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EUROPA N23.Indd NETWORK REVIEW N°23 CANNES 2014 NETWORK RESULTS Contents 04 36 04 EDITORIAL REFRESHING BY CLAUDE-ERIC POIROUX THE ROOTS: 04 Foreword by Joachim Trier CINEMAS EMBRACE 08 Avant-propos : Joachim Trier CHANGE TO CAPTURE 05 Th e Film Th eatre: the New Challenges YOUNG AUDIENCES La salle de cinéma : les nouveaux défi s LES SALLES DE CINÉMA 06 Th e Network: What Role for Europa Cinemas Film Th eatres? OSENT LE CHANGEMENT Le Réseau : quel rôle pour les salles POUR ATTIRER Europa Cinemas ? LE JEUNE PUBLIC Europa Cinemas in Creative Europe Europa Cinemas dans Europe Créative 07 10 Years of Bologna 18 Young Audience Seminar 40 10 ans du Séminaire Jeune Public à Bologne EUROPA CINEMAS EVENTS 08 40 Sofi a Seminar Renewing Cinema Audiences 2013 NETWORK in the Digital Era RESULTS: Renouveler les publics 26 à l’ère du numérique SEARCHING FOR 41 28 Times Cinema EUROPEAN FILM HITS 10 Top 50 COUNTRY FOCUS 42 12 Germany 14 France EUROPA 16 Italy CINEMAS 18 United Kingdom LABEL 20 Spain 42 Berlinale 2014: 22 Th e Netherlands Blind by Eskil Vogt 24 Poland Berlinale 2014 : 26 Croatia Blind d’Eskil Vogt 28 Sweden 43 Directors’ Fortnight: Welcome to the Jury 40 TOP 20 EUROPEAN FILMS Quinzaine des Réalisateurs : BY ADMISSIONS IN THE NETWORK Bienvenue au jury Europa Cinemas Network Review TOP 20 DES FILMS EUROPÉENS President: Nico Simon. General Director: Claude-Eric Poiroux. Head of International Relations - Network Review Editor: PAR ENTRÉES DANS LE RÉSEAU Deputy Editors: Contributors to this issue: Fatima Djoumer. Alizée Dallemagne, Jérôme Tyl. Flora Anavi, Marie Cousin, 30 Austria / Belgium / Ioana Dragomirescu, Laëtitia Kulyk, Adrian Preda, Menem Richa, Jean-Baptiste Selliez, Alexandre Tchernookov, Lucas Varone, Christine Westermann. Translation: Cinescript, Abalis. Design: ★ Bronx agence - www.bronx.fr. Client Director: Gisela Blanc. Czech Republic / Denmark Project Manager: Katia Pacitto, Anne Saccomano. Graphic designers: Sasha Gerards, Fred Machefer. Layout: Sandra Girollet. Print: 32 Greece / Hungary / Norway / Portugal Intelligence Publishing. Cover: Paris, Texas by Wim Wenders © Road Movies, Argos Films 1984. Distribution France: Tamasa Distribution. 34 Romania / Slovak Rep. / Slovenia / Founded in 1992, Europa Cinemas is the fi rst international fi lm theatre network for the circulation of European and partner countries fi lms. Switzerland Europa Cinemas 54 rue Beaubourg - 75003 Paris - France - T: + 33 1 42 71 47 55 - [email protected] Editorial Cinema exhibition is a robust sector that believes more than ever in its future and is able to anticipate every new development when it Claude-Eric Poiroux, comes to off erings and the General Director of Europa Cinemas © Sandrine Jousseaume demands of audiences.” EDITORIAL THE FILM THEATRE Oslo, August 31st by Joachim Trier © Memento Distribution n early April, at the Chaillot ébut avril au Forum de Chaillot Forum in Paris, around twenty à Paris, se sont réunis, à “I’m a fi lmmaker and I love going to the movies. Aller au cinéma, partager et voir un fi lm sur grand European Ministers of Culture and l’initiative d’Aurélie Filippetti, I D People are talking about the death of cinema but écran est une expérience unique. Aujourd’hui, nous over a thousand professionals from une vingtaine de ses homologues I don’t believe in it. I still think that going to the cinema, vivons dans un monde saturé d’images, mais les the culture and media industry came Ministres européens de la Culture et watching fi lms on a big screen is a unique experience. spectateurs qui se rendent toujours dans les salles together, on the initiative of French plus d’un millier de professionnels In our lives, we are exposed to a lot of images every obscures laissent pour un moment le monde extérieur et Minister of Culture Aurélie Filippetti, de l’industrie de la culture et des day, but people who are still going to the fi lm theatres viennent découvrir un fi lm, ses images et son univers to identify the collective challenges médias pour affi rmer les enjeux leave the outside world where it belongs and focus on sur grand écran. Personnellement, en ayant grandi à facing us in the digital era. This was collectifs qui s’ouvrent à nous à the contemplative space of the big screen. Oslo, et en tant que réalisateur, c’est cette expérience de an opportunity to hear the views l’ère numérique. C’est ainsi que spectateur qui m’a nourri. of numerous artists, including those of nous avons entendu le message de Ces histoires, aussi diverses soient-elles, faisaient écho the young director of Oslo, August 31st. nombreux artistes, parmi lesquels à ma propre histoire. Très souvent, ce sont les fi lms celui du jeune réalisateur d’Oslo, Going to the cinema, européens qui par un langage commun inspirent ce As Joachim Trier says, the cinema is the best place 31 août. sentiment. Le cinéma européen a toujours démontré plus in which to show a fi lm. Cinemas are also the main watching fi lms de capacités à aller de l’avant, à provoquer l’inattendu source of a fi lm’s fi nancing. Th at’s why it is important Comme le dit Joachim Trier, la salle de cinéma est et à rendre compte de la diversité de nos cultures.” to ensure the prosperity of a sector that, for over a le meilleur lieu d’exposition des fi lms. C’est aussi la on a big screen is a century, has overcome all the challenges with which it principale source de leur fi nancement. D’où l’intérêt Joachim Trier, fi lm director has been faced. In spite of the arrival of television (the de veiller à la prospérité d’un secteur qui a su depuis unique experience.” “Th e Future of Culture, the Future of Europe” screen inside your home), the increase in the number plus de 100 ans gagner toutes les compétitions Chaillot Forum, Paris, 4-5 April 2014 of channels (with fi lms as fl agship products), the video où il s’est trouvé concurrencé. Malgré l’arrivée de Personally, that’s where I come from as a fi lmmaker, tape and the DVD (personalised fi lm libraries), VOD la télévision (l’écran à la maison), la multiplication watching fi lms from around the world when I grew and the Internet (“unlimited” access and piracy) – des chaînes (les fi lms comme produits d’appel), up in Oslo. Films that in all their diversities expressed with each new off ering having triggered new practices la Vidéo et le DVD (la librairie personnalisée), la VàD particular characters I could relate to in my own life. – the fi lm theatre has always managed to maintain et Internet (l’accès “illimité” et le piratage), chaque Very often, European fi lms create this feeling through its attractiveness, prestige and fi nancial strength. Not nouvelle off re déclenchant de nouveaux usages, la a common language. European cinema has always to mention its profi tability, judging by the volume salle de cinéma a toujours su garder son attractivité, been strong at trying to move forward, trying to do and pace of investments today in the construction of son prestige et sa force économique. Et sa propre the unexpected, to embrace the diversity of our new multiplexes or the costly renovation of existing rentabilité, si l’on en croit aujourd’hui le volume et varied cultures.” facilities. We are therefore talking about a robust le rythme des investissements dans la construction de sector that believes more than ever in its future and nouveaux multiplexes ou les coûteuses rénovations “Je suis réalisateur et j’aime profondément aller is able to anticipate every new development when it des équipements existants. Il s’agit donc d’un secteur au cinéma. La disparition des salles de cinéma est comes to off erings and the demands of audiences. solide qui croit plus que jamais en son avenir et qui un sujet récurrent, mais je n’en crois pas un mot. © Nils Vik. Joachim Trier • sait anticiper toutes les évolutions en matière d’off res comme de demandes du public. • Europa Cinemas I Network Review 4 Europa Cinemas I Network Review 5 Editorial Editorial BOLOGNA o illustrate the new approaches in the areas of and a wealth of potential innovations, and we can activities and marketing, this year we celebrate already observe the implementation of individual th T the 10 anniversary of the Young Audience and joint initiatives that will once again reinforce the Seminar in Bologna. Th e original intention of this uncontested primacy of the cinema as the place to initiative was to tie in with the dynamic “Il Cinema view the fi lms we discover here on the big screens at Ritrovato” festival at the beginning of July to off er the Cannes Film Festival. exhibitors a seminar focusing on ways to attract young • audiences to classic fi lms. Th ese fi ve days of training th Europa Cinemas Bologna Seminar Europa Cinemas Sofi a Seminar 18 Network Conference © Gyselinck / Patsialos. were soon expanded to include all activities aimed at fi n d’illustrer les nouvelles approches en young audiences, with the intention of bringing our termes d’animation et de marketing, nous practices up to date through digital communication: A allons fêter cette année la réussite des social networks, websites, blogs and other promotional 10 ans du Séminaire Jeune Public de Bologne. Il tools that are extremely popular amongst the young s’agissait à l’origine de se greff er sur le très dynamique THE NETWORK Festival “Il Cinema Ritrovato” du début juillet pour off rir aux exploitants un séminaire de travail sur les hat role are the Europa Cinemas fi lm uel rôle jouent les salles d’Europa Cinemas moyens d’attirer le jeune public vers le cinéma de theatres playing against this rather dans ce contexte plutôt encourageant ? Elles Audiences are répertoire.
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