mistake a marginal edge for control.\u201d<\/p>\n

\n\tHe added: \u201cOnce you\u2019ve bought a hammer, everything starts to look like a nail, and the questions the tools can answer begin to crowd out the questions that matter. I\u2019m not saying the tools are bullshit \u2013 just that we use them wrong. They are expensive comfort, and the side effects often cost more than the edge is worth.\u201d<\/p>\n

\n\tFamiliar IP and sequels \u201cdo shift the odds,\u201d he noted, but \u201csafe choices still fail all the time, and we never book those failures as risk.\u201d\u00a0<\/p>\n

\n\t\u201cWe call it franchise fatigue or bad marketing, or star casting. Fame genuinely lifts returns, but the star captures most of that uplift in salary. The insurance mostly ends up in the star\u2019s pocket, while the film underneath has become more expensive to save.\u201d<\/p>\n

\n\tThen there\u2019s \u201cthe complete misuse and misunderstanding\u201d of the frequently repeated line \u201cnobody knows anything.\u201d\u00a0<\/p>\n

\n\t\u201cPeople quote Goldman as if it\u2019s humility and use it as cover for not doing the work,\u201d said Follows.\u00a0<\/p>\n

\n\t\u201cRight now, there\u2019s a booming trade in certainty. Every stage, every panel, every feed has someone selling the film industry a dream \u2013 that this tool, this model, this dataset will finally crack the code. And we are the perfect customers. A hundred years of terrible odds makes people desperate, and desperate people buy dreams.\u201d\u00a0<\/p>\n

\n\tWhile the platforms \u201cmeasure everything and share nothing\u201d \u2013 \u201cNetflix has redefined what a \u2018view\u2019 is four times and Apple has never published a single audience figure\u201d \u2013 people ignore the algorithms that already decide what gets seen.\u00a0<\/p>\n

\n\t\u201cOn the big streaming services, under 6% of titles take around three-quarters of all viewing. The threat is not currently to creation but to discovery. And the one move the machine cannot make is a person with taste saying: \u2018This one.\u2019 That\u2019s what festivals are. The counter-algorithm is a human being who gives a damn, and Locarno is full of them.\u201d<\/p>\n

Read more Sasikumar\u2019s \u2018Vadhandhi\u2019 Season 2 Sets August Premiere on Prime Video (EXCLUSIVE)<\/a><\/p>\n

\n\tThe opening panel will feature distributor Andrea Occhipinti (Lucky Red), mk2\u2019s Head of Production Yasmine Talli and Doris Ruth Eikhof, professor of cultural economy & policy at the University of Glasgow.<\/p>\n

\n\t\u201cWhat [Occhipinti] has built with Lucky Red over the past three decades speaks for itself, and the recent partnership between Lucky Red and Studiocanal makes his perspective on consolidation, independent cinema and the changing marketplace particularly timely,\u201d noted Paolillo.<\/p>\n

\n\tYasmine Talli \u201chas first-hand insight into how ambitious auteur cinema can continue to thrive in an increasingly challenging market,\u201d while Doris Ruth Eikhof is \u201cone of Europe\u2019s leading experts on diversity and inclusion in the cultural economy.\u201d\u00a0<\/p>\n

\n\t\u201cStatistics about women in film remain discouraging: women are still less likely than men to hold influential positions and be celebrated for their work,\u201d Eikhof told\u00a0Variety<\/em>.<\/p>\n

\n\t\u201cIt\u2019s important to keep looking at them, as they tell an important story and are powerful evidence, but just focusing on statistics creates an incentive to \u2018just bring more women in.\u2019 That\u2019s a big mistake. We need to make sure that women can stay and succeed.\u201d<\/p>\n

\n\tToo often, people tend to take a \u201cone size fits all\u201d approach that dismantles some barriers to women\u2019s opportunity and inclusion but leaves other barriers in place.\u00a0<\/p>\n

\n\t\u201cWe need to support production companies and small businesses to create the conditions in which women of different ages, religions, races and class backgrounds, disabled women, LGBTQ+ women or women with and without caring responsibilities can all do their best work. That\u2019s not a job for statistics. That\u2019s a job we need to do every day, in our workplaces,\u201d said Eikhof.<\/p>\n

\n\tThe good news?\u00a0<\/p>\n

\n\t\u201cIt\u2019s possible, we can do it one step at a time, not all of it costs money and it will benefit everybody, not \u2018just\u2019 women.\u201d<\/p>\n

\n\tActivism and political engagement will also be discussed, as \u201cthe world around us is once again creating a sense of urgency, and filmmakers are responding to it.\u201d<\/p>\n

\n\t\u201cMany of the films that have generated the strongest public debate in recent years have done so not only because of their artistic qualities, but because of the social, political and ethical questions they raise,\u201d noted Paolillo, mentioning the likes of \u201cParasite,\u201d \u201cThe Zone of Interest,\u201d \u201cOne Battle After Another,\u201d \u201cSinners\u201d or \u201cThe Voice of Hind Rajab.\u201d\u00a0<\/p>\n

\n\t\u201cInterestingly, this has also revived an older debate: during this year\u2019s Berlinale, remarks by Wim Wenders, followed in Cannes by comments by Paul Laverty and Park Chan-wook, brought back a question central to the cinema culture of the 1970s: whether films are, by their very nature, political.\u201d\u00a0<\/p>\n

\n\tWenders\u2019 comments that filmmakers should \u201cstay out of politics\u201d were widely disputed.<\/p>\n

\n\t\u201cThis is something we want to discuss within the broader question whether films are culturally and social relevant in an era shaped by social media, algorithm-driven platforms, fragmented audiences, and an overwhelming flow of images. Does cinema still matter as a cultural and social force? And what strategies can help expand and renew its audience, by finding new ways to engage people across generations?\u201d<\/p>\n

\n\tOverall, Paolillo remains optimistic about the future of film.<\/p>\n

\n\t\u201cI\u2019ve been in this industry long enough to have heard people announce the death of independent cinema countless times. They\u2019re always wrong. Every few years, a new generation of filmmakers, a new movement or a number of unexpected films remind us why cinema still matters,\u201d he argued.<\/p>\n

\n\tThat being said, we are now living through a period of \u201cprofound transformation.\u201d\u00a0<\/p>\n

\n\t\u201cThe economic model is changing, technology is evolving at an unprecedented pace, and power within the industry is becoming more and more concentrated. We shouldn\u2019t ignore these challenges, but neither should we fear them.\u201d<\/p>\n

\n\tPaolillo added: \u201cThat\u2019s ultimately what StepIn is about: bringing together people with very different perspectives, asking difficult questions, challenging assumptions, and collectively imagining what the next chapter of independent cinema could look like.\u201d\u00a0<\/p>\n

Read more \u2018The Legend of Kitchen Soldier,\u2019 \u2018Yumi\u2019s Cells\u2019 Lead Prime Video India\u2019s Slate of 100-Plus New CJ ENM Titles<\/a><\/p>\n

\n\t\u201cI\u2019m genuinely curious to see where this year\u2019s conversations will lead us.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Locarno’s StepIn explores \u2018Power, People, Data and the Future of Film’ with Andrea Occhipinti, Yasmine Talli, Doris Ruth Eikhof and Stephen Follows.<\/p>\n","protected":false},"author":1,"featured_media":4980,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[1508,3975,3976],"class_list":["post-4981","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-locarno-film-festival","tag-locarno-pro","tag-stepin"],"yoast_head":"\nLocarno\u2019s StepIn Focuses on \u2018Power, People, Data and the Future of Film\u2019: \u2018The Counter-Algorithm Is a Human Being Who Gives a Damn\u2019 (EXCLUSIVE) - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4981\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Locarno\u2019s StepIn Focuses on \u2018Power, People, Data and the Future of Film\u2019: \u2018The Counter-Algorithm Is a Human Being Who Gives a Damn\u2019 (EXCLUSIVE) - 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