How Indie Films Are Getting Funded in 2025: CAA’s Roeg Sutherland Explains the New Rules
As the 2025 Cannes Film Market unfolds, Roeg Sutherland, co-head of CAA Media Finance, is sounding an optimistic—yet pragmatically recalibrated—note about the independent film sector’s evolving economics. Speaking to Deadline’s Andreas Wiseman, Sutherland offered a candid assessment of what it takes to get movies made and monetized in today’s post-streaming gold rush era.
With 33 projects circulating at Cannes and 13 in the festival itself, CAA’s presence remains formidable. But Sutherland made it clear: the way deals are structured, risk is distributed, and creative packaging is executed has fundamentally shifted.
“Everybody on some level is an equity investor,”
Sutherland told Deadline.
That includes not only financiers, but also directors, producers, actors, and even distributors—each contributing risk capital in the form of time, talent, or reputation. It’s a collaborative model that blurs the old line between art and investment.
Roeg Sutherland Suggests Shifting Away from Studio Dependency
Traditional studio greenlights, Sutherland observed, are no longer the dominant engine for independent film production. The CAA executive noted that many creatives and financiers are actively avoiding dependency on large studio infrastructure in favor of self-contained, independently packaged productions.
“People try to rely less and less on established systems to be able to get what they want made,” he said, highlighting a growing appetite for creative and financial autonomy—even as theatrical distribution begins to rebound.
Roeg Sutherland on Fiscal Discipline and the Rise of Smart Budgeting
One of Sutherland’s core messages was the market’s increased discipline around budgeting. “You can get away with a more original idea because the cost is lower,” he said, pointing to films like The Brutalist and Anora—projects whose mid-range budgets enabled real global platforming.
The takeaway for investors: originality is bankable, but only if costs remain manageable. This aligns with broader trends in project financing, where debt, equity, tax credits, and presales are once again being stitched together in increasingly bespoke capital stacks.
Pre-Pandemic Pricing Returns—But With Global Nuance
The international presales market, often viewed as a bellwether for indie film health, is showing signs of strength. According to Sutherland, titles that are resonating are doing so “at pre-pandemic prices.” However, what’s changed is the global footprint of demand.
Emerging territories—including Southeast Asia, Eastern Europe, the Middle East, and India—are becoming more active participants in both distribution and co-financing conversations. As Sutherland put it, “I worry less about the US and more about international, and I think international cares less about the US now.”
Star Power is Evolving—And So Are Brand Attachments
While name recognition remains an asset, Sutherland flagged a shift in how “star power” is defined. Directors with distinctive voices are increasingly valued as packaging assets. Meanwhile, actors’ social media followings and brand alignments (with labels like YSL, Chanel, or LVMH) are taking on heightened importance in marketing and financing discussions.
When you go to Chanel and you want money for a movie, it has to look like the Chanel movie,” Sutherland noted. The implication: investors—whether corporate or independent—are increasingly focused on aesthetic and brand coherence in projects they back.
Advice for Filmmakers: Think Like a Dealmaker
Sutherland concluded with pragmatic advice for creatives navigating today’s capital-competitive landscape:
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Lead with visuals: A great pitch deck or sizzle reel still opens doors.
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Get validation early: Attach a known producer or financier to boost perceived value.
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Understand the audience: Don’t just make a movie—know who’s going to watch it, and how.
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Bring clarity to agents: “You have to explain to them who’s putting in the money,” Sutherland stressed.
Looking Ahead: Recovery and Reinvention
Despite the lingering aftereffects of COVID-19 on global exhibition, Sutherland predicted that key markets like Berlin and Toronto could return to full strength within the next year. In the meantime, Cannes remains a proof point: theatrical isn’t dead—it’s just being reborn under new economic terms.
