Dear Visitors

This website predominantly reflects current research results pertaining to the German film festival landscape. Growing international interest has prompted us to also offer the contents successively in English. We appreciate your understanding, should you encounter any content that is still only in German.
Many thanks for your interest, The filmfestival-studien.de Team

Arbeitsgemeinschaft der Filmfestivals in Deutschland gegründet/ Working group of film festivals founded in Germany

Bei einem ersten Zusammentreffen am 4. Juli in Kassel haben sich über 60 deutsche Filmfestivals (Liste sie Pressemitteilung) zusammengetan, eine Arbeitsgemeinschaft (AG) Filmfestival zu gründen. Ziel der AG ist es, sich untereinander zu vernetzen, bessere Bedingungen für Filmfestivals in Deutschland zu schaffen und gemeinsam mit den Filmschaffenden und anderen Verbänden Filmkultur zu stärken und zu fördern. Zu den Gründungsmitgliedern zählen die größten und ältesten Filmfestivals in Deutschland, Filmfestivals aus allen Regionen und Sparten.
Download der Pressemitteilung hier

Aufruf an die Leiter*innen deutscher Filmfestivals

Auf Initiative von Svenja Böttger (Leiterin des Filmfest Max Ophüls Preis) und Dr. Lars Henrik Gass (Leiter der Internationalen Oberhauser Kurzfilmtage) wurde eine AG Filmfestivals ins Leben gerufen. Ziel der AG ist es, entsprechend der filmwirtschaftlichen sowie filmpolitischen Bedeutung der deutschen Filmfestivallandschaft eigene Positionen zu formulieren und diese bspw. auch bei der Novellierung des Filmfördergesetzes einzubringen. Darüber hinaus soll die Vernetzung auch einen stärkeren Austausch ermöglichen und weitere  Themen wie u.a. Festivalarbeit gerecht gestalten, Sicherung analoger Abspieltechnik an Festivalstandorten oder Umgang mit VoD-Modellen und -Strategien gemeinsam voranzutreiben.

Ein erstes Vernetzungstreffen fand am 4. Juli in Kassel statt.

Wer sich als Festivalleiter*in der Arbeitsgemeinschaft der Filmfestivals in Deutschland anschließen möchte, kann dies auch weiterhin über einen Eintrag in eine Liste tun:
Bitte hier anmelden (Link).

VdFk (Assoc. of German Film Critics) publishes a statement on the FFG (Film Funding Act)

“70 Percent of all films produced in Germany did not even generate 10,000 ticket sales when they opened in regular cinemas. At the same time, some of these films often have many times the audience when they are shown at festivals. The figures currently published are therefore often deceptive and misleading, as they only cover part of the audience“.

The statement in German you find here

Empty promises – after numerous film festivals signed the 5050×2020 pledge…

According to an analysis by the Women’s Media Center, only little has been achieved among the more renowned film festivals during the first half of this year. This includes the Sundance Filmfestival, the Berlinale, SxSW, Tribeca and Cannes.

“As part of the 5050×2020 pledge, festivals have agreed to be more transparent about their submissions processes, such as revealing the gender statistics of festival programming    committees, juries, and filmmakers who submit movies for consideration. If a festival gets a very low percentage of female directors who are submitting films, that’s probably because festival programmers aren’t trying hard enough to find qualified female directors, says Kirsten Schaffer, executive director of Women in Film, a Los Angeles–based advocacy group.”

The fact that a gender-parity program is particularly a matter of curatorial guidelines and commitment, and thus the male perspective of film festival programs owes less to the limited number of works submitted by female film makers, is shown by such film festivals as Crossing Europe in Linz and the DOK Fest in Munich, among others.

Evaluation of Screendaily underlines the importance of the International Film Festival Circuit in terms of Oscar nominations

The evaluation shows that in the last 10 years only between 20% and 40% of the Oscar-nominated titles did not celebrate their premiere at a festival. This suggests “that a festival launch is increasingly useful to an Oscar campaign“. By far the greatest Oscar relevance is demonstrated by the Venice Film Festival with 39 premieres of the current 106 Oscar nominations, followed by Cannes with 13 premieres with Oscar nominations. The fact that not only the so-called A-film festivals set the tone with regard to Oscar nominations is proven by Toronto with 9 nominated premieres, Sundance and Telluride with 4 each, followed by SXSW and the Berlinale with 2 premieres each and the internationally renowned documentary film festival IDFA with one premiere
You can find the complete evaluation: here

Creative Europe MEDIA TOWARDS GENDER EQUALITY

Creative Europe MEDIA is committed to doing more on gender and has outlined actions it can take as part of its strategy to facilitate and increase the participation of women in the audiovisual sector.

The actions will focus on the following areas:

  • Supporting and encouraging women filmmakers, as well as the distribution and visibility of their films;
  • Strengthening collaboration with national and international funds and institutions, notably Eurimages and the European Audiovisual Observatory, to exchange data and good practices, and ensure that a wider range of stories are created, funded, distributed and promoted;
  • Fostering women’s empowerment, for example by supporting mentoring activities for women professionals in collaboration with professional networks and platforms;
  • Gender equality will be a priority of the future Creative Europe Programme after 2020: MEDIA will contribute to gender equality in the audiovisual sector, including through studies, mentoring, training and networking activities.

GENDER BALANCE AT A GLANCE Download for free: here