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 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

Publication by the Federal Statistical Office of data on film, television and radio – film festivals a major desideratum

German cinemas showed a total of 2,368 films in 2017. These included 653 first screenings. According to the Filmförderungsanstalt (FFA), 122.3 million cinema tickets were sold. As reported by the Federal Statistical Office (Destatis) in the run-up to the Berlin International Film Festival (Berlinale), each inhabitant went to the cinema on average 1.5 times in 2017. US films were seen most frequently in 2017. Their share of admissions was 64 %, while German cinema films and German foreign co-productions reached a share of 24 %. Films from the European Union accounted for 11 %, other foreign films for 1 %.

The report states: „Attending a film festival usually involves more than just watching a film with family or friends. Film festivals are events where films are offered and consumed for several days. Different target groups are addressed and come together in one place. For filmmakers, too, film festivals are an opportunity to make their works accessible to a wider audience. Differentiated analyses of the German film festival market are only available nationwide in the form of a study, the results of which have so far only been published in excerpts. … A few results of this study will be presented in this divisional report.

Nine film festivals will be examined in detail in the FFA studies. … The initiative to examine film festivals in Germany (Film Festival Studies) is the only source of data on the German film festival landscape. … Further efforts would be needed here to obtain more information on the artistically and economically important field of film festivals.”

Download the report in German for free: here


Many film festivals are threatened in their existence, some have to give up –
Three years have passed since the „Filmfestivalreport Österreich“, which outlined the Austrian festival landscape as a success story with a high risk of poverty. And even though a lot has happened on a formal level since then, the central problems remain: no planning security, insufficient subsidies and highly precarious working conditions characterise large parts of the scene throughout Austria. Marie-Christine Hartig, spokeswoman of the FÖFF (Forum of Austrian Film Festivals) since 2018, describes the situation as „dramatic, especially in Vienna“.
Press release in German: here…