THE GERMAN FILM SCENE Production – Financing - Contacts A COMPREHENSIVE OVERVIEW
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FOREWORD
Serious while simultaneously inspiring and entertaining – that's something all the films from Germany can deliver. This could also be observed on many occasions in 2014 and resulted in German productions being enthusiastically welcomed at festivals around the globe. German cinema is constantly yielding interesting faces that also find their way into international co- productions, as shown for instance by the current example of Daniel Brühl.
Four German directors in the Berlinale's 2014 Competition was a great start to the year in the field of international festivals. What also stays in one's memory are the euphoric reactions from the audiences, buyers and press at the world premiere of PHOENIX at the Toronto International Film Festival and the European premiere in San Sebastián. There was also very positive responses at well attended premiere screenings in Toronto for LABYRINTH OF LIES by Giulio Ricciarelli, WHO AM I – NO SYSTEM IS SAFE by Baran bo Odar and TOUR DE FORCE by Christian Zübert. Furthermore, I was impressed by the strong German films showing at the festival in Rome. The world premieres of THE LIES OF THE VICTORS by Christoph Hochhäusler and Burhan Qurbani's WE ARE YOUNG. WE ARE STRONG. were greeted with long and intense applause by the audiences in packed cinemas.
Another highlight worth noting is the first ever German focus at the Edinburgh International Film Festival 2014, which showed 13 German films in partnership with German Films. The festival is one of the most important industry events for national distributors in Great Britain, the focus on German cinema thus providing a very useful platform for supporting sales in the British market.
On the following pages, we want to provide a concentrated overview of German cinema at home and abroad as well as the German market with information about production, distribution, film financing and film funding.
Mariette Rissenbeek Managing Director German Films July 2015
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CONTENTS
1. GERMAN CINEMA
2. THE GERMAN FILM INDUSTRY
3. FILM FINANCING IN GERMANY
4. CINEMA AND DISTRIBUTION STRUCTURES IN GERMANY
5. FURTHER INFORMATION & LINKS TO THE GERMAN FILM INDUSTRY
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1. GERMAN CINEMA
1.1. German Films in the Home Market
In 2014 eight German films registered audiences of at least a million in the home market, representing different genres: the period drama THE PHYSICIAN (2.6 million visitors), the family entertainment feature VATERFREUDEN (2.4 million) and the culture-clash comedy SUCK ME SHAKESPEER (1.7 million in 2014, additional 6 million spectators 2013) being the most successful films of the year.
The market share of German films of 26.7 percent was the second best since the all-time high in 2009. The absolute number of visitors has dropped slightly to 32.1 million – still being the fourth- best figure since the beginning of the German Federal Film Board’s (FFA) records.
The two top sellers at the box-office in Germany in 2014 were: THE HOBBIT: THE BATTLE OF THE FIVE ARMIES which achieved 4.7 million admissions in total and THE HUNGER GAMES – MOCKING JAY PART 1 which could register 4.4 million admissions, followed by MONSIEUR CLAUDE (3.1 million).
3D movies reached with the note of 24.998.965 million visitors a market share of 22.3%. Altogether 49 3D movies were shown on German screens in the year 2014. With a total of 3.6 million visitors, THE HOBBIT: THE BATTLE OF THE FIVE ARMIES was the most successful 3D movie of the year 2014, followed by TRANSFORMERS: THE ERA OF EXTINCTION (2.3 million) and GUARDIANS OF THE GALAXY (1.6 million) in third place.
In 2014 four directors from Germany – Dominik Graf (BELOVED SISTERS), Edward Berger (JACK), Dietrich Brüggemann (STATIONS OF THE CROSS) and Feo Aladag (INBETWEEN WORLDS) – were invited to screen in the Competition of the Berlinale alongside many other German films at the festival.
At the German Film Awards, the most prestigious and highest endowed film award in Germany, HOME FROM HOME – CHRONICLE OF A VISION by Edgar Reitz was awarded with the “Lola” in Gold for Best Film. The “Lola” in Silver went to THE DARK VALLEY by Andreas Prochaska (AT/DE), TWO LIVES by Georg Maas (DE/NO) received the prize in Bronze. BELTRACCHI – THE ART OF FORGERY by Arne Birkenstock was named Best Documentary, WINDSTORM by Katja von Garnier Best Children's Film.
1.2. German Films Abroad
In 2014 two German short filmmakers, Max Lang and Jan Lachauer, were nominated for Best Animated Short Film at the Oscars® with their British short film ROOM ON THE BROOM.
At the very latest since Caroline Link’s Oscar® triumph with her exile drama NOWHERE IN AFRICA in 2003, German films have regained their excellent reputation abroad. A second German film triumphed at the Academy Awards® in 2007: Florian Henckel von Donnersmarck with THE LIVES OF OTHERS. Several Oscar®-nominated productions have also been successful at the international cinemas, including Wolfgang Becker’s comedy GOOD BYE, LENIN! (2003) and Oliver Hirschbiegel’s epic DOWNFALL (2004). Together with THE LIVES OF OTHERS, they turned over
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almost a quarter of a million dollars at box-offices worldwide – more than ten times their production costs. Further films nominated for an Oscar® were SOPHIE SCHOLL – THE FINAL DAYS by Marc Rothemund (2005), THE BAADER MEINHOF KOMPLEX by Uli Edel (2008), THE WHITE RIBBON by Michael Haneke (2009) and PINA by Wim Wenders, nominated for Best Documentary in 2011. In 2012, TWO LIVES by Georg Maas was one of the last nine films on the Best Foreign list.
There was a brilliant spotlight for German films in Locarno, Venice, Toronto, San Sebastian and Rome in 2014 – and those are just a few highlights in a year with more than 2,500 program slots and around 300 awards for German films and co-productions at major international festivals. This consistently good presence shows that German cinema has an extensive foundation of high quality at its command. On the one hand, experienced filmmakers such as Christian Petzold, Dominik Graf and Fatih Akin confirmed their international reputation with invitations to important 'A' festivals. But also the up-and-coming generation of German filmmakers, who are internationally acknowledged for their particular quality, came up with new names who were successfully presented within the festival circuit.
The year started off with German cinema being featured prominently with David Wnendt's WETLANDS in the World Dramatic Competition at Sundance. Audiences flocked to screenings against a spectacular backdrop on the Piazza Grande in Locarno for A HITMAN'S SOLITUDE BEFORE THE SHOT by Florian Mischa Böder and TOUR DE FORCE by Christian Zübert, which was subsequently also shown in Toronto. Fatih Akin's THE CUT (DE/FR/IT/RU/PL/JO/TR) had its world premiere in a very prominent position in the Venezia 71 competition at the world's oldest film festival in Venice. Christian Petzold's PHOENIX was euphorically received by audiences and critics in Toronto, the same being repeated in the competitions in San Sebastian, London and Rome. There was also very good response at the biggest film festival in North America for genre cinema with WHO AM I - NO SYSTEM IS SAFE by Baran bo Odar and the historical drama LABYRINTH OF LIES by Giulio Ricciarelli. In 2014, German cinema had its largest presence at the International Film Festival in Rome since the festival's launch nine years ago. There was extended applause in the cinemas at the world premieres of Burhan Qurbani's WE ARE YOUNG. WE ARE STRONG., THE LIES OF THE VICTORS (DE/FR), and Mark Monheim's ABOUT A GIRL.
A special highlight was provided by the next generation of German filmmakers at the 2014 Student Oscars®. Two of the prizes in the Best Foreign Language Film category went to German filmmakers: Lennart Ruff won Gold for NOCEBO (HFF Munich) and Peter Baumann received Bronze for BORDER PATROL (Northern Film School Leeds). New talents from Germany were also presented at important international festivals. THE COUNCIL OF BIRDS, Timm Kröger's graduation film at the Filmakademie Baden-Württemberg, screened in the International Film Critics’ Week at the Venice Film Festival. The debut film by the German-Turkish filmmaker Kaan Müjdeci, SIVAS (TR/DE), won the Jury's Special Prize in the festival's Competition. San Sebastian invited LIMBO by Anna Sofie Hartmann – another debut film – to the New Directors Competition. The Rotterdam International Film Festival, a very respected venue in the world of newcomer cinema, invited LOSE MY SELF, the second feature film by director Jan Schomburg, to screen in the Competition. Other 2014 festival hits were: THE CHAMBERMAID LYNN by Ingo Haeb, ANYWHERE ELSE by Ester Amrami, and THE SAMURAI by Till Kleinert with many festival invitations.
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One of the documentary successes of 2014 was also made by a new talent: NO LULLABY, the graduation film by Helen Simon at the HFF Munich, was programmed at both of the most important international documentary festivals. It was first shown in competition at Hot Docs in Toronto and then won the IDFA Award for Student Competition in Amsterdam. German documentaries were prominently represented in Amsterdam with seven titles in the competition sections. These included THE FORECASTER by Marcus Vetter) and 35 COWS AND A KALASHNIKOV in the Main Competition. Rüdiger Suchsland presented FROM CALIGARI TO HITLER in the lagoon city in the Venice Classics for the first time. ISTANBUL UNITED by Farid Eslam and Olli Waldhauer (DE/CZ/CH/TK) celebrated its international premiere in the Documentary Competition of Karlovy Vary, another 'A' festival steeped in tradition. MASTER OF THE UNIVERSE by Marc Bauder (DE/AT) had already made a great impression at its world premiere in Locarno in 2013. 2014 saw the film being named Best European Documentary at the European Film Awards.
The short film format had already scored its first success at the beginning of the year in Clermont-Ferrand, one of the most important international platforms: four German films made their way into the International Competition, PRIDE by Pavel Vesnakov (DE/BG) received the Grand Prix. The short TORN by Elmar Imanov and Engin Kundag (DE/AZ,) was shown in the independent sidebar of the Directors’ Fortnight during the film festival in Cannes. The Critics’ Week programmed THE CHICKEN. The German-Croatian short by Una Gunjak was voted Best European Short Film 2014 at the European Film Awards. Also nominated were STILL GOT LIVES by Jan-Gerrit Seyler and PRIDE.
After record ratings for European broadcasters, sales to more than 60 countries and a theatrical release in the USA, GENERATION WAR by Philip Kadelbach received yet another honor before the year was out. The German TV production was awarded an International Emmy in the important category of TV Movie/Mini-Series. GENERATION WAR was also a winner at the Shanghai TV Festival STVF. Philip Kadelbach was named Best Director in the section for TV Films. Another Magnolia went to Mo Asumang as Best Director Documentary for THE ARYANS. TAKE GOOD CARE OF HIM by Johannes Fabrick was presented with a Golden Nymph as the Best TV Film at the Festival de Télévision de Monte Carlo. Another Golden Nymph went to Julia Koschitz in the category of Best Lead Actress. At the World Media Festival in Canada's Banff, the top Rockie Award for Best TV Movie went to THE LUMBER QUEEN by Marcus H. Rosenmüller (DE/AT). Thus, 2014 saw German productions winning a total of five main prizes at these three important international TV festivals.
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2. THE GERMAN FILM INDUSTRY
2.1. Survey: Film production in Germany (2006-2014)
570 films (documentary and fiction) premiered in German cinemas between January and December 2014, out of which 229 were German productions or German co-productions. The number of documentaries increased from 73 in 2013 to 86 in 2014.
In terms of production costs, the most frequent in Germany are medium-budget productions costing between 500,000 and 5 million euros.
German films released 2007 2008 2009 2010 2011 2012 2013 2014 in German cinemas
Fiction films 122 125 144 119 132 149 150 73 (German & co-prod)
Co-productions 45 57 77 72 80 82 149 85 (fiction & doc)
Documentaries 50 60 72 70 80 71 88 223 (German & co-prod)
Total 172 185 220 193 212 220 65 234 (Fiction, Documentaries, 100% German and co- prod)
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2.2. General Cinema Statistics in Germany
2010 2011 2012 2013 2014
Admissions 126.6 million 129.6 million 135.1 million 129.7 million 121.7 million
Box Office in 920.4 million 958.1 1.033 billion 1.023 billion 979.7 euros million million
Admissions/ 1.559 1.58 1.655 1.61 1.5 inhabitant
Ticket price in 7.27 7.39 7.65 7.89 8.05 euros
German market 16.8 % 21.8 % 18.1 % 26.2 % 26.7 % share
Admissions: 20.9 million 27.9 million 24.0 million 33.6 million 32.1 million German films
Source: FFA
2.3. Top 10 German Films in 2014
Position Title Admissions
1 DER MEDICUS 2,611,292
2 VATERFREUDEN 2,367,567
3 FACK JU GÖHTE 1,712,275
4 STROMBERG – DER FILM 1,328,607
5 FÜNF FREUNDE 3 1,222,635
6 MÄNNERHORT 1,174,953
7 BIBI & TINA – DER FILM 1,141,868
8 HONIG IM KOPF 1,030,699 (6.7 million in total)
9 DIE MANNSCHAFT 915,038
10 WIR SIND DIE NEUEN 880,268
Source: FFA
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3. FILM FINANCING IN GERMANY
In Germany, film projects are supported predominantly by either federal or state subsidies. Additional film subsidies are also available from the EU to support the European audiovisual industry and from private investors. In 2014, the total expenditure in subsidies by national bodies and the federal states amounted to 339.33 million euros. The majority of this was used for production support.
Besides state and regional film support, funding by television channels is another important source of film financing. Indeed, support is often dependent on the participation of a TV broadcaster, as filmmakers are able to set off the advance sale of TV utilization rights against their own share of financing when submitting an application for film support.
Other possible sources of funds are prizes and awards. In Germany (and world-wide) there are a large number of festivals and awards. Several film awards are connected with financial support. Among others, the Federal Government Commissioner for Culture & the Media (BKM) presents the German Film Award, the prize with the highest endowment for German films. A further option is reference funding: Films which have been invited into competition of selected festivals (a.o. Berlin, Cannes, Venice) receive reference points, which are turned into cash for the next film project. Other financing possibilities are available through co-productions, distributors and banks. The latest variation on film financing is crowd-funding, which has already become established in the USA and which is on its way in Europe as well.
3.1. Film Support on the Federal Level
FFA As the national institution supporting film production and distribution, the German Federal Film Board (FFA) upholds the structure of the German film industry and the artistic quality of German film on the basis of the FFG (Film Support Act). Among other things, its task is to benefit the economic state of the film industry in Germany as well as improving the marketability of its products abroad. Besides this, it deals with the coordination of film support from the Federation and the federal states.
In 2014 the budget of the FFA amounted up to 85.30 million, 31.5 million euros were allotted to production. In addition, the FFA was responsible for distributing 96.80 million from BKM funds including BKM film support, Eurimages, and the German Federal Film Fund (DFFF). www.ffa.de
Federal Government Commission for Culture & the Media (BKM) The government of the Federal Republic of Germany supports German film and the German film industry. Each year, more than 30 million euros flow into subsidy programs and awards. By this means, the federal government not only supports the quality and diversity of German film, but also the tight-knit cinema landscape in Germany. It provides a further 62.4 million euros each year for the German Federal Film Fund (DFFF) – a successful model with positive effects on the film industry. In 2014 the budget available to the BKM was 96.80 million euros (including 62.4 million euros for the DFFF). www.filmfoerderung-bkm.de
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German Federal Film Fund (DFFF) The FFA administers the German Federal Film Fund (DFFF), which is currently in effect until the end of 2015. It was put into force as film support by the BKM on 1 January 2007. An annual total of over 60 million euros is made available within this framework for the production of cinema films in Germany. On application, every producer in Germany who makes a film for the cinema is refunded between 16% and 20% of his or her production costs spent in Germany. The applicant’s place of residence or business must be in Germany.
A total of 111 acceptances were granted in 2014, 72 of which were German productions and 39 international co-productions. The films included 77 features, 31 documentary films and 3 animation films, and the sum of support amounted to around 62 million euros. www.dfff-ffa.de
3.2. Film Support on the Federal State Level / Film Commissions
The film support institutions of the German federal states, which help fund both cinema and television productions, are assigned the task of improving the structural, economic and cultural conditions of the relevant film and media location. To this end, those who receive support are obliged to spend a specific share of their production costs in the relevant federal state – the so- called “regional effect”.
The spectrum of support measures provided by the federal state institutions extends from support for screenplay writing, project development, production and the young generation to funds for distribution, cinemas and festivals. However, the ever-present emphasis is on the financial support of productions, which regularly constitutes ca. 50 % of the total subsidies. Here, support measures are generally linked to regional effects of 150 % or more, which means that at least 1.5 times the sum of support must be spent again in the relevant support region, thus benefiting the local film industry. A total budget of approx. 157 million euros was allocated to regional financial support in 2014.
All producers with their place of residence or business in Germany are entitled to submit applications. In the case of international co-productions, at least one of the producers involved must comply with this condition.
The service section provides a survey of the state film support institutions in Baden- Württemberg, Bavaria, Berlin/Brandenburg, Bremen, Hamburg/Schleswig-Holstein, Hessen, Mecklenburg-Western Pomerania, Lower Saxony, North Rhine-Westphalia, Rheinland-Pfalz, Saarland and Thuringia/Saxony/Saxony-Anhalt.
The Film Commissions are the regional contact partners for production companies of all kinds involved in the making of films, television or video projects, which require information, services or contacts. The commissions offer advice and information services, e.g. they help search for shooting locations or provide information about the possibilities of financial support. In addition to this, they publish location and production guides and organize networking events.
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3.3. Financing via Broadcasting Involvement
Originally and up until the 1980s, radio and television in Germany was organized on a purely public legal foundation. Private broadcasting stations have only existed since the middle of the eighties.
Public television consists of two main entities, ARD and ZDF (and the two of them are involved in the public broadcaster ARTE). In addition, various private broadcasters exist, including RTL, RTL2, SAT.1, Pro7. When it comes to the financing of feature films, the public broadcasting associations are far more influential than the channels RTL, Pro7 and SAT.1 and other private broadcasting stations, whereby the ARD channels support a visibly larger number of film productions than ZDF. The channels ARTE and, to a limited extent, 3sat also play a part in the utilization of such rights. Foreign broadcasters such as ORF (Austrian national broadcaster) are also involved in individual productions. All together, the contributions of broadcasters towards the financing of features have steadily dropped during the past years, so-called arthouse films are usually not broadcast in primetime slots.
A broadcaster may become indirectly involved in a film by means of advance acquisition. In this case, it has no creative influence on the production but is granted the broadcasting rights. In the case of a classical co-production, the broadcaster is involved in the development of the production. This type of co-production means that all parties have a share in the profits, determined according to a staggered system dependent on the individual contract.
3.4. Financing via Distributors
Film distributors play a major part in the film financing market. Film distributors acquire the film rights from producers, market the film to the public, and distribute it to cinema operators in exchange for a share in turnover.
The distributor may commission a producer to make a film. In this case, the commercially relevant utilization rights are transferred to the commissioning client from the outset. Another option is the so-called distribution guarantee. The contract guarantees the producer a specific profit on the distributor’s turnover, while the latter is granted the license to utilize the film for a specified period. In exchange, the film distributor is obliged to provide a guaranteed advance. This type of financing is also referred to as a “presale” and enables the producer to act more independently. The distribution guarantee gives a film considerable security in the run-up to its release, as a taker has already been guaranteed for a certain territory. Film support schemes prefer when a film is able to show that it has already found a distributor.
3. 5. Bank Financing
A problem for producers is interim financing to cover the time from the promise of subsidies or TV funding to their actual payment. A recent model that should provide relief in this situation is an offer of interim funding for film productions made by the Investitionsbank des Landes Brandenburg (ILB) and the Investitionsbank Berlin (IBB).
The Bayerischer Bankenfonds (BBF) and the Commerzbank have also developed financing models for (international) film productions. Other banks, including the NRW Bank, the Deutsche
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Bank, the DZ Bank, the HypoVereinsbank and various Sparkassen, fund film productions, to a certain degree.
Since 2004, the German Federal Film Board (FFA) has been able to act as a bank guarantor for producers, enabling them to secure funds from other public subsidy institutions and participating broadcasters. The aim of this offer is also to simplify the producers’ interim financing.
3.6. Film Support on the EU Level
CREATIVE EUROPE CREATIVE EUROPE is a program run by the European Union to promote the European film industry. The focus is on project development as well as the sales and distribution of European films outside their countries of origin. The MEDIA program operates in all EU member states, and some non-EU members like Switzerland are also admitted. The program’s aim is the long- term development of European cooperation and networks. For example, there is support for film distributors who distribute European films outside their country of production, for organizations and initiatives that consolidate the program’s aims, or for film festivals with a program emphasis on Europe. www.ec.europa.eu/media
EURIMAGES As a support institution run by the European Council, EURIMAGES is responsible for the co- production and distribution of European film works. Founded in 1988, it currently comprises 35 member states. Its main task is to support European co-productions. www.coe.int/eurimages
4. CINEMA AND DISTRIBUTION STRUCTURES IN GERMANY
After having decreased for a couple of years in 2014 the number of screens has increased: 2013 counted 4,610 screens, the year 2014 saw an increase by 27 new screens to a total of 4,637.
Cinema attendance is subject to annual fluctuations which are quite usual in the field: in 2013, for example, German cinemas registered 129.7 million visitors, whereas the figure in 2014 was 121.7 million. Turnovers varied correspondingly during this time period, ranging from 979.7 million (2014) to 1.023.0 million (2013) euros. For the second time in a row 2013 the box office reached the 1 billion mark.
The average price of a cinema ticket increased from 5.96 euros (2006) to 7.27 euros (2010) and 8.05 euros in 2014 which is also due to the fact that 3D screenings are more expensive than regular screenings.
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5. FURTHER INFORMATION & LINKS TO THE GERMAN FILM INDUSTRY
NATIONAL FUNDING
German Federal Film Board (FFA) Peter Dinges (Executive Managing Director) Große Präsidentenstr. 9, 10178 Berlin www.ffa.de
German Federal Film Fund (DFFF) Cornelia Hammelmann (Project Director) www.dfff-ffa.de
Federal Government Commissioner for Culture & the Media (BKM) Ulrike Schauz (Head of Division K35) Katharina Cramer Hadjidimos (Head of Division K36) Köthener Str. 2, 10963 Berlin www.kulturstaatsminister.de
REGIONAL STATE FUNDING INSTITUTIONS & FILM COMMISSIONS
Total budget of the seven big regional funds in 2014: 157.520 million euros
Film- und Medienstiftung NRW (Funding volume 2014: 37.11 million euros) Petra Müller (Managing Director) Christina Bentlage (Head of Funding) Andrea Baaken (Film Commission) Kaistr. 14, 40221 Düsseldorf www.filmstiftung.de
FilmFernsehFonds Bayern (Funding volume 2014: 32.67 million euros) Prof. Dr. Klaus Schaefer (Managing Director) Gabriele Pfennigsdorf (Funding Executive) Nikolaus Prediger (Head of Theatrical Film Funding) Anja Metzger (Film Commission) Sonnenstr. 21, 80331 Munich www.fff-bayern.de
Filmförderung Hamburg Schleswig-Holstein (Funding volume 2014: 13.23 million euros) Eva Hubert (Managing Director) Christiane Dopp/Antje Bremer (Film Commission) Friedensallee 14-16, 22765 Hamburg www.ffhsh.de
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MDM Mitteldeutsche Medienförderung (Funding volume 2014: 16.06 million euros) Manfred Schmidt (Managing Director) Dr. Markus Görsch (Head of Funding) Bea Wölfling (Film Commission) Hainstr. 17-19, 04109 Leipzig www.mdm-online.de
Medienboard Berlin-Brandenburg (Funding volume 2014: 32.82 million euros) Kirsten Niehuus (Managing Director) Christian Berg (Funding Coordination) Christiane Raab (Film Commission) August-Bebel-Str. 26-53, 14482 Potsdam-Babelsberg www.medienboard.de
MFG Medien- und Filmgesellschaft Baden-Württemberg (Funding volume 2014: 14.61 million euros) Prof. Carl Bergengruen (Managing Director) Christian Dosch (Film Commission) Breitscheidstr. 4, 70174 Stuttgart www.mfg.de/film/ nordmedia - Film- und Mediengesellschaft Niedersachsen/Bremen mbH (Funding volume 2014: 11.02 million euros) Thomas Schäffer (Managing Director) Jochen Coldewey (Head of Funding) Susanne Lange (Film Commission) Expo Plaza 1, 30539 Hannover www.nordmedia.de
FURTHER REGIONAL FUNDS
Hessische Filmförderung (Budget: 2.1 million euros) Stephan Limbach & Christel Schmidt (Managing Directors) Christiane Zietzer (Film Commission) Am Steinernen Stock 1, 60320 Frankfurt www.hessische-filmfoerderung.de
DISTRIBUTORS
The most significant 37 German film distributors are organized in the Association of German Film Distributors (VdF). Their contact information is available at www.vdfkino.de.
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WORLD SALES AGENTS (theatrical films)
Aktis Film International www.aktis-film.com
ARRI Media World Sales www.arriworldsales.de
Atlas International www.atlasfilm.com
Beta Cinema www.betacinema.com
Films Boutique www.filmsboutique.com
Global Screen www.globalscreen.de
K5 International www.k5international.com
M-Appeal www.m-appeal.com
The Match Factory www.the-match-factory.com
Media Luna New Films www.medialuna.biz
Picture Tree International www.picturetree-international.com
Pluto Film www.plutofilm.de
Sola Media www.sola-media.net
Transit Film www.transitfilm.de
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