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Keep up-to-date with latest European developments in education, culture, sport, youth, multilingualism and media – subscribe to the EAC e-newsletter! http://ec.europa.eu/dgs/education_culture/enews/subscribe_en.htm More information on the European Union is available on the Internet (http://europa.eu). Luxembourg: Publications Office of the European Union, 2011 ISBN 978-92-79-17593-0 doi:10.2766/72280 © European Union, 2011 Reproduction is authorised provided the source is acknowledged. Printed in Belgium PRINTED ON WHITE CHLORINE-FREE PAPER 1

1991•2011

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Contents

Foreword 5

MEDIA – A look back over the last 20 years 6

Producers’ Support 8

Distribution 12

Promotion, Festivals, Market Support 16

Training 19

New actions 21

MEDIA Desks & Antennae Network 23

Films supported by the MEDIA programme during the last 20 years 24

5

Foreword

has strengthened cultural diversity and In parallel, a new programme, MEDIA cooperation in the European audiovisual Mundus, has been launched to encour- sector, as well as creating many new age international cooperation in the business opportunities. training of professionals, the organisa- tion of co-productions and the world- In fact a ‘MEDIA quality label’ has wide circulation of films. emerg ed over the years, attracting addi- tional sources of financing, including I would also like to underline the strong national and regional support as well as commercial value of films and other I am very proud that in 2011 the European private investment. MEDIA has demon- audiovisual content. The European audio- Commission is celebrating the 20th anni- strated significant added value through visual market is worth an estimated versary of its MEDIA programme. the strong European dimension it has EUR 107.4 billion to the economy and introduced into supported projects. provides 1.2 million highly qualified jobs. Since its launch in 1991, the MEDIA pro- In fact, the cultural and creative industries gramme has been a huge success story, Furthermore, the MEDIA programme has as a whole represent 2.6 % of EU GDP helping to bring many superb films to kept pace with rapid change and new and provide jobs for 5.8 million people. the screen, including more than a dozen challenges in the industry (e.g. the MEDIA Oscar and Palme d’Or winners. Production Guarantee Fund which makes I would therefore like to wish continued it easier for film producers to access success to everyone connected with Through its funding for distribution, bank loans, the support scheme for the MEDIA programme. Happy Birthday training, promotion and markets and via Video-on-Demand and the digitisation MEDIA! the development of new films and sup- of cinema theatres). Androulla Vassiliou port to producers, the MEDIA programme European Commissioner responsible for Education and Culture 6

MEDIA – A look back over the last 20 years

The 1980s brought two major upheavals These events led to the launch of the for the European audiovisual market. MEDIA programme in January 1991 Firstly, the arrival of competition in tele- to encourage the development of the vision broadcasting markets in Europe European audiovisual industry. led to an increase in demand for pro- grammes. This high demand provided MEDIA has comprised four multiannual the opportunity to establish a European programmes since 1991. Each has inclu d- audiovisual industry, however its develop- ed measures to support the European ment was threatened by competition film and television industry which aim from cheap, non-European programmes to improve its competitiveness and foster which were adapted to the programming the production and circulation of Euro- needs of new, private broadcasters. pean audiovisual works. In total, over EUR 1.78 billion has been awarded during Secondly, most EU countries were expe- the last 20 years. riencing a decline in cinema attendance especially for domestic productions. In 2000 the programme was opened up As non-European productions were to non-EU countries such as Switzerland, better equipped to resist this change, Iceland, Norway and Croatia and today European cinema suffered a steep loss MEDIA covers a total of 32 countries. in market share which also affected In addition, since 2008, MEDIA Inter- European film production. national, now MEDIA Mundus, has pro- vided support for projects outside Europe. 7

MEDIA has been a success from the Countless people, including the benefi- beginning thanks to its capacity to both ciaries, companies, organisations, profes- adapt to the changing circumstances sionals, the MEDIA Desks and antennae, and evolution of the audiovisual sector the European Commission and the Audio- and to promote films and artists which visual and Culture Executive Agency share this ability. have all contributed to the programme’s success and should rightly share in this One of the biggest challenges has been celebration of 20 years of MEDIA. the digital revolution. By introducing several new support mechanisms in this HAPPY BIRTHDAY MEDIA! field to help professionals respond to the challenges brought by this new advance, the MEDIA programme has demon- The following countries are members of the MEDIA strated its readiness to adapt to new programme: All the EU Member States (Austria, developments. Belgium, Bulgaria, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, MEDIA will continue its work to support Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, the audiovisual industry. On the basis Netherlands, Poland, Portugal, Romania, Slovakia, of the industry’s needs, as gathered Slovenia, Spain, Sweden, UK) and Croatia, Iceland, through public consultations and hear- Liechtenstein, Norway and Switzerland. ings, the European Commission is cur- rently preparing a new programme which will take MEDIA into the second decade of the 21st century. 8

Producers’ Support

Development Funding by subsidising part of the cost of the The MEDIA development scheme pro- guarantees required by these institu- motes, through financial support, the tions and/or some of the financing itself. creation of audiovisual projects for Euro- pean and international markets. These Support for television broadcasting projects are carried out by independent This funding aims to encourage inde- European production companies working pendent European audiovisual produc- in animation, creative documentary and tion companies to produce work (drama, drama. Similar support is provided for documentaries or animated films) that the development of on-and off-line inter- involves the participation or cooperation active works that are specifically created of at least three broadcasters (preferably to complement an audiovisual project. more) from several countries participat- ing in the MEDIA programme. This grant can be used to support: A single project. A slate of projects (comprising three Key Figures to six projects). An interactive work. Development Every year at least EUR 19 million are Access to Finance invested in the development of more The ‘i2i Audiovisual’ initiative is designed than 400 projects spanning 32 countries. to facilitate access to financing from MEDIA contributes to the consolidation banks and other financial institutions of audiovisual production companies’ 9

market positioning through long-term Every year, ‘i2i Audiovisual’ facilitates The film comes from the director of Time slate funding support. Since its launch, access to film financing for European Out (L’emploi du temps) and Heading 600 companies have been able to audiovisual production small and South (Vers le sud). Entre les murs won develop slates of projects in animation, medium-sized businesses (SMEs) with the Palme d’Or at the Cannes International fiction and creative documentary. EUR 1.5 million grant awards which Film Festival in 2008 and was nominated co-finance the side costs of 80 million for the Best Foreign Language Film Oscar Television Broadcasting credits and EUR 1.5 million for associated in 2009. It features real-life teacher With more than EUR 10 million awarded insurance costs and completion bonds. François Bégaudeau who is the author per year, television broadcasting supports of the original novel Entre Les murs annually over 70 animation, drama and which inspired the film. documentary productions from more than Success Stories 20 countries. These works, the majority of We began the financing of Entre les which are European co-productions, are Haut et Court murs by Laurent Cantet in 2006 and broadcast on average by more than seven Project: Entre les murs/The Class by the MEDIA programme provided the television stations. Laurent Cantet – Palme d’or 2008. first support we had to develop the film, which then turned out to be the start of ‘i2i Audiovisual’ François teaches French to third year a great adventure! MEDIA has provided In 2010, ‘i2i Audiovisual’ grants totalling students in a tough school. He doesn’t funding for several of Haut et Court’s EUR 3 million supported the financing hesitate to clash with Esmeralda, projects through the years and, in doing costs of 88 projects, with a production Souleymane, Khoumba and the others in so, has proved many times how impor- budget of more than EUR 257 million, stimulating verbal jousts as if the French tant a support it is for authors and inde- and the participation of more than language itself were a genuine challenge. pendent producers and in revitalising 160 countries in 66 co-productions. But the discovery of democracy can European cinema. occasionally entail risks. 10

Zentropa contributions are almost indispensable Producer of In a better world by to achieving this end. In these days of Susanne Bier – Oscar 2011. globalisation we feel it important that Europe has a common voice in many The MEDIA programme has had a great areas, including cultural exchange and, impact on Zentropa. When Zentropa with this aim in mind, the whole idea was established in the beginning of the of the MEDIA programme should be 1990s it was supported by substantial supported. MEDIA loan facilities which basically car- ried Zentropa through its first years of Zentropa and the MEDIA programme were business. Since no one in Denmark at ‘born’ together at the beginning of the that time believed in the ‘Zentropa idea’ 1990s. We grew up together as engaged the importance of this support from and passionate children; we were ‘teen- MEDIA cannot be stressed enough. agers’ together, not always in agreement but always willing to listen to each other The projects of Lars von Trier, Susanne Bier since we had a mutual aim – the develop- and certain other high profile directors ment of quality European films. Now we will always have a very good chance of will be soon twenty year old adults with being financed, with or without a MEDIA a lot of fantastic films under our belt, contribution, but our ability to develop useful experience to bring to others and new talents into ‘high profile’ directors a sincere hope of growing old together! very much depends upon attracting suffi- Anders Kjærhauge cient development finance. MEDIA Zentropa 11

Versus Production immigrants who have been in holding Project: Illégal by Olivier Masset-Depasse – centres, people working with Amnesty Quinzaine des Réalisateurs 2010. International, lawyers, and journalists. They also managed to visit a few deten- Illégal plunges us into the daily life of an tion centres. MEDIA’s support was crucial immigrant woman locked up in a holding in this process. centre where she is separated from her son. The film tells the story of this woman’s struggle to avoid being deported from a country where she has been living for many years and has assimilated perfectly.

The story of Illégal is a piece of fiction based on true facts. A lengthy period of research was necessary in order to write this screenplay. With the help of a jour- nalist from the Le Soir newspaper and a legal counsellor from the Belgium Human Rights League, Olivier carried out an investigation. Thanks to the Belgium Human Rights League, their contacts and work, he was able to meet a large number of people involved in the field: 12

Distribution

The MEDIA programme encourages the country (non-national films). The scheme wide circulation of European audiovisual is designed in two stages: generation and works among the 32 participating coun- reinvestment. tries. This support at all stages of the process, which goes to distributors, sales Selective support agents, producers, and exhibitors, under- This funding goes towards distribution pins Europe’s competitive film industry. costs. It is available for groups of Euro- pean distributors operating in different This funding helps to: national territories. Stimulate wider circulation through marketing and distribution support Sales agent support so that films are seen outside their Funding is provided for companies spe- national territory. cialising in international sales in order Support cinemas and cinema networks. to stimulate further reinvestment in Assist with dubbing and subtitling. new European films. Promote digital screenings. Encourage co-operation with broad- Online distribution casters. MEDIA has been encouraging online content distribution since 2007 via its Automatic support Video-on-Demand (VoD) and Digital Funding is available to enable investment Cinema Distribution (DCD) scheme which in distributing European films originating funds video-on-demand platforms and from outside the distributor’s home the digital delivery of film to cinemas. 13

Exhibition – Networks of Cinemas Key Figures Success Stories MEDIA’s support for exhibition is chan- nelled through its funding for networks. In 2010 the selective support scheme The most well known network is Europa awarded over EUR 12.4 million to Lucky Red Cinemas which was established in 1992. 590 Theatrical Release Campaigns. Lucky Red is a truly European company. It screens European films in over 68 coun- We distribute European cinema and are tries in 566 cities. The network brings 756 grants were given to 378 different in the marketplace every day working together some 1 005 cinemas which films from 24 countries as part of the to attract audiences to European films comprise 2 778 screens and represent automatic support scheme. and in this way promote European cul- approximately 20 % of first-run cinemas tural diversity. Created over 20 years ago, in Europe. On average 59 % of the pro- Five pilot projects were selected as part our company has distributed and pro- gramming in these cinemas is European. of the new technology scheme to receive duced some of the finest feature films funding of EUR 1.5 million. by directors from all over the world, such The programme also provides assistance as Danny Boyle, Alejandro Amenábar, for screening European films in digital The Video-on-Demand (VoD) and Digital Lars Von Trier, Patrice Leconte, Wong Kar format through a new scheme which Cinema Distribution (DCD) scheme Way, Peter Mullan, Luc Jacquet, Francois funds digital equipment in cinemas that awarded EUR 6.3 million to 18 projects. Ozon, Gurinder Chadha, Hayao Miyazaki, screen a significant number of such films. Jean Pierre and Luc Dardenne, Frank Oz and Atom Egoyan. Many were unknown at the time and are now famous thanks to our hard work and the help of the MEDIA programme which has been 14

a real partner working with us, as well an online cinema, a place to bring people It is an understatement to say that without as with the film industry and the film together, a film recommendation search the support of the MEDIA program me, community as a whole. engine, a discussion forum, and a pre- Europa Distribution would still be Andrea Occhipinti miere cinema magazine. a distributors’ association instead of the Lucky Red Efe Cakarel dynamic, lively and enthusiastic network MUBI it is today. Since we received our first MUBI MEDIA grant in 2009, the network has MUBI was born from a very simple ques- Europa Distribution had the financial capacity to develop tion: where were all the great films? What is Europa Distribution? A European activities for its members and, in this way, At home they weren’t in the multiplexes network chaired by Régine Vial (Les Films attract non-members to join. This had led near my house, and I couldn’t find them du Losange, France) and Antonio Medici to a concrete and effective exchange of online to watch either. It came to us in (Bim Distribuzione, Italy) that brings information and experiences at European an instant: an international, online desti- together 100 independent distributors level. In this challenging time, due to the nation for watching, discovering and from 25 countries. Our activities include arrival of new technologies, these close sharing the best of cinema was needed. distribution workshops in Sofia, Annecy, ties between European distributors are This idea caught on like wildfire and we Paris Cinéma, Locarno, San Sebastian and more important than ever. now have over 200 distribution deals, Les Arcs, an online database CIDINET and 3 000 films, 1 million people visiting the a project Europa Distribution International, The MEDIA and MEDIA Desk teams are website per month, 1.2 million members which supports European distributors always there to help and we thank them and an exclusive partnership with Sony’s releasing non-European films. Most of warmly for their availability, helpful PlayStation 3. With MEDIA’s help we’ve this work is supported by MEDIA and advice and kindness. Thanks to MEDIA’s built a ‘cinémathèque’ for the future: MEDIA Mundus. support, Europa Distribution embodies 15

today the very idea of Europe, both uni- care for cinema and who show this fied and diverse: believe us, when you enthusiasm in their daily work, nurtur- see 100 people of 25 different nationali- ing audiences of millions for our films. ties (each with their own share of stereo- I have had many opportunities to travel types!) discussing in broken English the and discover how this network has man- future of pan-European distribution, you aged to establish itself in an incredible really feel that something has been number of towns in Europe, where these achieved! member cinemas play an important Adeline Monzier social, cultural and economic role. It is Europa Distribution a treasure worthy of the admiration of all the other continents! Europa Cinemas Claude Miller I am proud to have been the President President of Europa Cinemas for many years now, because I am a filmmaker and exhibitors are our most valuable allies in accessing the public. This network has two assets: since its very inception it has been loy- ally supported by MEDIA within a very coherent policy structure for the circula- tion of European films. It also comprises almost 1 000 professionals who truly 16

Promotion, Festivals, Market Support

The MEDIA programme helps to: Film Festival), the International Film Ensure access to European and inter- Festival Rotterdam (CineMart), the Inter- national markets for the European national Documentary Film Festival audiovisual sector. Amsterdam (IDFA), the International Promote European audiovisual works Market for Animated Films in Annecy in Europe and worldwide. (MIFA), the International Market for Recognise and reinforce the role of Short Films at Clermont Ferrand and festivals in promoting European films many others, for a large range of Euro- and contributing to cultural diversity. pean projects, works and professionals.

Access to markets and promotion MEDIA has also financed (50 % on aver- of European film age) and developed a network of more The programme has invested more than than 30 regional, national or thematic EUR 9 million and contributed to the markets or events which aim to increase development of a coordinated framework the visibility, financing and sales of works of regional and international events, mar- which come from countries with smaller kets, online tools and promotional events. national or language markets.

MEDIA co-finances all the major audio- To complement its support to markets, visual markets in Europe. The objective MEDIA has co-financed the development is to facilitate access to major markets, and linking of online tools, databases and such as the co-production markets of portals aimed at professionals. These the Berlinale (the Berlin International include Cinando which is operated by the 17

film market at the Cannes International Festival in Canada are just two of the fes- Success Stories Film Festival, the international documen- tivals that have been involved in the past. tary database reelisor, the CIDINET web- Berlinale, the Berlin International site for European distributors, as well as Film Festivals Film Festival the pro2film search engine, and cineuropa, By awarding approximately EUR 3.5 mil- MEDIA has brought together totally dif- a portal for European cinema. lion of funding annually to festivals all ferent languages from totally different over Europe devoted to showcasing Euro- countries in the audiovisual sector so MEDIA also funds the European Film Pro- pean audiovisual content, MEDIA helps that today one can rightly say there is motion (EFP), an umbrella organisation to expand audiences for European film. a lively European film culture and a prosper- that facilitates working relationships ing European film industry. This was between Europe’s national film promo- On average, MEDIA co-finances more inconceivable 20 years ago. Today it is tion organisations. EFP organises many than 90 festivals each year, providing taken for granted. Without the MEDIA events, such as Shooting Stars, a show- funding totalling EUR 3.5 million. programme, cinemagoers wouldn’t have case of Europe’s young acting talent, and These festivals organise more than learnt anything about the stories of Producers on the Move which is held at 20 000 screenings of European works their neighbours and this is an essential the Cannes International Film Festival. to an audience of nearly 3 million people prerequisite for a real Europe of unity across Europe. and cultural diversity. MEDIA helps to promote films through Dieter Kosslick the EFP’s Film Sales Support scheme which Director enables producers and sales agents to pro- mote their films at key festivals and mar- kets around the world. The Sundance Film Festival in the USA and the Toronto Film 18

Europa Cinemas Cinando/Film Market at the Cannes At the end of the 1980s I had the chance International Film Festival to be an active witness at the birth of the 20 years old already! Yes, I remember MEDIA programme, alongside some Euro- MEDIA was in Cannes even before pean colleagues including Dieter Kosslick I joined. It has supported the Marché in Hamburg. What have I learnt from these du Film on various occasions, however past 20 years? The MEDIA adventure I believe one of the most decisive areas should be considered a role model for all of their support has been Cinando. From pan-European organisations: it embodies a simple film event database, MEDIA a constructive dialogue with professionals, has helped us to create what is today a series of long-term initiatives which the leading online resource for the film ensure continuity, the coherent definition industry. It has become a window on of goals and, above all, it produces effi- European cinema and a link between cient results. Our film sector has become the major film markets in the world. truly European thanks to a programme Happy Birthday and a long life to this which has been able to bring together pro- unique programme! fessionals by breaking through national Jérôme Paillard boundaries. Now that the route has been Executive Director found, give us the means to develop these valuable assets! Claude-Eric Poiroux General Director 19

Training

Sharing knowledge and networks Institut and Eurodoc. These networks have in Europe facilitated the creation of hundreds of co- Over the years MEDIA has built up com- productions. prehensive international professional training opportunities by co-financing Preparing the next generation more than 65 different European of professionals knowledge-sharing courses for audio- MEDIA provides funding (75 %) to 15 group- visual professionals. ings of more than 35 major film schools and universities in Europe. More than 1 500 professionals partici- pate every year in MEDIA-funded train- This support aims to increase the European ing where they acquire new skills, access or international dimension of film teaching key decision makers and expand their in Europe and enhance the mobility of networks. Key subjects include content teachers and students so that the next development, business, marketing and generation of filmmakers is better able to technology so that European professionals operate in a globalised audiovisual sector. can increase their competiveness. MEDIA also works to reinforce links between MEDIA has also helped pan-European education systems and the audiovisual recognised brands and networks, such as in dus try in order to support both the place- the European Audiovisual Entrepreneurs ment of young graduates in companies, and (EAVE), ACE, the MEDIA Business School, companies themselves which are looking to Documentary Campus, the Erich Pommer recruit new staff or develop new skills. 20

Success Stories European Audiovisual Entrepreneurs (EAVE) Power to the Pixel We believe that in the past 20 years the Thanks to the essential support of the MEDIA programme has decisively con- MEDIA programme, Power to the Pixel tributed to strengthening the European is able to help develop essential new industry through the support of develop- skills and business contacts needed ment, training, markets, festivals and by European producers and industry distribution. This includes the creation pro fessionals to move forward in of networks of European producers a cross-media, on-demand world. Our that have developed and produced MEDIA-supported initiatives, The Pixel co-productions which have won numer- Lab and The Pixel Market, connect lead- ous awards and been widely distributed. ing international innovators with the These networks, of which EAVE is one European media industry helping them good example, have become the back- to develop new forms of cross-media bone of the European industry. storytelling, new methods of engaging audiences and new ways of creating sustainable businesses in a digital world. Liz Rosenthal Director 21

New actions

Support for cinemas to go digital More information will be available soon From autumn 2011 the MEDIA programme on the MEDIA website. will start supporting digital projection in http://ec.europa.eu/media Europe’s cinemas. A limited budget will be initially available in 2011 with the likelihood of more funds in 2012 and 2013. MEDIA Production Guarantee Fund up and running The process of digitising cinemas began This new Fund will guarantee part of the as far back as 1995 when a first study loan which film producers receive from explored the advantages of digital pro- financial institutions and aims to make jection. With the decision of participant it easier for small and medium-sized film countries on their own approaches in production companies to access private this field, the MEDIA programme will sources of financing. Guarantees from now get involved to provide funding to the Fund are available to film producers those who wish to screen digital versions from countries participating in the of films from other European countries. MEDIA programme.

The criteria for awarding funding will be The Fund will be run by the European based on the quality of the programming Commission together with two opera- which is defined as the ratio of films from tors with long-standing expertise in this other European countries to the total area: France’s Institut pour le Financement number of films screened. du Cinéma et des Industries Culturelles 22

(IFCIC), and Spain’s Sociedad de Garantie MEDIA Mundus explores new frontiers There is a budget of EUR 15 million avai l- reciproca para el Sector Audiovisual This new programme was launched offi- able from 2011 to 2013. Funding will be (Audiovisual SGR). cially at the beginning of 2011. Based on awarded to projects proposed and imple- the success of MEDIA International (2008- mented jointly by European professionals The Fund has been set up for four years 2010), it provides new opportunities for and professionals from any other country (2010-2013) and both IFCIC and Audio- cooperation between EU and non-EU in the world. In principle, each project visual SGR will each receive a total of audiovisual professionals. needs to have a minimum of three part- EUR 4 million. The European Commission ners, one of which must be European. estimates that, thanks to the leveraging The programme, which focuses on training of the Fund, an estimated EUR 100 to and market access (the search for partners The 2012 Call for Proposals will be 150 million will be freed up for loans to for co-productions and distribution), aims published on the MEDIA website in film producers. to encourage international sales, promo- the second quarter of 2011. tion, circulation and exposure to audio- http://ec.europa.eu/media More information is available at visual works worldwide. Please note that http://ec.europa.eu/media it does not fund co-production. www.ifcic.fr www.audiovisualsgr.com 23

MEDIA Desks & Antennae Network

Co-financed by the European Commission As well as answering direct questions and national or regional ministries, film from professionals, the desks and anten- institutes or professional organisations, nae often organise events to disseminate the MEDIA Desks both promote and pro- information to the industry, prepare pub- vide information on the programme. lications and e-newsletters, and commu- nicate details on the MEDIA programme’s Today there are 44 desks and antennae funding and related opportunities via serving audiovisual professionals websites and social media. throughout Europe. The MEDIA Desks can also help pro- With nearly 20 different funding schemes fessionals find partners and make con- and hundreds of training, promotional and tacts in other European countries and networking opportunities available, the even occasionally organise co-production MEDIA Desks have become an important events between selected countries. and essential ‘one stop shop’ for pro- fessionals before submitting an application. A full list of all the MEDIA Desks can be found on the programme’s website. http://ec.europa.eu/media 24

Films supported by the MEDIA programme during the last 20 years

Thousands of films have received support since the programme 1996 Trainspotting by Danny Boyle began. Here is just a selection of some of the films that have 1996 Drifting Clouds by Aki Kaurismäki touched and inspired us over the years: 1996 Secrets & Lies by Mike Leigh 1996 Hamsun by Jan Troell 1991 Mediterraneo by Gabriele Salvatores 1996 Farinelli by Gerard Corbiau 1991 Europa by Lars von Trier 1996 Microcosmos by Claude Nuridsany/Marie Pérennou 1991 Toto le héros by Jaco Van Dormael 1996 Breaking the Waves by Lars von Trier 1991 Delicatessen by Jean-Pierre Jeunet and Marc Caro 1996 La promesse by Jean-Pierre and Luc Dardenne

1992 Les amants du Pont-Neuf by Léos Carax 1997 La vita è bella/La vie est belle/Life is Beautiful by Roberto Benigni 1993 Åndernes Hus/The House of the Spirits by Bille August 1997 Frøken Smillas fornemmelse for sne/Smilla’s 1993 Orlando by Sally Potter Sense of Snow by Bille August 1997 Western by Manuel Poirier 1994 Nattevagten/Nightwatch by Ole Bornedal, Thura Film 1994 Riget/The Kingdom by Lars von Trier 1998 On connait la chanson by Alan Resnais 1994 Il Postino by Michael Radford 1998 The Full Monty by Peter Cattaneo 1994 Caro Diario/Dear Diary by Nanni Moretti 1998 Festen by Thomas Winterberg 1998 Fucking Åmål /Show me Love by Lukas Moodysson 1995 La Haine by Mathieu Kassovitz 1998 Idioterne/The Idiots by Lars von Trier 1995 Land and Freedom by Ken Loach 1995 Flamenco by Carlos Saura 25

1998 Kirikou et la Sorcière by Michel Ocelot 2002 The Pianist/Le pianiste by Roman Polanski 1998 My Name is Joe by Ken Loach 2002 Être et avoir/To Be and To Have by Nicolas Philibert 2002 L’auberge espagnole by Cédric Klapisch 1999 Todo sobre mi madre by Pedro Almodóvar 2002 The Magdalene Sisters by Peter Mullan 1999 East is East by Damien O’Donnel 2002 The Man Without a Past by Aki Kaurismäki 2002 Los Lunes al sol by Fernando León de Aranoa 2000 101 Reykjavik by Baltasar Kormákur 2002 Habla con ella by Pedro Almodóvar 2000 Dancer in the Dark by Lars Von Trier 2002 Lilja 4-ever by Lukas Moodysson 2000 Italiensk for begyndere/Italian For Beginners 2002 The hours by Stephen Daldry by Lone Scherfig 2002 8 Femmes/8 women by François Ozon 2000 Pane e Tulipani by Silvio Soldini 2002 Respiro by E. Crialese 2000 Angels of the Universe by Fridrik Thor Fridriksson 2002 Hafið/La Mer by B. Kormakur 2002 Son frère/His brother by Patrice Chéreau 2001 Le fabuleux destin d’Amélie Poulain 2002 Hundstage/Dog Days by Ulrich Seidl by Jean-Pierre Jeunet 2001 La pianiste/Die Klavierspielerin by Michael Haneke 2003 The Girl with a Pearl Earring by Peter Webber 2001 Billy Elliot by Stephen Daldry 2003 Good Bye Lenin! by Wolfgang Becker 2001 Elling by Peter Næss 2003 Dogville by Lars von Trier 2001 The Others by Alejandro Amenábar 2003 La Meglio Gioventù by Marco Tullio Giordana 2001 Juana la Loca/Mad Love by Vicente Aranda 2003 In This World by Michael Winterbottom 2001 No man’s land by Danis Tranovic 2003 Les triplettes de Belleville by Sylvain Chomet 2001 La stanza del figlio/La chambre du fils by Nanni Moretti 2003 Nói albínói by Dagur Kári Petursson 2001 Le peuple migrateur/Winged migration by Jacques Perrin 2003 Kontroll by Nimród Antal 26

2004 Les choristes by Christophe Barratier 2006 Volver by Pedro Almodóvar 2004 The Edukators by Hans Weingartner 2006 This is England by Shane Meadows 2004 Sophie Scholl – The Final Days/Sophie Scholl – Die Letzen 2006 The Wind That Shakes The Barley/Le vent se lève Tage by Marc Rothemund by Ken Loach 2004 La Mala Educación by Pedro Almodóvar 2006 After the Wedding/Efter brylluppet by Susanne Bier 2004 Das Untergang/The Downfall by Oliver Hirschbiegel 2006 Pan’s Labyrinth/El laberinto del fauno by Guillermo del Toro 2004 Gegen die Wand/Head On by Fatih Akin 2006 Zwartboek by Paul Verhoeven 2006 Taxidermia by György Pálfi 2005 L’Enfant by Jean-Pierre and Luc Dardenne 2006 Cum mi-am petrecut sfârşitul lumii/The Way I Spent 2005 Mar adentro by Alejandro Amenábar the End of the World by Cătălin Mitulescu 2005 Hidden/Caché by Michael Haneke 2006 Grandhotel by David Ondříček 2005 Les Amants Réguliers by Philippe Garrel 2005 Something Like Happiness/Štěstí by Bohdan Sláma 2007 Auf der anderen Seite/On the other side by Fatih Akin 2005 Habana Blues by Benito Zambrano 2007 Die Fälscher by Stefan Ruzowitzky 2005 Iberia by Carlos Saura 2007 4 Months, 3 Weeks and 2 Days by Chris Mungiu 2005 Paradise Now by Hany Abu-Assad 2007 Persepolis by Marjane Satrapi/Vincent Paronnaud 2005 Va, vis et deviens/ Live and become by Radu Mihăileanu 2007 La Môme by Oliver Dahan 2005 Match Point by Woody Allen 2007 Irina Palm by Sam Garbarski 2005 Arthur et les Minimoys by Luc Besson 2007 Christmas Story by Juha Wuolijoki 2005 Eleven men out by Robert I Douglas 2007 Control by Anton Corbijn 2007 Rec by Jaume Balaguero 2006 Das Leben der Anderen/The Life of Others by Florian 2007 Funny Games by Michael Haneke Henckel Von Donnersmarck 2007 The Diving Bell and the Butterfly by Julian Schnabel 2006 La marche de l’empereur/March of the Penguins 2007 Fly Me to the Moon by Ben Stassen by Luc Jacquet 27

2008 Paris by Cédric Klapisch 2009 An Education by Lone Scherfig 2008 Gomorra by Matteo Garrone 2009 Celda 211 by Daniel Monzón 2008 Slumdog Millionnaire by Danny Boyle 2009 The Good Heart by Dagur Kari Petursson 2008 Entre les murs by Laurent Cantet 2009 Videocracy by Erik Gandini 2008 Niko and the Way to the Stars by Kari Juusonen 2009 The Queen and I by Nahid Persson Sarvestani & Michael Hegner 2009 Brendan and the Secret of Kells by Tomm Moore/ 2008 Le silence de Lorna by Jean-Pierre and Luc Dardenne Nora Twomey 2008 Waltz with Bashir by Ari Folman 2009 Le Concert/The Concert by Radu Mihăileanu 2008 Il divo by Paolo Sorrentino 2009 Small Crime by Christos Georgiou 2008 The Bug Trainer by Rasa Miškinytė 2009 Panique au Village/A Town Called Panic 2008 The Queen by Stephen Frears by Stéphane Aubier and Vincent Patar 2008 Séraphine by Martin Provost 2009 Broken Embraces/Etreintes brisées by Pedro Almodóvar 2008 Rabbit a’la Berlin by Bartek Konopka 2009 Three Seasons in Hell/3 sezóny v pekle by Tomáš Mašín 2008 33 scenes of life by Małgorzata Szumowska 2009 De Helaasheid der Dingen/The Misfortunates 2008 Eldorado by Bouli Lanners by Felix van Groeningen 2008 Hunger by Steve Mcqueen 2009 L’illusioniste/The Illusionist by Sylvain Chomet 2008 Bienvenue chez les Ch’tis by Dany Boon 2009 Kynodontas/Dogtooth by Giorgos Lanthimos

2009 Das weisse Band/The White Ribbon by Michael Haneke 2010 Mr. Nobody by Jaco van Dormael 2009 Welcome by Philippe Lioret 2010 Des hommes et des dieux/Of Gods and Men 2009 Un prophète/A Prophet by Jacques Audiard by Xavier Beauvois 2009 Singularidades de Uma Rapariga Loira 2010 Illégal by Olivier Masset-Depasse by Manoel de Oliveira 2010 In a Better World/Hævnen by Susanne Bier 2009 Antichrist by Lars von Trier 2010 The King’s Speech by Tom Hooper 28

2010 Submarino by Thomas Vinterberg 2010 La solitudine dei numeri primi by Saverio Costanzo 2010 Sound of Noise by Ola Simonsson/Johannes Stjärne Nilsson 2010 Eastern Drift by Šarūnas Bartas 2010 Murid by Yeliz Sukri 2010 The House/Dom by Zuzana Liová 2010 Back to Your Arms by Kristijonas Vildziunas 2010 Rundskop/Bullhead by Michaël R. Roskam 2010 Le voyage extraordinaire de Samy/Sammy’s Adventures by Ben Stassen 2010 Arthur 3: The War of the Two Worlds by Luc Besson European Commission MEDIA – 20 years of passion Luxembourg: Publications Office of the European Union 2011 — 28 pp. — 21.0 × 14.8 cm ISBN 978-92-79-17593-0 doi:10.2766/72280

How to obtain EU publications Free publications: • via EU Bookshop (http://bookshop.europa.eu); • at the European Commission’s representations or delegations. You can obtain their contact details on the Internet (http://ec.europa.eu) or by sending a fax to +352 2929-42758. Priced publications: • via EU Bookshop (http://bookshop.europa.eu); Priced subscriptions (e.g. annual series of the Official Journal of the European Union and reports of cases before the Court of Justice of the European Union): • via one of the sales agents of the Publications Office of the European Union (http://publications.europa.eu/others/agents/index_en.htm). NC-31-10-667-EN-CNC-30-10-620-EN-C The MEDIA programme is managed by the European Commission by is managed Commission the European programme The MEDIA Agency: Executive and Culture Audiovisual and the Education, Commission European B-1049 - Belgium Brussels 18/68, MADO Office 90 +32 (0)2 299 22 295 22 90 – F: +32 (0)2 T: [email protected] Email: (EACEA) Agency Executive and Culture Audiovisual Education, B-1049 Brussels du Bourget 1, Avenue BOUR 3/30, 299 92 14 +32 (0)2 02 – Fax: +32 (0)2 298 43 Tel: [email protected] Email: please visit: on the MEDIA programme information more For http://ec.europa.eu/media or antennae: or one of Desks the MEDIA http://ec.europa.eu/culture/media/programme/overview/who/desks