Inside Luxury's Move Into Film and TV Financing

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uilding on the panel discussion at the 2025 Luxury Law Summit in London, Loeb Luxury Brands Chair Melanie Howard posed some additional questions to Nessa McGill, commercial director at Align Pictures and Loeb partner John Kulback. In this Q&A, they break down how luxury brands structure film finance and production deals, what they seek in return, and the legal and commercial risks involved. Their insights offer a practical guide for luxury stakeholders exploring deeper roles in entertainment.

In this Q&A discussion, the speakers are noted by their initials.

What makes film financing appealing for luxury brands, and how do they typically get involved?

NM: Apart from the obvious appeal of inclusion in content complimentary to the brand that has the potential for worldwide exploitation across any and all media, film financing can also provide a revenue stream for a brand. Typically, film financiers can expect to recoup their initial investment with a premium, together with a contingent but continuous net profit entitlement. Film financing comes with considerable risk in that there is no guarantee of exhibition, but when a film is a success, the risks are outweighed by the upside benefits. It is worth also adding that in some territories, television content is regulated while film financing is generally not, so a brand is not restricted by the level to which it can influence the content.

When inclusion of a brand in content requires funding, what do brands typically receive across different content categories?

NM: Typically, brands get an option of association with the content and opportunities for sponsorship, marketing and merchandising. Brands also have the option for inclusion in the content and, where brands provide financing, a potential for a return on that financing with a premium and contingent benefits.

JK: Also, if the brand finances (or cofinances) a film project, or finances a branded content project that is based on the brand’s intellectual property, the brand can justify co-ownership or even full ownership of the copyright on the project, along with attachments for the brand to be involved in (and even control) derivative productions and ancillary exploitations, such as live events and marketing activations, merchandising, etc.

Where do luxury brands usually fit into the long-form content ecosystem?

JK: Typically, brands have funded product placements with controls over only that product’s limited exposure in the content, and with no expectation of recoupment or upside in the content itself or any additional involvement in the content itself. As luxury brands fund “branded content” and potentially move even further into film financing opportunities, broader influence over the content itself (outside of just the brand’s products), credits to the brand, IP co-ownership, recoupment/premium/upside and comarketing opportunities can be available to them.

What kinds of challenges or risks should luxury brands consider before jumping into a film financing project?

NM: A brand needs to do its due diligence! First, on the project and all individuals connected with it. Of course, this can never be exhaustive, but it is essential that it be as thorough as possible. Second, on the financing partners and, in particular, those partners’ ability to meet their financial commitments to a project. The brand also needs to be aware of the commerciality of the project and its sales potential worldwide and, finally, the suitability of the content to the message the brand wishes to portray.