The Commission, in cooperation with the Goethe-Institut, promotes the mobility of artists and cultural workers. The corresponding agreement provides for a budget of 21 million euros. Over a period of three years, up to 7000 grants are to be awarded; it is the largest EU-funded measure for individual artists to date. For more information see here.
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
Against the background of the intensive interaction between the film festival sector and the world sales companies, the Network Europa Film Festivals and the World Sales Association Europa International have for the first time developed a guide of good practices, which describes the responsibilities as well as the services of both parties in more detail and which will also serve as a manual for the daily work in the future.
The guide is available for download here in English
In preparation for the guide, key points were discussed at a panel titled Strengthening Our Industry Core: A Conversation Between Sales and Festivals at the Cannes Film Festival . The recording of the panel is already available here
After the regrettable end of the Coordination of European Film Festivals, a new association of European Film Festivals was founded (already working together since 2020). Originating from the project of the Capital of Culture Galway 2020 called „Peripheral Visions“, it still consists just of 12 member festivals. The aim of the network is to promote the exchange of information, strategies and styles of interaction between festivals. With a commitment to represent a strong voice in Europe, common positions and perspectives on key issues, resources, business models, best practices and infrastructures are developed to support the growing film festival ecosystem. Furthr information you find here
On behalf of BFI, an analysis by Alma Economics was recently published that paints a bleak picture of the independent cinema production landscape in the UK.
The study identifies three drivers in particular that are putting independent cinema producers under extreme pressure: Firstly, the steadily decreasing revenues from theatrical exploitation as well as the home entertainment market, the significantly increased costs due to the corona measures for filming and the shortage of skilled workers due to the strong increase in production volume on the part of the streamers and consequently enormous cost increases on the part of the fees. According to the study, all this is leading to an additional pushback of national theatrical film productions.
The study in English language is available for download here
After the future conference CinemaVision 2030 of the three German cinema associations HDF Kino e.V., AG Kino – Gilde deutscher Filmkunsttheater e.V. and BkF Bundesverband kommunale Filmarbeit e.V. im Juni in Berlin, the recordings of the contributions of the international speakers as well as the panel discussions have now been made available online. Numerous best practice examples from Europe, the USA and China provide valuable insights into special concepts for addressing and engaging moviegoers and can now be found here
Curating in times of war – One sees films with a pathos that justifies a war that cannot be justified.
The Cottbus film festival is regarded as one of the most important festivals of East European Cinema worldwide. In an interview, artistic director Bernd Buder outlines the responsible role of film festivals, especially in times of a changing political climate, and offers insights into his curatorial work today defined by the ongoing war: „As a festival, we always say we don’t just celebrate cinema, but cinema is also an instrument for us to analyze and reflect on social moods. But (regarding russian cinema) I don’t think that would be understood this year. At the moment we think it is important to keep contact with oppositional filmmakers in Russia, to keep a dialogue, because Russia will continue to exist … and at some point there will come a phase where the dialogue could normalize again and then it is important to keep contact, to support those who make films that deal critically with the official propaganda. … But smart people are leaving Russia in droves now. … We used to have a Russian Day in our program, when Russian cinema could still be celebrated. In the meantime, one would have to say cynically … Exile-Russian Day. „
The whole interview of Jakob Bauer and Bernd Buder on rbb 24 can be found in German languagehere: here
After the fruitful first congress Future of German Film in 2018, the LICHTER Filmfest illuminates the future and perspectives of German and European film and cinema culture together with numerous filmmakers and representatives of the film industry as well as film politics from all over Europe at their second edition in Frankfurt. Various events in cooperation with the AG DOK, the VG Bild-Kunst and the Bundesverband Regie e.V., as well as the European directors‘ association FERA, among others, lead us to expect exciting insights and results, which will be presented at a large closing event in Frankfurt’s Paulskirche.
The international event will kick off with screenings of collectively curated programs from March 31 – June 23, 2022 in Bangkok, Berlin, Cluj, Dubai, Jakarta, Luanda, Istanbul, Santiago de Chile. Accompanied by discussions, these will finally culminate in a three-day symposium in Berlin around the theme of cinema concepts with social impact in times of social transformation processes.
Rarely have crisis situations brought to light such different positions as the pandemic in the field of the film and cinema industry. During the opening conference of the Week of Criticism on the occasion of the Berlinale, the tension between a new beginning with unlimited fantasies of progress and an upholding and rethinking of lived routines up to activism was examined more closely by means of lectures and panels.