The Paradox of Too Much Choice
It’s a phenomenon psychologists call 'choice overload' or 'the paradox of choice'. The theory is simple: while we think more options are better, a vast number of choices can lead to paralysis, anxiety,
and ultimately, less satisfaction. One famous study found that shoppers were ten times more likely to buy jam when presented with six options versus 24. Faced with too much information, our brains seek shortcuts. We don't optimize; we satisfice—we pick something that’s 'good enough' rather than exhaust ourselves searching for the 'perfect' one. This isn't a personal failing; it’s a cognitive traffic jam. When the stakes feel high and our ability to assess feels low, we're prone to freeze or default to the safest bet.
A Cinematic Buffet with 251 Dishes
The 70th BFI London Film Festival is a prime example of this paradox in action. Running from October 7-18, the 2026 edition features 251 films, series, shorts, and immersive works from 88 countries. For any film lover, this is an astonishing feast. But like any all-you-can-eat buffet, it’s impossible to sample everything. The sheer scale creates an inherent pressure. The fear of missing out—on the next breakout hit, the award-winner everyone will be talking about, or the obscure gem that changes your life—is palpable. You want to make the 'right' choice, but with hundreds of possibilities, the very act of choosing becomes a source of stress.
How Overload Narrows Your Focus
So what happens? Instead of diving into the unknown, decision overload pushes audiences toward predictable patterns. Viewers often gravitate toward the Headline Galas or films with big-name stars. The opening film 'Elsinore' with Andrew Scott and Olivia Colman or the closing night's 'The Debut' from Jesse Eisenberg starring Julianne Moore become default anchors in a sea of uncertainty. Early buzz from other festivals and critics' picks become essential navigation tools, creating self-fulfilling prophecies where a handful of films dominate the conversation. A positive early review for a film like 'The Liberation', for instance, can generate enough momentum to make it a 'must-see', pulling focus from other titles. This isn't because audiences are unadventurous; it's because they're human, and the easiest path through a complex decision is to follow the existing signs.
The Festival's Built-In Filters
To its credit, the BFI understands this cognitive burden and designs solutions for it. The program is intentionally organized to feel smaller than it is. The most visible tool is the use of thematic strands like 'Love', 'Debate', 'Laugh', 'Dare', 'Thrill', and 'Cult'. These act as curated playlists, allowing attendees to filter the massive list based on mood or genre. Someone looking for a scare can head straight for the 'Cult' section and find a film like 'Inherit', a Thai horror about a centipede spirit, without having to weigh it against a romantic comedy or a political documentary. These strands don't eliminate choice, but they reduce the initial pool from an overwhelming 251 to a more manageable dozen, making the decision-making process feel possible again.
