Lumière Festival Ignites Global Buzz: Classic Cinema Market Thrives with Major Restorations & New Wave Premieres

The International Classic Film Market (MIFC), a pivotal component of Lyon’s Lumière Festival, is increasingly establishing itself as a crucial global hub for the heritage film business. Now in its 14th edition, the MIFC, which takes place in Lyon from October 13-16, reflects the growing internationalism of classic film markets and the expanding appeal of heritage cinema, particularly among younger audiences. This year, the market is relocating from the Institut Lumière to the historic Grand Hôtel-Dieu, bringing participants closer to the festival’s vibrant center.

A prime example of this flourishing sector is the newly restored 1976 Australian drama “Caddie,” directed by Donald Crombie. Considered a landmark film of Australia’s New Wave, “Caddie” is being presented at the Lumière Film Festival and the MIFC as part of the Re>Birth Programme. This program specifically aims to connect rights holders of classic films with potential buyers, distributors, programmers, sales agents, film labs, and publishers, thereby facilitating new avenues for commercial exploitation. Potential Films, a leading independent Australian distributor, has acquired worldwide rights to “Caddie” following its recent 4K restoration by the National Film and Sound Archive of Australia (NFSA), coinciding with the film’s 50th anniversary. The restoration, overseen by original award-winning cinematographer Peter James, meticulously captures the film’s original color, grain, light, and texture from the 35mm negative.

“Caddie” tells the true story of an abandoned housewife in 1925 Sydney, Helen Morse’s character navigating the challenges of supporting her two small children on the eve of the Great Depression. The film showcases her journey of independence and survival, finding new life amidst friendships and unexpected love affairs despite societal hostility towards women on their own. Upon its original release, “Caddie” broke domestic box office records, earning Helen Morse the Australian Film Institute’s best actress award and a Special Jury Prize at San Sebastián, where Morse also received best actress honors. Potential Films describes the work as a “female-centered portrait of working-class survival and independence,” representing early feminist currents within Australian New Wave cinema and epitomizing the revival of Australian cinema in the 1970s. Upcoming theatrical releases for “Caddie” are planned for Australia and New Zealand, with broader distribution opportunities, including television and streaming, currently being explored. This marks Potential Films’ first venture into representing a restored classic specifically for international sales.

The MIFC itself serves as a vital meeting point, structuring the classic film sector by physically bringing industry professionals together each October. This has firmly established its presence on the industry calendar. Highlights at this year's market include discussions on the “Anglo-Saxon” model for classic-film distribution and rights, featuring Paramount’s Charlotte Barker and Park Circus CEO Douglas Davis. Spencer Collantes of Warner Bros.’ specialty film division, Clockwork, will present a case study on the re-release of Ken Russell’s controversial 1971 film “The Devils.” The market also spotlights Greece as its country of honor, highlighting the country's €750 million “Greece On Screen” plan to support production, distribution, preservation, digitization, and restoration of its film heritage. A dedicated Focus on Taiwanese cinema will showcase years of successful restoration and international circulation.

The increasing demand for classic films is evident in the popularity of the MIFC’s catalogue holders session, which was the first event to sell out this year. Major studios like Studiocanal and Warner Bros. have even created dedicated catalogue labels, acknowledging classic films as “genuine added value rather than a burden.” However, challenges persist, particularly in how films reach audiences. Specialist intermediaries such as Park Circus play a central role, acting as a single point of contact for rights, DCPs, prints, and subtitled materials across various territories. Despite this, industry professionals warn against “hyper-distribution,” where fragmented rights sales can lead to a loss of traceability, visibility, and control, potentially impacting revenues. MIFC co-head Anaïs Desrieux emphasizes that heritage cinema serves as a “tremendous laboratory” for exploring complex questions faced by the entire industry, such as making films stand out in an abundant market, renewing audiences, preserving diversity, and coordinating multi-platform releases.

Looking ahead, the MIFC aims to become more broadly European and international, expanding conversations beyond just heritage cinema. Initiatives like the Classics Innovation Corner are showcasing new tools to clarify rights information and facilitate wider film circulation. Ultimately, the distinction between “classic” and “contemporary” cinema is blurring, as many questions once unique to heritage cinema are now central to the entire industry. As Desrieux aptly notes, “Today’s contemporary films will be tomorrow’s heritage films.”