The seventh edition of Hamburg’s Explorer Konferenz, held on 1 October, brought together around 350 film professionals from across the globe. This one-day event is the centerpiece of the FilmFest Hamburg Industry Days, covering all areas of the audiovisual industry, including development, production, distribution, sales, and theatrical release. Fabian Massah, head of FilmFest Hamburg Industry Days, noted that the conference focused on topics not typically addressed at other events, such as how comedies can be used to explore relevant issues. Creativity, business, and innovation were central themes throughout the program. The conference opened with a keynote on the science of laughter by Sophie Scott, director of Cognitive Neuroscience at University College London. She explained the brain’s response when an audience laughs, noting that emotional interaction has a strong impact. Scott also mentioned that "adding laughter makes things funnier" and that the polygraph, or lie detector, measures body reactions. French writer-director duo Olivier Nakache and Éric Toledano, known for their storytelling that connects with millions through universal themes, humor, emotions, and realistic characters, presented a screening of their new film, Just an Illusion. Nakache said, "We don’t have a formula for what is good – and that’s good," while Toledano added, "We stay inventive. If you lose constraints, you lose creativity." They emphasized that cinema is an experience, and that on set, they are already in the editing room. Alex Stolz, head of Audience at usheru, discussed the challenges of film distribution, noting that "interest does not equate to attendance" and that resilient movie marketing requires accountability. He mentioned that a quarter of filmgoers consult AI to determine if a film is worth watching, highlighting the importance of a film’s digital footprint containing elements that a curious person would want to know. Josef Kullengård, head of Industry at the Göteborg Film Festival, suggested that filmmakers should be more curious about audience preferences. He noted that films like Parasite and Oppenheimer appeal to viewers because they are dark and offer a deep exploration of their subject matter. Europe is planning to update its cultural and media policies, with the new AgoraEU program set to receive €8.6 billion for the period 2028–2034. The program will combine Creative Europe – MEDIA and CERV into three strands, one of which is the new MEDIA+, covering the audiovisual sector alongside news and video games. However, the total budget has not been finalized yet, with Els Hendrix, a senior government official at Germany’s BKM, stating that the European Parliament is still preparing its position. Torsten Frehse, CEO of Neue Visionen, emphasized that EU support offers opportunities for independent filmmakers, stating it is "the most equal system in the film industry." After a series of productions pushed Walker+Worm to the brink, Tobias Walker and Philipp Worm, producers of the Berlinale 2026 title Rose, realized they needed a major reset. The company underwent a change management process during which the roles of co-workers were clearly defined. At the Explorer Konferenz, thinking outside the box also meant sharing challenges and building something new across different funding systems, creative cultures, and ways of working. Massah concluded that K-drama and K-pop are coming to Europe, and the event is shining a spotlight on Asian markets and co-productions.