Tracking Satyrs, MML Collectve (Michał Mądracki, Maciej Mądracki & Gilles Lepore), Eurimages Lab Project Award 2020

DGII/EUR/SGEval(2021)_33

Report Study on the feasibility, pertinence & design of a Lab Projects support programme for the Eurimages Fund Introduction 4. Contents. Defning a framework of study 6.

The Eurimages Lab Project Award 2016-2020 10. An analysis

Chapter 1. Non-conventional cinema in history & today 18.

Historical notons about unconventonal cinema 20 Low-budget flmmaking in Europe – Retrospectve & current trends 24 Practces of non-conventonal cinema - Non-fcton, hybrid & artst flms 32 Internet and new aesthetc forms of contemporary cinema 36

Chapter 2.

Diamantno, Gabriel Abrantes & Daniel Schmidt (2018) Mapping the feld of non-conventional cinema in Europe 42. Report Filmmakers & visual artsts – Juggling creatve processes 44 Study on the feasibility, & funding strategies Producers – Empowering a vivid & collaboratve community 50 pertinence & design Incubators & Exhibitors – Championing radical cinema 56 of a Lab Projects Chapter 3. support programme Innovating public policy making 67. for the Eurimages Fund Non-conventonality in public support mechanisms 68 A new scheme - The Design, Audience, and Carte Blanche Lab Awards 78 Guidelines 88

Conclusion 94. List of people interviewed 96 Photo credits 98 Opinions expressed in this publicaton are personal to the authors and do not necessarily March 2021 represent the view of Eurimages, its members or the Council of Europe. 3 Introduction.

ilmmaking and flm viewing in Europe have The label of non-conventonal cinema is no F evolved dramatcally in the last twenty longer about necessarily remaining stuck in a years and will contnue to mutate even more in niche and so-called experimental flmmakers the coming years. The set of categories (fcton/ need not necessarily inhabit an ‘underground documentary; features/shorts/series; live gheto’ for their entre career. In fact, they acton/animaton; festvals/cinemas/television; don’t! In the 20th century, flm vanguards mainstream/art house; etc.) that have long been were most ofen only an infuence on the used by each and every stakeholder in the feld next generatons, and it could take decade(s) to create a mental map of European flmmaking for mainstream cinema to appropriate artstc where they would positon themselves, have breakthroughs from past cutng-edge flms. gradually lost much of their relevance in a digital Not only are borders far more porous today, era. The issue is that these maps inherited but many flmmakers are nimbly navigatng and from the past are stll very much defning the crossing between diferent territories at a very audiovisual policies in Europe today - locally, quick pace, reaching audiences, whose nature natonally, and internatonally. and scope vary greatly depending on the given project. Such examples of dissident flmmakers The Stand-In, By nature, non-conventonal flmmaking making it to the mainstream not only explode, Rä di Martno (2017) practces are more shape-shifing and agile but render categories obsolete. than conventonal ones, the later favouring the status-quo. Yet in the current context, these That’s the context of cinema & audiovisual protean characteristcs, which have largely been industries as we see it, and that’s what makes difcult to defne and previously incapacitated the study commissioned by Eurimages on the their chances of ataining visibility, are now feasibility, pertnence, and design of its Lab increasingly gaining tremendous value. This Projects Award programme partcularly excitng. makes them beter equipped to apprehend It was our belief, supported by our expertse and answer the enormous paradigm shifs and intuiton, and it is our certtude now, of viewing practces currently in moton. supported by our research, that Eurimages may Undoubtedly, non-conventonal flmmaking have not truly seized the entre potental of this now has a historical opportunity to have a programme. What started, and stll is considered, greater impact, both rapidly and massively on as a promotonal programme motvated by the the overall audiovisual ecosystem, and its set of desire to address the few flm projects that norms, than ever before. Dominant cinema in escape the cracks of its main support scheme fact must be observant enough in order to use could very much become the homing device to all these experimentatons to its own advantage; expand their experimental innovaton in policy- By Mathieu Darras to quickly redefne itself and remain atractve, making. Ultmately, it may unexpectedly and otherwise it soon risks becoming moribund and soon enough infuence the whole approach of irrelevant - a danger that is unfortunately rapidly the Fund - and its mission. Introduction growing into a reality.

5 The team members have worked in diferent capacites in the flm and audiovisual sector in Europe, together they combine a wide range of expertse and experiences, notably as: Heads of flm labs/ industry platorms/ trainings; festval directors/ curators; flmmaker/ visual artst; producers; journalist; TV broadcaster he commission of a study on the feasibility, editor; flm insttute ofcer. These diferent T pertnence and design of a Lab Projects levels of engagement were a guarantee for an support programme for the Eurimages approach that was not one-sided, to prevent fund is the direct result of the work of an conficts of interest and to foster enriching & Evaluaton Study Group set up by the Board of contradictory debates within the team.

Defning a framework of study. framework a Defning Management of the Fund in December 2018. Generally, the Evaluaton Study Group stressed The structure of the research team was as that Eurimages will inevitably have to defne follows: recommendatons in order to adapt to an ever- • Mathieu Darras (France/Slovakia) and changing environment. Rebecca De Pas (Italy/Czech Republic/France) as co-Heads of Studies; This is the object of this study by Tatno Films, • Esra Demirkiran (Turkey), Anna Gudkova commissioned by Eurimages, that was achieved (Russia), Marina Gumzi (Slovenia/Germany), over a 100 day-period from November 2020 Elena López Riera (Spain/Switzerland), and to February 2021. This artcle intends to detail Natacha Seweryn (France) as Research what our process has been in order to create a Associates. Maesta, fexible framework that functons as a vehicle • Kristna Aschenbrennerová (Slovakia) as Andy Guérif (2015) towards delivering the main objectves of the Research Coordinator. study, which are: to assess the pertnence of a programme aimed at supportng innovatve or The co-Heads of Studies were both experienced non-conventonal cinema/audiovisual projects; in the feld of non-conventonal & innovatve to make recommendatons on the format of a cinema, principally – but not exclusively – as new support programme. Heads of Labs & curators. They have, for many years and in diferent capacites, faced some of Our process consisted in the following steps: the challenges that are at the core of this study. establishing a team, defning a methodology, For instance, they had to ideate structures and and implementng a research strategy. to design decision-making processes, in order to be relevant and to maximize the impact By Mathieu Darras The Team of their actons within specifc limitatons. Their combined contributons to a long list of leading flm initatves that are actve in the feld In order to address a feld as wide and shape- guaranteed extensive knowledge of the specifc Defning shifing as non-conventonal cinema, the idea issues involved in the study, together with an was to consttute a team of diverse people independence vis-à-vis the players in the feld. that are complementary to one another, a framework and ultmately refectng the multplicity of The role of the Research Associates, each with viewpoints on innovatve/non-conventonal their unique profle, was to enlarge the scope cinema in Europe. Their practce in their of the brainstorming, to generate new ideas, of study respectve felds, combined with a genuine to challenge certaintes, to reach out towards interest refecton on public policy and a know- a large scope of professionals in many member how in carrying research & studies, was decisive. countries, and generally to enrich the study.

7 Defning a framework of study. The Methodology The ‘categorizatons’. we but such interviews, pre-establishing from ourselves refrained the in realites and represented practces are of range wide a work that of felds diferent implemented were interviews the stakeholders, diferent the of instances the of and sensitvity. In order to have a brought their research own specifc approach, experience qualitatve of the to Obviously,belonging interviews of form interviews the took interviews the of Most identfed. stakeholders diferent the with initated were They formulated. are that defnitely paved the way to the recommendatons a on studyThestrongly relied on interviews and round tables with diferent forms of associates experienced researchwith academic research two themselves) to specifcally more was to combine Regarding feld of study thus very important paterns funding inefectve to leads labelling fast creates too ofen An research. of feld ultmately complex a are flms, that of making the in converge practces diferent to specifcity linked the as well as models, producton development a being flms’ ‘Innovatve defned objectves and deadlines. well- communicaton, of fows simple tasks, of division clear a with Eurimages, of Secretariat collaboraterelatontogether,to thein withand a defne to was step next the team, a up setng Afer results. tangible delivering ofnecessity the and constraints tme strict the considering crucial, an Adoptng By Rebecca De Pas series of interviewsof series smooth working processsmoothworking h rs o oe-ipictn that over-simplifcaton of risk the h atie planned actvites the atg n hu o average. on hour one lastng efcient study methodology study efcient . te needn ntr o the of nature independent the , desk research to constantly queston our feld research , whose fndings have fndings whose , ec interviewer each , W md sure made We . feld researchfeld . ae i constant in label (that was handled panoptc view te method the , for the team forthe o consider to : individual individual I was It . method , and , was

The StrategyThe with selected benefciaries and partcipants. also but programme, the in involved partners Pas, diferent De the all with exchanges extensive Rebeccaafer by artcle following the of Projects Lab object the is Eurimages this and 2016-2020, Programme the of analysis an format past the Evaluatng are The tasks we set for ourselves consisted in: study the for points properly addressed. objectves main the as ensures identfed that trajectory creatng a about is strategy research a Having the supervision of the Eurimages’ secretariat. consultatons Finally, content. immersive and XR, digital, of producers/exhibitors and XR directors on and festvals on and Two (14), Exhibitors Funders (15). (15), Incubators (14), main Producers 5 (13), Filmmakers following groups: identfed the to belonging people total, In residencies were most valuable. artst & forums, trainings, Labs, of Heads with Interviews well. as representatves platorms SVOD and broadcasters distributors, the were the feld thanks to their thorough knowledge, as map to order in decisive weredirectors artstc & programmers festval curators, & directors centre art and museum The support. of terms in needs theirtheyperceiveexpress as what to able representaton,ofand boundaries pushing in artsts, emblematc is visual work whose directors, producers, and feld the in artstc fgures leading including themselves, Award the potental benefciaries of the Eurimages Lab with Interviews in-depth have to crucial was It • • • • Innovatng public policy making Identfying stakeholders Mapping the feld Evaluatng the past formats on tables round 1 neves ee are out carried were interviews 71 ok lc, oehr n under and together place, took ee lo organized, also were wt fm festval flm with , consists in making in consists informal with 8 f upr.Ti poes a be crid out carried been has process terms This support. of and in needs practces stakeholders’ best the identfying highlightng and about is excellence, It with recognized challenges. their and concernstheir to listening overall partners, and & practces, innovatve expertse, demonstrable benefciaries possible and incubators/ future – feld the and in actve players producersexhibitors) representatve & of (flmmakers range diverse a stakeholders Identfying in turns economic, aesthetc and technological. are that perspectves with conventonalcinema the history of avant-gardes and apprehend non- Mathieu Darras and Rebecca Seweryn,De Pas that notably look at Natacha by artcles with cinema in Europe. This is what innovatve & fornon-conventonalof practces the context a provide to wanted we as back, feld the Mapping The Team fn en tkn a step a taking means ofen s on t meet to going is Chapter 1 Turkey Esra Demirkiran France Italy, Czech Republic Rebecca DePas France, Slovakia Matthieu Darras Russia Anna Gudkova is about,

n h fae f uiae cn e designed, be which will deliver results, impact and visibility. can Eurimages of frame the in programme support pertnent a that convinced and level supported signifcantly be to deserve insttutonal at wholeheartedly flms Non-conventonal programme startng in 2022. Projects Lab Eurimages the of cycle new the Pas design a new scheme, and its guidelines, for Only then could Mathieu Darras & Rebecca De recommendatons. relevant to prerequisite a – Europe in mechanisms support several analyse into acton, it was necessary for Marina Gumzi to reinvent its mission. In order to translate to this aim and innovate to Eurimages for opportunity an as Award Project Lab the considers which 3 policy public Innovatng Desmirkiran in Esra and Gudkova, Anna Riera, Lopez Elena by i atal te mio o ti study, this of ambiton the actually is , , Chapter 2 need to be recognized be to need . te te of ttle the , France Natacha Seweryn Spain, Switzerland Elena LópezRiera Slovenia, Germany Marina Gumzi Slovakia Aschenbrennerová Kristina

. We areWe . Chapter 9 or fve years the Eurimages Lab Project F Award supported 20 feature flm projects to a total of one million Euros. The general outcome of our research, combined with the number of flms that have completed their Speakers - producton processes, underlines that, despite Eurimages Lab Project the inadequacies identfed, the Eurimages Lab The Eurimages Lab Project Award 2016-2020. Award Lab Project Eurimages The Project Award has been a positve experience Award Recipients for the flm industry, with resonance that goes far beyond the individual awards.

The Hidden City, Marco Alessi Víctor Moreno (2018) Strengths Producer I Dugong Films I Proof of the scheme's successful impact is that Italy all the awarded projects completed flms went on to premiere in prestgious festvals: Venice IFF, Toronto IFF, Locarno IFF among others (see full list at the end of the artcle). By Rebecca De Pas Katrín Ólafsdóttir Katrín Ólafsdótr, Icelandic flmmaker, visual artst, and award recipient (And The Wind Blew, Filmmaker The Norwegian IFF Haugesund), insists that it & Producer I The Eurimages Lab is a programme almost ahead of its tme: “I Iceland think the Eurimages Lab Project Award was an extremely important one, it was almost like a Project Award pioneer programme and maybe it was too much of a pioneer. Maybe in that sense, it was perfect because it served flms that are telling stories 2016 – 2020 more for people in the near future rather than for people today.” An Analysis

11 The Eurimages Lab Project Award 2016-2020. kind of projects, falling between experimentaton Atlantde award Karlovy Vary IFF; and producer( flms diferent three for recipient Italian Alessi, Marco bridges between diferent market models. create to how of example an sets it as Award, Project Lab Eurimages of the as such initatve importance an the measure to paramount is that aspect this is It them. to alien been have otherwise would that market a access to able “mainstreamed” be to presented in the Eurimages Lab Project Award was out pointed been has that aspect positve Another important atracton for project holders. an became quickly it and prize cash generous ProjectEurimagesLab most Award the the was thepartner events, theamount ofered through all Inofer. on prize cash signifcant the to due to Awardatractmore flmmakers dedicatedand industry, Project Lab Eurimages the on rely could events partnering the Marketng-wise, ensemble of their selected works in progress. the to visibility additonal important produced professionals of network high-profle display, bringing them to the atenton of their the Eurimages Lab Project Award’s projects on end, each of the partners has this To industry.worked flm hard the of radar the on flms way, the award gave a great boost in getng the precariousand very a independentproduced in Ofen projects. chosen the on has award the the in is prize, cash the linkedto advantagesclear the besides programme, the of strength main The An Analysis By Rebecca De Pas branding and the marketng efect marketng the and branding , Karlovy Vary IFF), explains: “For certain h psiiiy o te projects the for possibility the Gold is all there is maig hy were they meaning , - Les Arcs FF, The Stand In Stand The This . to put that , to a wide number of projects. has been a clever decision that opened the door treates) internatonals co- the outside productons allowing not or release (i.e. theatrical Award a Project requiring Lab the for criteria those of sofening The criteria. eligibility usual its of because them to reach of out Eurimages consider otherwise programme would that producers and The flmmakers to ofer could fund the possibilites consistent. new communicatng in step frst a represented also was The kind of ‘quality this mark’ from us.” got project the afer mind their changed anything, them give wouldn’t normally which insttutes, fnancial natonal their example, for and notced were they because – festval our at presented being afer support the got flms those of many that discovered we and people refreshing and original flms for the flm industry these introducing were “We recalls: IFF, Vary Karlovy the of Industry of Head Rosák, Hugo being “non-exploitable”. projects those of idea overcomethe to helping flm awareness the among natonal insttutons, and thus for support distributon is Award out Project Lab pointed Eurimages been “label” the has that it least, not but Last scrutny of a market looking for its own future.” atentvedevelopunderthenewcan languages where and achievement an becomes research where “place” a you gives It industry. flm the in directly them positons endorsement Award Project Lab Eurimages the crafsmanship, and motn fr en cmltn and completon getng for important impact in terms ofterms in impactvisibility for Eurimages creatng ,

12 n salsig h eioil ie f h award. the of line editorial the establishing in createddifcultes thatfactor another was This proactveresearch applicatonsand waslimited. gathertheythroughtoof flms range were able partner projects the the was by festvals mentoned pitall Another the ofer within the same event itself. also poorevents,coherencebutthe the among explain vaguelyaddressed.couldwerejust This not or partners, were the by model, considered systematcally producton and form, the content, of terms in Project address Lab should Award Eurimages the what actve in and thinking specifc Any up. line established more their to relaton in primarily projects the selectng of process their described The festvals factor. sole the not is this Nevertheless, of non-conventonal cinema. nature the defning of difcultes the to linked supported be that could flms of kind the on misunderstanding a was research and One of the main issues revealed by our interviews programme. the of results the weakened that factors other the of aim award the and festvals partner E&Y the of of fndings underline the the Whereas external its evaluaton. in Eurimages of about functoning wrote Youngthe & Ernst that words been the has Award of Projects Lab analysis Eurimages our the for reference important An Weaknesses s h mi ise w hv detected have we issue, main the as Al or vns etnd ht the that mentoned events four All . incoherence between the choice icly n cun the scoutng in difculty Ti i pras directly perhaps is This . eea dsonc or disconnect general not always interestng.” and diferent very were projects The profles. diferent very with people four by composed was jury the and selecton the in projects fve presence.internatonalmore There a wereonly to up open to beter be would It selecton. the geographical “The focus was interestng, but it limited the scope of says: Project Haugesund, Lab Award Eurimages the for member jury and producer, Danish/French Slot, Marianne of their usual pool of professionals. part a not wasdisciplines otherartstc and flm also been pointed out that the realm in between to reach out beyond their usual network This in general limited the commercial flms (Les Arcs). and house, art classical, towards afliaton an or Thessaloniki) (Haugesund,Vary,and Karlovy focus regional a either for identty: factors, multple marked a to has event each that fact the instance due be could This Award Eurimages LabProject Speaker - Jury member capacity of each event Denmark, France Slot Machine I Producer I Marianne Slot

. It has

13 An Analysis

Hugo Rosák adds: “The fact that we had to ofen related to the presence of a Eurimages it would have required partcular skills that we Project Award, excludes flmmakers working struggle with too many irrelevant projects in the representatve having too much say in the fnal don't have.” alone or those supported by a structure that is applicaton was connected with the obstacle decision. This is a partcularly sensitve point when trying not recognized as a producton company. This that there’re too many festvals for the [low – to reach flmmakers or artsts coming from more constraint most probably played a role in the the ed.] number of existng projects.” For Gyda Velvin In general, as shown by the interviews, the heterodox producton models. The eligibility scheme’s capacity to atract flms that are not Myklebust, programme director of the New recipients were grateful and happy to receive criteria that Eurimages requested for the Lab made through classic modes of producton. Nordic Films industry secton of the Norwegian the award. If a concern was expressed, it was Film Festval in Haugesund: “It was difcult to about the misunderstanding on the nature of fnd these projects for our Industry programme. the support that caused a disproportonate We really struggled for them. Nevertheless, we amount of work compared to its monetary Speakers - Partner festivals managed to fnd from 8 to 10 projects every beneft. year.” Gyda Velvin Myklebust The last aspect that prevented the programme Frédéric Boyer Speaker - Eurimages Lab Programme Director from fully embracing the crossover between Artstc Director I Project Award Recipient I New Nordic Films, diferent disciplines was the absence of people Les Arcs Film Norwegian Film coming from other creatve felds in the juries. Festval I France Festval in Haugesund I If some of the festvals included at least one Norway director, none of them invited a creatve person Siniša Juričić who was actve outside the cinema industry. Producer I The Eurimages Lab Project Award 2016-2020. Award Lab Project Eurimages The Both Thessaloniki and Les Arcs representatves Yianna Sarri Nukleus Film I shared some difcultes encountered in the Croata Anna Ciennik Head of Agora – functonality of the jury – Consultant for Industry Village Innovatve Programs I Manager I Les Arcs Thessaloniki Film Festval I France Internatonal Film Filmmakers with practices Siniša Juričić, Croatan producer and award Festval I Greece recipient (Perseverance, Karlovy Vary), details: in other art forms “Something that we all understood to be an award turned into a Eurimages grant. I had Hugo Rosák Katrín Ólafsdótr to complete as much paperwork with all the Jérémy Zelnik Head of Industry I Contemporary dance requirements of the usual fund for four tmes Karlovy Vary Head of Industry I less money than I’d get if I’d applied for a regular Internatonal Film Les Arcs Film Festval I Yuri Ancarani coproducton scheme of Eurimages.” Festval I Czech Republic France Visual artst Another point that has been stressed by the Rä di Martno partcipants is the difcultes experienced by Visual artst the artsts, who produce flms on their own. Chloé Galibert-Lainé, a French researcher, Speakers - Eurimages Secretariat Ekaterina Selenkina multmedia artst, and award recipient Visual artst (Botled song, Karlovy Vary), shares her hardships: “We haven’t yet received the money from this Sergio Nathalie Monteillet Chloé Galibert - Laîné grant. It took us a few months to understand Garcia de Leaniz Visual artst that we needed a producton company in order Public relatons to receive it. We were used to working on Project Manager I & promoton I Itonje Søimer Gutormsen our own, via an auto producton process. At Eurimages I France Eurimages I France Visual artst some point, we considered creatng our own producton company to receive this grant, but

By Rebecca De Pas 14 15 An Analysis Eurimages Lab Project Award 2016-2020 List of Awards Conclusions Nevertheless, the track record of the projects that have been completed since receiving Blind Man Who Did Not Want to See Normal by Adele Tulli (f), produced by This artcle intends to provide a brief overview support by the Eurimages Lab Project Award Titanic by Teemu Nikki (m), produced Valeria Adilardi, Laura Romano and Luca of the Eurimages Lab Project Award 2016 – does provide solid examples of flms that are by Jani Pösö from the company It's Alive Ricciardi from the company FilmAfair (IT) 2020. As we discussed with the interviewees capable of mingling in the established flm Films (FIN) – Haugesund – Karlovy Vary FILM COMPLETED and brainstormed within our researching team, industry marketplace. The presence of non- it is irrefutable that the Eurimages Lab Project conventonal cinema flmmakers with a work Atlantde by Yuri Ancarani (m), produced Perseverance (SI, HR, IT, RS) by Miha Award has been welcomed as a pioneering practce beyond classic forms of flm has been by Marco Alessi from the company Knifc (m), produced by Siniša Juričić – initatve on an insttutonal level. rather weak, a factor that further underlines Dugong Film (IT) in co-operaton with Karlovy Vary FILM COMPLETED the lack of interacton between the Eurimages France - Karlovy Vary If the programme presented structural Lab Project Award and potental “non- Speak So I Can See You by Marija Stojnic inadequacies, in partcular failing to create a conventonal” benefciaries. Botled Songs writen, directed and (f), produced by Marija Stojnic and Milos strong editorial line, it is not solely due to the produced by Kevin B. Lee (m) and Chloé Ivanovic from the company Bilboke (RS) choice of the partner festvals, as underlined The Eurimages Lab Project Award has been an Galibert (f) respectvely from Germany – Thessaloniki FILM COMPLETED by E&Y, but also because of an unclear idea of important pilot programme capable of giving and France - Karlovy Vary the flms that could be targeted by the award. a strong signal to the industry. Thanks to its The Hidden City by Victor Moreno (m), Other factors that have been mentoned on achievements, the Award has created a solid Burning Man by Itonje Søimer produced by the companies El Viaje Films multple occasions are that, even if sofened, the base for the development of an enhanced Gutormsen (f), produced by Maria (ES) and Pomme Hurlante (FR) - Les Arcs eligibility criteria of the Eurimages Lab Project scheme to support non-conventonal flms in Ekerhovd from the company Mer Film FILM COMPLETED

The Eurimages Lab Project Award 2016-2020. Award Lab Project Eurimages The Award would stll present an obstacle to fnding Europe. (NO) – Haugesund FILM COMPLETED and supportng non-conventonal flms. The Stand-In by Rä di Martno (f), Figures in the Urban Landscape by produced by Dugong Srl (IT) in co- Ekaterina Selenkina (f) and produced by operaton with France and Marocco – Vladimir Nadein (RU) - Les Arcs Karlovy Vary FILM COMPLETED Eurimages Lab Project Award 2016-2020 Key Figures Gold Is All There Is by Andrea Caccia (m), The Wind Blew On (IS) by Katrín produced by Dugong Films (IT), Picoflms Ólafsdótr (f), produced by par (FR) and Rough Cat (CH) - Les Arcs FILM Incoherence Cinema Limited – Number of flms completed Gender Figures COMPLETED Haugesund flms out of 20 8 women directors 12 Him by Guro Bruusgaard (f), produced Thorn (GR, DK) by Gabriel Tzafa have been completed and 11 have already (including a co-directon): roughly 38% by the Norwegian company Alternatvet (m), produced by Panayiots Kakavias premiered. This data is positve (especially of the total, in line with the actual status Produksjon – Haugesund (Kakavias Film) and Michael Bille considered the delays due to Covid-19) of gender balance within the overall Frandsen & Theis Nørgaard (Nitrat Film) and shows the acceleratng capacity Eurimages actvites (38%). Jimmie by Jesper Ganslandt (m), – Thessaloniki FILM COMPLETED of a cash prize awarded during post- produced by Jesper Kurlandsky, Hedvig producton. Lundgren and Juan Libossart from the Tracking Satyrs by Maciej & Michal Country Diversity company Fasad (SE) – Haugesund FILM Madraccy (m) and Gilles Lepore (m), (co-producton included) 1 flm COMPLETED produced by Beata Rzeźniczek from the Croata, Denmark, Finland, Germany, 17 represented countries 40 company Madants (PL) - Thessaloniki Greece, Island, Norway, Poland, Portugal, Magdala by Damien Manivel (m), This data shows a concentraton of the Russia, Slovenia, Sweden. produced by Mld Films (FR) - Les Arcs White on White by Theo Court (m), awards for countries that gravitate around 2 flms produced by Jose Alayon from the the festvals hostng the award. Serbia, Spain, Switzerland. Mother Lode by Mateo Tortone, company El Viaje Films (ES) – Les Arcs produced by Alexis Taillant and Nadège FILM COMPLETED 6 flms Labé from the company Wendigo Films France, Italy. (FR), in cooperaton with Benjamin Undergrown by Marta Ribeiro (f), Poumey from C-Side Productons (CH) produced by Joana Peralta from the and Margot Mecca from Malfé Films (IT) company Videoloton (PT) – Thessaloniki – Thessaloniki FILM COMPLETED FILM COMPLETED By Rebecca De Pas 16 17 Leviathan, Chapter 1. Verena Paravel & Lucien Castaing-Taylor (2012) Non-conventional cinema in history & today Chapter 1. Chapter

aying the groundwork for a study of society and its potental drifs. Nevertheless, L unconventonal cinema could be similar to there are multple possible interpretatons of a history of the avant-gardes, to the extent that this movement, as evidenced by the divergent they questoned the norms and conventons of analyses of Siegfried Kracauer or Lote Eisner. this art. However, nonconventonal cinema is not Dziga Vertov’s Cine-Eye is another part of exclusive to the avant-garde, as some of these this dynamic, in the late 1920s. The manifesto trends are not clearly identfed as such. If there We: Variant of a Manifesto describes the major are certain paterns, there is no unity in what is trends of Kino-Pravda. Freed from the shackles unconventonal, except for the questoning of of bourgeois scripts, the operator goes out into certain aesthetc and politcal norms. the street to flm the world as it is and creates What we can agree on is that non-conventonal flm materials freed from too many artfacts. cinema inevitably refers to conventonal cinema, These frst two movements also allow us to even if this term depends on many aspects. think that two avant-gardes can also explore The Seashell and the Clergyman, Germaine Dulac (1928) Over the last century, issues about conventons diferent meanings: there is no uniqueness in in cinema have been numerous and varied. what the periphery of conventons explore. In Some major movements are helpful to beter both cases, the cinema of these avant-gardes understand how norms and conventons have questons norms that already exist. been questoned since the creaton of the cinema. A third trend that seems relevant to cite here is Germaine Dulac’s research of a "pure The early ages of cinema until cinema ". Known as a flmmaker before theorizing By Natacha Seweryn the WWII her concept of cinema in What is cinema?, she develops an approach in her flms that could be described as impressionistc. In her essay, Much has already been writen about the she defnes what her concept of pure cinema Historical notions beginnings of cinema: at frst, considered as could be: “Between cinema-industry and avant- entertainment in the context of fairground garde cinema is cinema without qualifcaton. atractons, it took a long tme to be developed as It is the only one that is worthwhile because it about an art in its own right. German Expressionism, represents plenitude.” She develops the practce taking place in the 1920s, is ofen considered of a cinema of percepton, at the same tme as as one of these important moments for cinema. a cinema accessible to all, based on narratve unconventional It describes an exaggerated distorton of reality frames. She breaks certain conventons of the in order to provoke an emoton. This early tme by being one of the rare directors to install movement develops a clearly identfable flm a female point of view. cinema style and seems to address the evoluton of

21 Chapter 1. (from the 1960s) the (from role curator the ofthe and of flmmaker cooperatives developmentThe and the French the and New Wave After WWII the –Neo-Realism about unconventonal cinema Historical notons By Natacha Seweryn society to get out of a dead-end. He is also art enttled is anthology boundaries. This ideological and sexual aesthetc, well-knownfor cataloguehis of thatflms broke Vogel Amos flms of this movement. soufe de bout A whilst using natural shoot, setngs and small crews. Godard’s the during screenplays writng Vague, who develop new flming methods ofen major infuence on the flmmakers of the Nouvelle pen."a a writerlikea has withcamera idea This his with writes author "The Astruc. Alexandre Birth of a new avant-garde (camera-pen)'stylo comesfrom called artcle an At the same tme in France, the formula 'caméra- Italian neorealism. outlined are widely regarded as his manifesto to Cinema the on as English in flm published Italian magazine, an to interview an gave Zavatni famous more the flm the is collaboraton frst Their life. everyday in immersed and lucid and responsible,reality, to close is that cinema the same ideal as the director Vitorio de Sica: a Zavatni with movement, neorealism Italian The most representatve. be to seemreality. representsTwomovements producton of flms and the way in which cinema and necessarily wonders about the conditons of AferSecondthe World War,Europeruins, in is codn t hm sbeso wud allow would subversion him, to According . as one ofone as keyits fgures. He cultvates bt fmae ad uao, is curator, and flmmaker both , Te hren ons Zavatni points thirteen The . s n o te representatve the of one is iyl Thieves Bicycle writen by the journalist Teresa Venerdi

im s subversive a as Film I 1952, In . oe Ideas Some

before , Cesare

structure the to exist. In France, allowing cooperatves based rest the and artsts the to going and distributon of their flms, with a percentage rental the managed themselvesflmmakers The Makers’ Cooperatve Jonas Mekasand hisfriends founded audiences. to newofformscinema fnd hardto the bring to onwards 1960s the from created were networks distributon alternatve Vogel, In the same trend as the flm club set up by Amos major flmmakers to the United States. club Cinema 16, in which he introduced flms by flm avant-garde an created having for reputed in a diferent way. that breaks away video from the cinema of to reach exchangeaudiences an announces which recent most precursorsofand alternatve onlinedistributon, the of one is which Kenneth Goldsmith, by created Ubuweb, or circulaton, video of model partcular a television, guerrilla associaton in 1982. We could also menton the Collectf Jeune the Cinéma in as 1971 such or created the were Light model Cone same the on in 1962 in New York. The Film- Reminiscences of a Journey to Lithuania, 22

Jonas Mekas (1972) arrival of streaming platorms, these issues are issues these platorms, streaming of arrival the With experts). XR & directors festval with emphasized in the two roundtables we organized audiences regarding study of a is there that signals Balsom Internet. the everywhere and exponentally with the arrival of spreading are copies flm as art video and flm how image circulaton is central to the history of circulaton in art video and face in her book, some of the important challenges cinema has to researcher,Englishidentfes an interview), (see is shif shaking up contemporary cinema. paradigm important another system, funding Aferflm ofthearrival intelevision the Contemporary issues cinema image-related devices. modern in bodycentral more and more the become will how antcipates she way, a in but, flmography partcular a to related clearly not is She subjects. visual sense-making, also but objects visible just not are bodies our how and senses ourthroughemerges always experience and flm media, other with engagements intellectual our than rather corporeal our Emphasizing culture. bodies our play in making sense of today’s image-saturated role key culture the considers image Sobchack moving and In flm. in bodies theorist, cinema Sobchack woman Another explores a feminine everyday life. avant- an gardeflmmaker in and herself is She grammar. cinematc new a of inventon the through body female encourages It overcomingthefetshistc fascinaton aboutthe unconscious. patriarchal the on built mainly are mise-en-scène and scripts Cinema Narratve and called is essay acknowledged most Her genre. the of view of point the from productons audiovisual questons she theorist, is gaze, male the as defned she what forward put has researcherbest-knownThe flmmaker,and who gendered gazethe ofcinema Women question Laura Mulvey Laura

nit o te motne f our of importance the on insists anl Thoughts Carnal Afer uniqueness: A history of flm anlTogt: embodiment Thoughts: Carnal (1975). According to her, to According (1975). . As a flmmaker and flm and flmmaker a As . Riddlesof Sphinxthe (2018). She analyses She (2018).

20) Vivian (2004), hw hw our how shows (which has been has (which iul Pleasure Visual Erika Balsom Vivian , she , lack aesthetcs. and politcs addressing thoughts new between gardes seem to be in every chapter of history in in renewing certain representatons. New avant- difculty have would that cinema bourgeois of form a as understood be also can conventons minorites certain consider of to representaton need we that out fnish bypointng cinema to unconventonal us on panorama allows this analysis Boyle’s Karen moment. this by impacted deeply be thought will and of made, is cinema way The way. earlier much a in present feminism of history a by also but of networks, social circulaton on informaton a by disrupted was organizaton cinema the of of power normatve a how academic English The build new policies in consequence. media require new ethics”: our industry needs to PeterDecherney,quotesfor. “NewShe looking are audiences what understand automatcally to help algorithms the since crucial, becoming picture of our cinema history.” boundaries. We have to consider the bigger was a bigger system built for pushing some it but geniuses, few a by avant-gardes made not that were clear make to want I concepton, whole my understand we constructon. If recognized. be a to has it and work Artsts is artsts authentcity the ofabout mythology to The need paid. they get and workers, are the Artsts is copy the circulaton. through exploitaton economic of threat The mass easily. travel the could it that is of idea The and audience. potentality democratzaton the of access: promise the is copy the of promise “The said: Balsom Erika interview, our of conclusion the In ae Boyle Karen London I United Kingdom Studies Senior Lecturer in Film Erika Balsom

I King’s College showed since , the

23 Chapter 1. Chapter ver the last ten years or so, many flms exhibitors, or funders. The link is so obviously “O have been shot and produced outside established that most of the stakeholders do the traditonal flmmaking framework (guerrilla not even queston it. Non-conventonal cinema shootng, etc.). These flms rarely beneft from more or less equals non-commercial cinema, and natonal funding and cannot apply to Eurimages therefore necessarily implies limited budgets. for funding as they would be ineligible.” To contextualize the scope of interest of its Lab Film professionals themselves spontaneously Projects Support Programme in 2015, the create categories based on the budget level. Eurimages Fund explicitly mentons the rise of a “In Germany, flms that have a budget lower specifc producton framework, coming down to than average are considered arthouse; flms low-budget flmmaking, as one of the two main that have a much lower budget are considered defning elements together with the script. non-conventonal”, Berlin-based flm producer Michel Balagué details. If most ofen correct With this artcle, we intend to recount the in practce, this associaton of ideas is emergence of low-budget flmmaking in Europe. misleading, as it shapes the misconcepton that To provide an historical perspectve proves non-conventonal cinema is necessarily cheaper valuable to beter understand today’s audiovisual and doesn’t require the same level of resources landscape, a necessary preconditon to design as conventonal cinema – something that has relevant proposals for the new generaton of the been completely integrated by flm funds today. Eurimages Lab Project Award. We are notably Low-budget flmmaking refers to a certain interested in highlightng a paradox: how low- norm, a ‘normal budget’. Compared to these

C’est arrivé près de chez vous, budget flmmaking, once a practce in the service conventonal practces, low-budget flmmakers Benoît Poelvoorde, Rémy Belvaux & André Bonzel (1992) of predominantly subversive contents and forms, are positoned at the margins – by choice or has largely been embraced and integrated by the necessity – of a system1. European audiovisual ecosystem, and especially the public flm agencies. This process has It’s important to note that low-budget contributed to strikingly alter the ‘guerilla’ and flmmaking practces do not mean that the non-conventonal aspects of these practces. flmmakers themselves are from modest social Low-budget flmmaking, once translated into backgrounds. Historically speaking, most low- public policies, has ofen been distorted to budget flms were made by well-of directors, By Mathieu Darras address other pressing needs of these insttutons, and the democratzaton of flmmaking practces such as the democratzaton of flmmaking and was scarce untl the 2000s. The few exceptons the necessary support of new flm talents. to the rule of cinema as a ‘bourgeois art form’, Non-conventonal cinema is most ofen such as the experiences of collectve flmmaking Low-budget in the 1960s (think of Chris Marker and the Non-conventional cinema = Medvedkin groups for instance), remained very low-budget cinema? localized and short-lived. Who has access to flmmaking in Europe the means of flmmaking? Which people are in control of the narratves – no mater if they automatcally associated with limited budgets. are conventonal or non-conventonal ones? Retrospective Nearly all of the people interviewed for the study Low-budget flmmaking defnitely also chimes connected the two notons together, whether strongly with the recent debates on diversity & current trends they were flmmakers, producers, incubators, and inclusion.

1 It is to be noted that this oppositon between a dominant cinema and a peripherical cinema is not so marked in countries that don’t have strong audiovisual industries, and for which this bipolarity between what is inside and what is outside is not prevalent (see interview with poducer Rodrigo Areias about the flm landscape in Portugal). 25 Chapter 1. to DV cameras 1990s–FromThe mavericks the Retrospectve & current trends Low-budget flmmaking inEurope long periods spent on fnancing even shoestring these overpocketWith years. own theirof out these debut flms that flmmakers had to fnance 1998, is possibly the last memorable example of in Week Critcs’ Cannes the at presented and tous His archetype. this fts Noé Gaspar Europe, In 2000s. the of democratzaton the to prelude a – flms make to connecton family and/orenvironment studio a need not do who individuals, commited the and passionate carry of idea also They legends. into hardships fnancial their turn to trying newcomers with pad, launching a as Sundance using – USA the from dreams come Most then. flmmaking and now every rebellious return their fulfl to themselves fnance who bufs, flm maverick of 30 than Critcs’ Week in 1992 – supposedly made for less Cannes the at presented Poelvoorde)is Benoît Dog Bites later, when the yearspolemical Belgian mockumentary few a out come only counter-culture references, with fed equally men young angry Europe, in Lee or Jarmusch of likes The (1986), known for their shoestring budgets. or 1984) in Law by most the then, notableexceptons are Byas such American, print. 35mm the for and equipment, sound & camera the for money of amount important an together putng around way no there’s as anyone, for not defnitely is Europe. To get access In to the in means uncommonof ratherflmmaking is flmmaking today. low-budget decisions, tll frst its takes Fund the when when established 1989, from period was the Eurimages at we look Cinema, to New decided German or Waves, New Europe Central neorealism, as Italian movements as and ancient practces to back harks Europe in flmmaking low-budget though Even By Mathieu Darras , shot sporadically over almost three years three almost over sporadically shot , , by Jim Jarmusch (Cannes’ Caméra d’Or Caméra (Cannes’ Jarmusch Jimby ,

000 Euros. During the 1990s, stories 1990s, the During Euros. 000 Rm Blax Adé ozl and Bonzel, André Belvaux, (Rémy h’ Gt Hv it Have Gota She’s b Sie Lee Spike by , Seul contre Seul Down Man

1999. flm horror US the is conventons new defne rapidly that practces non-conventonal of case good a and cinema, low-budget and flmmaking digital to comes when it game-changer real The means. any by flms low-budget However, are flms two these ofneither cameras. digital with entrely shot Idiots The same year,Lars von Trierreallyis pioneera with The 1998. in competton Cannes’ premieresin flm Dogma frst The studio/producer. the to opposed as artsts", as to directors the atempt for power an back "take as Europe, widely across but up picked Denmark, in a created 1995: in manifesto, Movement for Dogma the of atempt sense the is puritan This themselves. reinvent to an flmmakers but and money, of lack ant-bourgeois a of because not – viewpoint ideological an frst was it Europe, in came flmmaking low-budget and innovaton If as part of the study). SaltRashacurator current the interviewed(we today exists stll that – documentaries mostly – flms non-conventonal for space a Lucarne, La created also ARTE 1997, In 2000. to 1994 between collectons Chevalier such of series Pierre a initated editor commissioning The collecton – Caméras' the frst flms shot in digital 'Pettesin 1998. its with ARTE, broadcaster the was feld the in pioneer real A insttutons. of couple a from but frst, flmmakers the from that sayinnovaton, and the leap to digital, did not come could one fact, of mater a As later. much comes feld this in innovaton public support, of ecosystem established more a – of because or – to thanks in Europe, In used flms. Asian frst cameras, DV of arrival the with 1998-1999 around drastcally change Things out of queston. is funding public supposedly and viewpoints, featuresofthese share controversial and topics Most perfecton. to honed are scripts budgets, , one of the frst flms in Europe to be Europeto in flms frst the of one , Festen b Toa Vinterberg, Thomas by , The Blair Witch Project Witch Blair The in

26 flms submited to festvals year afer year afer year festvals to submited flms of number increasing the byproven as ceased, not has producton flm towardsof democratzaton the trend the then Since non-fcton. or hybrid labelled ofen verypractces, flmmaking new generated It flmmakers. documentary of reserve the been untl mostly up then had that script. practce A prior a necessarily or budget a obtaining frst without flm a shootng of practce the digital facilitated producton of means mid-2000s, the From dono Frammartno’s Michelangelo is excepton notable A release. theatrical a fnd cannot ofthem most end the in 2000s; the in support public no with made huge flms self-produced a of increase witnesses example ( Groeningen van Félix or 2004) by JoachimLafosse ( Belgiumalone, one could In menton thefrst flms budget. litle or no with shot up, pop flms frst low-budget Europe Across flm. a such is Europein together Greekthe with Weird Wave, New Wave – the last designated flm movement (Crist Puiu, 2001), at the origin of the Romanian distributed. be to flm the for shot is flm the once place in comes Financing money, cheaper. litle become has equipment very because foralso shot flms increasing of an number by marked is 2000s early The mainstream the challenging 2000s –Low-budgetThe flms practces: and reluctance resistancetowards these low budget flmmaking strong demonstrated system the how show cases exemplary two France, In flm prints. with done stll is distributon since partal, only is revoluton digital the though, 2000s late the 3 2 ans im eta,wt te fil opto i 21 socsn te eu faue flms feature and debut the showcasing 2019 in competton ofcial the with Festval, Film Cannes Steve+Sky One could observe that very recently in France, ‘diverse’ flmmakers are fnally given more space on platorms such as the as such platorms on space more given fnally are‘diverse’France, flmmakers recentlyin very that observe could One In 2020, 2000 feature flms were submited to the Cannes flm festval, including 900 frst features. Atlantque in 2003. 20) Iay for Italy 2004). , Donoma , by Mat Diop. b Din arnr, flm a Carrénard, Djinn by , FoliePrivée Il , tf n Dough and Stuf

2 In . Images de la diversité' in 2007 in diversité' la de Images recently created in France such as CNC’s 'Fonds diversityfavourof despite in policies of set modest the producton, of means traditonal the to access given not were that flmmakers two flmmakerbyofand son twoa Africanmigrants: flms’ are directed respectvely by a Haitan-born ‘DIYtwocertainly theseby is notIt thatchance issue of derogatons for low-budget flms. the on debates re-negotated heated causing 2012, be in again to had agreements labour when professionals, flm amongst intensifed afer shortly issue This certfcate. screening a obtain to prerequisite the was This posteriori. a flm) the shootng of process the in observed strictly (obviouslynot obligatons mandatory its discharge to producton flm the for invest to and premiere, flm’s the afer board to on come had producer well-established a cinemas, Back For 2012). Fortnight Directors’ (Cannes Cannes’ ACID the in 2010 and opens that Euros 150 for made and inclusion. explicit criteria & measures in favour not of diversity or include should Programme Award Lab Eurimages the of generaton new the whether on views, opposing and consensus no with – group study our in raised queston unresolved o e te hne o e itiue in distributed be to chance the get to Hold Back e Misérables Les , by Rachid Djaidani 3 . It’s actually an actually It’s . b Ld Ly, Ladj by , Djinn Carrénard (2010) Hold

Donoma, 27 Low-budget flmmaking in Europe Retrospectve & current trends Incubators of Low Budget Films made within less than a year. Limitaton is not No surprise that the frst incubator/Lab only fnancial, but temporal. The programme also specifcally dedicated to low-budget flmmaking developed a spin-of for VR projects directed by

Chapter 1. Chapter in 2008, the ‘Low Budget Film Forum’, originated Michel Reilhac (see interview). The 2010s – The “Normalization” stories & fostering talents outside of London) from the UK. Led by the London Film School, this The frst flm made within this scheme, and in terms of representaton of minorites of low-budget flmmaking forum was run in cooperaton with flm schools Thai Mary is Happy, Mary is Happy (Nawapol (ethnicity, gender, LGBTIQ). To such an extent, from France, Germany, Hungary, and Romania Thamrongratanarit, 2013) was a clear sign of that a range of schemes are now targetng from 2008 to 2013, and hosted by festvals artstc innovaton and non-conventonality, and Film agencies had long ignored – or at least diferent communites – for example, the ‘Flare such as Les Arcs FF (one of the Eurimages Lab also a milestone when it comes to the impact of not observed atentvely – the emerging & Bafa Crew Mentoring Scheme’. Award hostng festvals). Created the same Internet on storytelling considering the flm is practces of the 2000s, but eventually did react Neighbouring Ireland, has launched a low- year, the 'TorinoFilmLab' during its frst two an adaptaton of a one-year Twiter stream. The to these realites, to the point of embracing budget feature flm scheme only open to female years of existence debated whether to positon majority of the flms made though are neither them by creatng schemes that ofen resulted talents called ‘POV’ in 2019. The Irish Film itself exclusively in the niche of low-budget non-conventonal or innovatve4. in depriving some practces from their abrasive Board (now Screen Ireland) actually initated the flmmaking or not. Finally deciding, that to be and non-conventonal natures. frst natonal low budget scheme in 2007 called eligible to partcipate in its fagship programme, Even before these forums and labs were ‘Catalyst Project’ under the impulse of its Head the projects had to have a budget cap of less initated by established flm schools, museums or UK & Ireland Simon Perry. With a mentoring programme than 2 million Euros. Established a year afer, festvals, other – more at the margins and self- UK & Ireland flm agencies were the pioneers coupled with a funding of 250 000 Euros, this in 2009, the practce of the FIDLab Marseille organized – flm schools, labs and collectves of of micro-budget & low-budget schemes. The scheme was inspired from the surprise success (see interview with Fabienne Moris) has been to flmmakers existed in Europe, incubatng low- very frst initatve, ‘Film London’s Microwave’, of low-budget flms produced in the early- only consider flms with a budget under 1 million budget shorts and feature flms. There were was launched even before entering the 2010s, 2000s, most notably Once (John Carney, 2007). Euros. many of them, but we can menton: in France, since the scheme run from 2006 to 2012. The frst flm that came out of the scheme was the ‘collectf Kourtrajmé’ was created in 1994; in The ‘iFeatures’ programme, labelled as a lab, Eamon (Margaret Corkery, 2009). to develop 12 feature projects and green- When it comes to flm festvals, the Venice Film Denmark the alternatve 'Super16 Film School’ lightng three flms per editon, was run by Festval also decided to positon itself in this was established in 1999; in Germany, the self- Creatve England from 2010 to 2020. A notable niche, as a strategy organized ‘FilmArche’ was created in 2001; outcome was Lady Macbeth by William Oldroyd to catch up on its and all over Europe, the ‘NISI MASA network’ (Toronto IFF 2016). delay as an incubator was initated in 2001 growing with its member Advocated as tools to encourage innovaton, of talents and flm organizatons to more than twenty countries. originality, non-conventonality, these schemes projects vis-à-vis The ‘Less is More’ (LIM) European training, are very much used as well as tools to manage both the Cannes Film initated by Le Groupe Ouest in 2017 (see other kinds of challenges: Festval that initated interview with Antoine Le Bos) follows the • the democratzaton of flmmaking with an the ‘Cinefondaton’ spirit of those various hatchers. For them low increasing number of flm school graduates – flm residency in 2000, budget is not a goal in itself: “LIM uses creatve and the funnel efect resultng from it: a low- and the Berlinale, limitatons as a tool. Its spirit and ambiton far budget scheme thus becomes a way to manage that organized its exceed the facile business of restrictng budgets. and to control the access to professionalizaton, ‘Talent Campus’ since Self-imposed limitatons are a catalyst for wall- and to ‘test’ talent; 2003. The ‘Biennale breaking flm-experiences. (…) LIM (was) set up • the rarefacton of public sof money, College Cinema’, to empower a generaton of flmmakers, who especially true in the case of a country like UK, launched in 2012, intend on opening new avenues and fnding where neoliberal cultural policies have notably is largely inspired by new audiences by tackling new issues. Our led for flms to rely primarily on support funded the 'iFeatures' model, moto is Igor Stravinsky’s ‘The more art is bound by the Natonal Lotery as early as 1994. frstly incubatng by limitatons, the freer it is’.” One could also a dozen of flm menton the regional programme ‘Film+’, initated In UK, the priority on inclusion & diversity projects and then fully in 2016, an alternatve program supportng support measures has been at the core of the fnancing 3 of them independent low budget flm productons from public policies before anywhere else in Europe, with a 150 000 Euros Romania, Serbia, Bulgaria & Moldova. both in terms of regional flmmaking (generatng grant for the flm to be

Eamon, Margaret Corkery (2009) 4 It is worth mentoning that another flm of Biennale College Cinema, Baby Bump (Kuba Czekaj, 2015), was pivotal for the Polish flm insttute to establish a low-budget scheme in 2018 – complementng already existng actons for limited budget flm projects such as the Munk Studio created in 2008. By Mathieu Darras 28 29 Chapter 1. By Mathieu Darras Retrospectve & current trends Low-budget flmmaking inEurope o a. h gnrlztn f uh schemes, such however, covers diferent of realites. generalizaton The far. so trend the to reluctant been have Spain) Italy, Germany, (France, Europe of countries bigger managing directorCentre).SlovenianFilmof the Only Bučar,the Nataša with interview (see the in Slovenia stll in and Croata in example for pipeline, are schemes new 2021, in European Even most examples. Britsh-Irish the in following countries created were schemes budget low of myriad a 2010s, the through All public funds Low & Micro-budget schemes initated by Insttute and the half by by half the fnanced public is television channel. and only, projects flm Youtube views), the scheme now million accepts feature innovatve 38 2015; Fortnight Directors’ (Cannes flm Sandberg’s David stmulate as short such formats, welcoming Initally and storytelling". "flmmaking push to boundaries 2013 in launched Insttute) Film was Film – Swedish the Ahlsson at Sweden’ HelenCommissioner with ‘Moving interview scheme (see the Sweden, In ug Fury Kung

30 Kuba Czekaj (2015) Baby Bump, 200 70 000 Euros for each feature documentary of and maximum a to amountng support fnancial low-budget a provides Insttute The possible”. as simple “as flm Hungarian frst their make to flmmakers for is ambiton The Deák). Dániel excerptinterviewwith (see 2015 in launched it scheme the for Hungary Insttute Film the by chosen name the even is ‘Incubator’ lab. flm a of paterns the to closer sometmes getng and say, their having ofen – process creatve the in part actve and moredecisivenowtake a They projects. of incubators being include funders to as flm mission their and saw rarely funds agencies flm schemes these Before, schemes were created. such where insttutes, flm frst the not is amongst werethese that Europefact the indiferentto Northern and Scandinavia in agencies flm the within editors commissioning of traditon the Defnitely, 2015. in launched Film – Næss Insttute)was Film Danish the at Commissioner Riise Silje Initatve with Low-Budget interview (see DFI the Denmark, In

000 Euros for each feature flm. ws ut srrsd fr h fs two frst and the afer surprised interestng, quite was I very actually is That with theformats or thenarraton? any pronounced tendency to experiment fund, your from support received that flmmakers the with notced, you Have Dániel Deák Film Insttute I Hungary Programme I Natonal of the Incubator Coordinator acknowledged. and successes stand alongsidefailures yet to be wide scope of experiences, this where best practces from the learn defnitely can schemes, fund Eurimages low-budget these as realites flmmaking of range same exact the cover not of innovaton. Even if projectthe Lab Award Project does each it is neither a guarantee of creatve to freedom, nor money projects, more support to helps mathematcally less However, allocatng facing. if currently are insttutons these that challenges the of miraculous many to the answer become have flmmakers, have of which schemes, defnitely given an impetus for a new generaton producton low these budget if as is it everywhere, up Popping Légères’ since 2017). Productons Aux (‘Aide Belgium of Community French the of Wallonie-Bruxelles l’Audiovisuel de et Cinéma du Centre the by and Latvia of Centre Film Natonal the Insttute, Film Polish can we the by schemes budget low the exhaustve, menton fnally be to claiming Without

existng mainstream industry. make the into to them with ft way, and flms real‘proper’ any in system the disruptng of instead be, to seems trend generalthe newbut outthings, tried that course, of some, wereThere flms. made girls and good boys; they want to do well- these flmmakersonlyto seem good be wantto cases, most in But industry? the challenge will newcomers the not if Who else honest, this. about upset bit be litle a was ToI experimentaton. for realizedrealI hungerno thereeditons: is

31 Chapter 1. Chapter

his artcle is meant as a short memorandum and Albert Serra accumulated prestgious T for the actuaton of an internatonal awards and opened up festval programmes to scheme of support for non-conventonal flms. It more daring flms. is relevant to the aim of the study to give a brief introducton to some of the most interestng The use of non-professional actors, tendencies that are shaping contemporary the contaminaton between fcton and European cinema. documentary elements, an essayist approach to narraton, and an emphasis on cinema as tool to create visually striking works, are some of Non-fction and hybrid flms the elements that can characterize this genre. Those creatve practces also impacted the Since the beginning of the 21st century, non- classic script / development / producton / conventonal cinema has been characterized post-producton model, that became a rather by an increasing blurring of the lines between anachronistc concept. The script is no longer a classical fcton and other genres such as mandatory frst step in the producton process documentary, or more daring open-ended and less-structured writen elements are used works. The so-called 'democratzaton' of to defne a project that has in its own DNA the producton costs has created a fourishing arena possibility and capacity to mutate during its Roi Soleil, for flms that would have been too difcult to making. Albert Serra (2018) fnance before the digital era. The pragmatc answer to why there is a Films such as Our Beloved Month of August (Miguel proliferaton of these flms can be directly Gomes, 2008), Le Quatro Volte (Michelangelo connected to the signifcant improvement of Frammartno, 2010), Nana (Valerie Massadian, digital resources on one hand, and on the other By Rebecca De Pas 2011), Leviathan (Verena Paravel & Lucien hand to the growth of flm events and festvals Castaing-Taylor, 2012), Bella e Perduta (Pietro that have informally taken over the space lef by Marcello, 2015), in their lively diversity, took classical distributon modes to spread new ideas Practices cinema by storm, each showing a new way of and forms to a strongly connected community narratng a story. Their freedom in writng and of flmmakers. Non-fcton is fostered and their capacity to gather creatve elements from acknowledged by festvals and online providers of non-conventional both fcton and documentary realms made (Mubi and Daflms are good examples), showing them unique; each one was a game-changer for the potental of this genre and an interest by a cinema: the next generaton. general audience. These ttles and many others that followed are In contrast, the internatonal and natonal considered contemporary classics and show funding systems have so far been reluctant a freedom and an inspiraton that can help to to adjust their schemes to works that practse Non-fction, hybrid defne what is ofen called non-fcton/hybrid a hybridizaton of genres, despite their critcal cinema. The cinematc ambitons of these non- success. The efect of this delay means that less fcton flms enabled them to be screened in A-list well-known authors are underrepresented, and & artist flms festvals’ main compettve strands. Directors that natonal and internatonal funds may also such as Adina Pintlie, Pedro Costa, Mat Diop, fail to detect important and successful projects.

33 Chapter 1. Artist flms Artist Non-fcton, hybrid & artst flms Practces of non-conventonal cinema: By Rebecca De Pas cinema. and the art visual about between intermingling misunderstandings created now untl up has works audiovisual for to labels invent insttutons cinema by need market. constant flm The classic the for outcast ideal the them makes piece',which 'art an to compared have audience classic diferent a layers of interpretatons and forare readily ft the being is whilst flms nature, elusive Their status. artst their of ambiguity understanding in faces industry flm the that issues main the of One artstc an practce with a cinematc one. conjugatng at exemplary is their work festvals, flm internatonal being at also screened whilst galleries art contemporary in exhibited regularly are flms privileged Their medium. their as cinema adopted who and world cinema the by adopted been have that orRosa areBarbaof examplesimportant artsts Baudelaire, Eric Tan, Fiona Casas, Carlos partcular area: this in cast been have interviewed we people the of Some artsts. visual many by feld flm remarkableequallyresearchthe yet in fedbyabovelessbeen well-known, havea also flm recognitonsuccessmentonedand ttlesof the the beyond feld industry. creatve As in every other artstc discipline, a the in career theirestablisheddirectors that havean fact the besides common in nothing have flms These moviegoers. revealing the work of prominent visual artsts to were all awarded prizes in classic cinema spaces, or Gordon,2006), Portrait Century the end of the 2000s, flms such the grasp diversity of fully non-conventonal flms in Europe. to At order in understood be needs to flms directng artsts of phenomenon the flms, non-fcton of increase the to Parallel oe ihu Men Without Women Hunger Piip Preo Douglas & Parreno (Philippe (Steve McQueen, 2008) Sii Nsa, 2009), Neshat, (Shirin as Zidane, a 21st

ocie otie h casc producton the flm bubble. classic the workfow, involving sources of fnancing beyond outside ofen conceived are they of as idea cinema' the 'non-conventonal of exemplary perhaps are flms Artst duraton. its single all for a small), or via (big screen 'consumed' be to piece a for is artst flm intended an context, exhibiton remains an in installaton art video importance. paramount Whereas of is point last This setng. cinema can classical that a piece in art enjoyed an be of making favour of in idea the signifcance short their or lose feature format between and or fcton documentary between distncton the as conventons such context this medium In one others. is amongst image moving artst, an For approach to flm language remains unique. stll possible within the genre codes, their artstc flms may be similar for both, and classifcaton is radicallydiferent.fnished be the can Although Artsts and flmmakers approach to making flms

34 o h ls o fnig o tee talents. these for funding of loss the to leading correctly consequence, in to projects, these funds assess the by failure a in results ofen our transiton forced that This underlines. consequences study all and with system, limitatons funding the flm classic the to adapt to budget high to these medium a with work direct to to wantng dedicated artsts forced has funds practces of paucity The all have Berlin, Madrid Paris Internatonales Rencontres Les or Festval Courtsane as spaces such interestng equally but known less or events such as Berlinale Forum, Locarno, Prestgious FID Marseille, Forum. CPH:Dox as such platorms industry at them to dedicated had space have They Expanded.’ UK/Italian ‘Feature the initatve as such programmes training or Roterdam, IFF in Art:Film in as seminars subject of the diferent been have through flms Artst initatves. arts contemporary energies from creatve assimilate to and atract to tried has industry flm the decade, past the In

Fiona Tan (2016) History's Future, y h at world stakeholders. art the by language of cinematc expanding consideraton evidence an providesof clear also and art foundatons museums in spaces cinema of increase Venice the and Biennale, the or as such in prominent events piecesexposedflm ever of number growing The in flm. and art between flms conceived gathered dokumenta

h sces f n ftr Lb rjc Awardscheme. Project Lab future any of success the these understand for factors main the of one and be will phenomena identfy to Eurimages’ capacity scoutng. and communicaton terms of was in limits, its programme highlighted and the fragile stll in partcipaton environment. Their market classic flms more a non-conventonal enter to these to a oferedpossibility Award Project Lab Eurimages The a natonal or internatonal level. on both funds byflm acknowledgedfully be to fundamental contributon to the cinematc ecosystem their has yet and these represent that flmmakers force innovatve undeniable The flm. non-conventonal support to tries it when system funding European the non-fcton of inadequacies that possibleistotheir use example topoint theout the possibilites flmmakers and artsts are categorize investgatng in flms, it to reductve aesthetc be would it If the mutual understanding of these two worlds. for obstacles crucial remain circulaton, its and flm. Issues such as the ownership of the oeuvre, sustainable from the perspectve of both art and is referencethat a model developingfrom flms the eforts, lack of insttutonal support stll prevents artsts’ these Despite flm. a of the creaton for 'phases' of idea the overcome areas to diferent and in funding public and private new norms, to reveal opportunites in overlapping to the cinematc one, literally opened the way to work of model their adaptng by have, flm and system”. art visual funding both in working artsts Producersand the from trust of lack “a or acceptedlie”, for“aneed more breathing space” with model words such as “a hide and seek game”, industry “mutually flm the within working industriesresultedhas inour speakers to defne The diference between the languages of the two 35 Internet & new aesthetc forms of contemporary cinema Chapter 1. Chapter

rtsts have carved and stll are carving to quote in this context. It is a montage of videos A works out of marble and wood, but gathered from the live-streaming platorm flmmakers are dealing with a visual material Périscope. In the course of its narraton, the that has evolved due to the evoluton of our flm brings together watermarked footage of diferent techniques. Since the democratzaton the Nice atacks, including the reactons and of the internet, the digital fabric of our daily discussions flmed directly at the moment of the lives is becoming more and more complex and catastrophe. A self-induced hallucinaton by Dan shape-shifing. Over the years, all this material Schoenbrun (Sundance FF & IFF Roterdam, that only seemed to have virtual potental has 2017) questons the role the internet plays in become consistent, heavy, and full. our daily life by investgatng one of the frst myths of the web, called the "Slender man", From now on, our identty is discoverable through a series montage found on Youtube. Il through abundant traces that we leave in the n’y aura plus de nuit, by Eleonore Weber (2020) fux, on Facebook, on Instagram, etc. They are or Coming out by Denis Parrot are also flms to

Swated, so numerous and familiar to us that they’ve be mentoned in this list, and they both have Ismaël Jofroy Chandouts (2018) ended up feeling less and less virtual. Though, been recognized at an internatonal level. this is a new phenomenon in the history of humanity, notably in cinema, since flmmakers • Machinimas – Here is another way are increasingly using this new material, dealing of appropriatng contemporary images for with atypical issues. If the term ‘avant-garde’ artsts, this technique remains relatvely more disappeared from the history of art textbooks confdental than saved footage. These are over a decade ago, it seems opportune to videos that are taken from the inside of video reactvate it now, in as far as this movement games. Their distributon in the feature flm signals philosophical, technological, and market is impossible because it would require aesthetc innovaton. the purchase of the rights to the video games in queston, which is fnancially impossible within By Natacha Seweryn Saved Footage, Machinimas, the precarious economy and traditonally low Desktop Film budgets of this kind of cinema as the Grand Thef Auto publisher copyright demands would We can distnguish three main practces: be too high. This practce develops in a pirate- Internet & new • Saved Footage – The Canadian Dominic like way, with many short flms that are shown Gagnon fgures among the pioneers of this frst in arts centres or festvals in non-commercial strand. His technique is based on ‘saved footage’, screenings, which gives them a sort of aesthetic forms of which consists in collectng videos posted on protecton. We can menton Swated, by Ismaël YouTube, or on other platorms that provide Jofroy Chandouts (2018) or Martn Pleure, by online content. Roman Natonal, by Grégoire Beil Jonathan Vinel (2017). contemporary cinema (Cinéma du Réel, 2018) is also an important flm

37 Internet & new aesthetc forms Collaborations between digital adequate way to be developed. Web series of contemporary cinema Speakers of the roundtable on Digital, technologies and image XR & Immersive media (a series of videos broadcast on the Internet) seems to be much more coherent right now. Parallel to these aesthetc evolutons that One of the pioneers in that area in Europe is the • Desktop Film – In this category, the artsts

Chapter 1. Chapter integrate new image formats, cinema is in Belgian public broadcast company RTBF, and in queston ask their viewers to dive into their Chloé Jarry constant negotaton with technological television channels have now dedicated funds computer screen. This is notable in the direct CEO & Executve evolutons that challenge its mode of being for developing them. capturing of their actvity on the computer Producer I shown in cinemas, as much as by these narratve screen. In this case, the computer is the camera. Lucid Realites I processes. Digital technologies ofer a wide • Online content: YouTube & social Transformers, The Premake, by Kevin B. Lee France range of possibilites for developing and exposing networks – Another aspect which is a bit more (Berlinale, 2014), is one of the pioneers of this visual content. Making flms only for a screening difcult to defne is all the visual content people form. Kevin B. Lee dissects a new business in front of a big screen had been questoned in put directly online. We can menton YouTube: strategy at work in the Hollywood industry many ways due to the evoluton of our diferent at the start it was an opportunity for some that orchestrates the multplicaton of viral Siuli Ko usages. Here is a tentatve typology of visual amateurs to exchange some visual content. Due videos, flmed by fans of the flm Transformers K.O. Productons & creaton which deals with digital technologies: to the monetzaton of this social media, some at the flming locaton. In Forensickness, Chloé Programme Digital exploring how artsts are using new tools to give people became professional and invented new Galibert-Laîné - cf interview - (FID Marseille, Culture I Cinekid I their interpretaton of reality. forms of visual creaton. These new expressions 2020) analyzes Chris Kennedy's Watching the Netherlands also imply a certain tone, which combines Detectves. She plays a researcher, who dives • Web-documentaries & web series – a rapid fow of voice with the recurrence of into a massive archive of media produced afer When arthouse cinema began to look at humour. Some turned into professionals. Other the Boston atacks. Her online wanderings ofer the various possibilites of integratng digital social networks like Periscope, Twitch, Tiktok a performatve exploraton of the history of Camille Lopato technologies, web-documentary was one of or Instagram are also new platorms that allow critcal thinking and the ruthless politcs of truth Founder & Sales I the frst important new 'experiences'. They are amateurs or artsts to broadcast videos in producton. Diversion Cinema I conceived for direct exposure online. Even if parallel circuits. France they were very popular at the beginning of the The 2 Lizards series made by Meriem Bennani 2010s, the audience doesn’t seem to go for and Orian Barki Barki (2020) is one of those. this interactvity. It’s a type of experiment that It was put directly on Instagram before being Chloé Galibert-Laîné has not yet managed to fnd an audience or an bought by diferent museums around the world. New questons about producton are raised by Artst & Filmmaker I this visual content, since it seems impossible France to obtain the agreement of all the persons concerned by this new fux of images. Nonetheless, it is an important creatve Meriem Bennani share it. We told them it could be in your About Botled Songs (codirected additon to the visual material of our tmes. collecton, but we keep it on the internet. with Kevin B. Lee), recipient of the There are varying approaches depending on Multmedia artst I This implies special exhibiton conditons Eurimages Lab Project Award (2019). the flmmakers. Denis Parrot, for example, has Morocco, USA obtained the rights from the diferent people for museums. When it's shown in physical spaces, we wanted it to be a partcular “Can you explain your creatve process who flm themselves in his flm. That is not the experience, diferent from the experience related to ‘desktop flmmaking’? case for Eleonore Weber’s Il n’y aura pas de nuit, possible online. It’s a partcular process: we are writng, who argues for her right of the use of quotaton, “Your recent 2 Lizards series of videos shootng, editng at the same tme - it’s interpreted through the right to critcize the were qualifed by the New York Times Was it a problem for a museum to a circular process. We sent something to French Army. Machinimas are closer to 'guerrilla as ‘Coronavirus Art Stars’, and they got acquire a piece available online? each other and we replied. It’s an epistolary cinema' since video game publishers refuse the acquired afer you put them directly on It was the sine qua non conditon. Its structure. We began our process by making right to flmmakers to re-use their player point Instagram. Can you tell us more? existence is defned by the fact that it video essays, available online. We have of view. It is an important queston to consider It was indeed acquired by some insttutons circulated freely. It would have been silly already directed four of them. Which for non-conventonal cinema since it implies as a work of art, a bit like a frst wave for it not to understand that this was the makes it hard to apply for 'writng' support having to deal with legal issues. These new artfact. It works the same way as a work essence of the project. (…) I think it's good for instance, because we screen record and forms of creatve usage of audiovisual material of art – you fll out a form and say how because they're going to pay atenton to edit as part of the writng process.” are in a way a sort of avant-garde to the extent that they queston the norms of our current it should be shown. For us, it had to stay the piece, and the acquisitons are going audiovisual system. on Instagram, the idea is that people can to fnance the musicians.”

By Natacha Seweryn 38 39 Internet & new aesthetc forms of contemporary cinema Chapter 1. Chapter

Outside the screen: Extended Reality There are various ways to explore new visual possibilites with new technologic tools. What is These diferent formats imply new schemes for called XR implies VR (Virtual Reality), MR (Mixed helping these forms to fourish (see artcle “Non- Reality), or AR (Augmented Reality). conventonality in public support mechanisms”). In light of the roundtable discussion on XR, it Michel Reilhac • In the linear Virtual Reality, users are seems the flm industry could beneft from the Co-curator I transported in a virtual world thanks to a pair XR current issues to think about its distributon Venice VR, Venice IFF I Public support schemes defnitely need to of glasses (Oculus Rif, Samsung Gear VR, or system in a more 'holistc way'. France, Italy understand and adapt themselves to this new the HTC Vive). They can watch the flm in 360 digital audience. This is what Sten-Kristan degrees and can’t interfere with the story. In the A crucial statement that is also connected to Saluveer mentons when he talks about non-linear Virtual Reality, it’s the same, but the Extended Reality, to which partcipants of the Excerpt of the roundtable on Digital, 'relevance' (see interview). This relevance needs user can interact with the story. The flm is then roundtable predominantly concur with, is that XR XR & Immersive media. to be understood through digital technologies not totally linear. shall be considered as a medium in its own right. and new visual practces today that social For that reason, it seems difcult to integrate it “Everything is connected between networks and new technologies convey. • For Mixed Reality, it's the same as before into more traditonal flm funds. This reasoning producton and distributon. I would like but with mixed reality, which incorporates convinced our study group to leave XR outside you to think in a more holistc way and I digital content (objects or virtual elements) of the scope of recommendatons for the new would like you to stop compartmentalizing into the real world by allowing these elements scheme of the Eurimages Lab Project Award. the diferent steps. It may have worked to interact with the environment. One of the in cinema. I really think that digital media most famous examples is forces us to rethink the whole system Sten-Kristian The Key, by Céline Tricart, which doesn’t work anymore. With the Saluveer which was awarded at crisis we are going through, we see an obsolescence of the system that is dying. Head of Programming I the Venice Biennale NEXT I Marché du Film, Cinema 2019. The Key is One of the aspects we need to rethink is Cannes I Estonia, France an interactve experience mixing immersive theatre the heart of the system. Development, and virtual reality. research, writng, pre-producton, sales, “What becomes quite important is not and distributon: all of this is so entwined anymore producton but relevance. Let's • Concerning AR that we need to challenge ourselves by presume that Eurimages contnues its (Augmented Reality), thinking diferently. For instance, in Venice, ideological agenda, which I think it should it superimposes digital we invite distributors before the script is do, but in a more contemporary form, it content on the real totally writen, because the script will be becomes relevant. Why do European flms world (virtual objects or infuenced by the way the distributon stand out? How do we get the relevant elements, informaton, strategy will be designed for the user's European flm to the audience? What role etc.). The most well- experience. All these dimensions need does the European ideology have to play known AR was made by to be brought together in a circular way. there? I think Eurimages can do a lot of the Pokémon Company, At the same tme, it needs to be specifc things to a digital natve audience. If the where you can search for and diferent from what has been made in audience is excluded from the conversaton, Pokémon in the streets. cinema.” it's basically fnancing something that We can also menton the doesn't go anywhere.” diferent aesthetc flters that Snapchat has been known for. Going South, Dominic Gagnon (2018)

By Natacha Seweryn 40 41 Chapter 2. 2 Lizards, Orian Barki, Meriem Bennani (2020) Mapping the feld of non-conventional cinema in Europe Chapter 2. Chapter

he corpus we have chosen for our study is Creative processes T composed of interviews with flmmakers & visual artsts from diferent countries, and whose work is situated at the centre of what we defne In this paragraph are laid out consideratons as non-conventonal cinema. We did our best to made by our speakers about their creatve embrace a geographical and aesthetc diversity process. The defniton of their work, the in order to beter understand the current status communicaton of it to natonal and internatonal of innovatve flm practces in Europe. These funds and the protecton of their creatve flmmakers work on diferent formats ranging freedom have been the most recurrent subjects. from expanded documentary to fcton, from video installaton to more scripted cinema. Documentary/fcton ; Conventonal/non conventonal. Their works are regularly hosted in internatonal It is a common idea among our speakers that the festvals and for some of them, in the distncton between documentary and fcton is contemporary art circuit, with exhibitons in no longer useful. Such defniton is an obstacle places such as the Tate Modern in London, the during the communicaton between funds Centre Pompidou in Paris, or the MoMA in New and flmmakers. There has been unanimity in York, creatng bridges between two diferent statng that insttutons should be more open markets. Their achievements ofer clear evidence in terms of permeability of genres, formats and of the importance of non-conventonal cinema languages. Boris Mitc points out: “Whatever La Reina Manuel Abramovich (2013) in the European landscape. The Locarno’s could be defned as a flm should have no inner Golden Leopard, the Cannes’ Caméra d'Or, boundaries”. the Oscar Academy Award, or the Prix Marcel Regarding the “label” of non-conventonal Duchamp, are some of the ofcial recognitons cinema, the points of view of the interviewees our speakers have received. underline that non-conventonal cinema is not By Elena López Riera a sub-genre of conventonal cinema. Its unique During our interviews, we addressed specifc nature should be protected by the insttutons. questons about project fnancing, distributon Albert Serra insists on the responsibility of networks, applicatons to funding bodies, as public funds towards this kind of cinema, which Filmmakers well as the specifcites of their diferent work has not the same commercial value than the models. The objectve was to be able to artculate mainstream one: “The most important thing is the aesthetc aspects of their works with the that commissions take on the fact that a project & visual artists pragmatc and economic ones. We analysed how can start and fnish within a public insttuton, conventonal and non-conventonal flmmaking with public support only. On the contrary, coexist at diferent stages of the workfow and for me it would be necessary to make a huge Juggling creative we also compared the diferences between diferentaton and stop fnancing conventonal cinema and other artstc disciplines in terms of cinema”. processes & funding fnancing strategies. The outcome of our research can be divided in two main categories: the creatve processes and strategies the funding strategies.

45 Chapter 2. By Elena López Riera Creatve processes & funding strategies Filmmakers & visual artsts rcs ese fr h fmae hmef His himself. flmmaker the for easier process the makes script “Aproper directon: same the in goes Poromboiu Corneliu languages.” new accept to prepared not sometmes are readers commission the that but itself, script in the of writng not is problem “The problem: is the script not Serra Albert for hand, other the On they write in order to please the funding body.” because of the flm they really want to make, but Tan, write don’t Fiona flmmakers “Some states: she bywhen summarised well is issue This sides.” both on lie, a on agreeing are wepractcally so change, flm will the pityknowbecausethat we reala other, is the it on do, likeIto would what understand to me helps it hand, one On fund. the by contemplated not is this but improvise fowand the on with go I to wantopposite; the do to want always I “hypothetcal”. call I that script full a ortreatment whole a write to have always the “We work: his of presentaton on the for insists script a write to obliged being also of contradicton Abramovich Manuel on by the shootng and the editng processes.” taken be should ends, and starts flms the how about decision or writng of kind this me For happen. could whatdiscovering of surprise the killing are a you structure narratve writen really “With similar: something states Baudelaire what writng am I else to someone wantsme write”, says.Ericshe closed. too are funds to applicatons for models “Writng expectatons. fakes orderscriptsin and rulesinto funds ftpublic to she ofen very that claims Fatahi Sara diferent script forms. Evaluatng commissions should be more open to a “fake” to obliged scriptorderin foreligiblebeto fund.flmpublic are non- feld this to in working adapted always conventonal cinema not works. Very ofen, directors are Scripts Presentng

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dilemma Fatahi. Sara and Casas forliketheyCarlos support,ask then and expense own their at shootng start flmmakers Many post-producton.” for grants specifc needs cinema non-conventonal think for not I is postproducton. or this writng, or development, because flm, with fnished apply not to a flm a for ability the example, “For key: is process post-producton the that suggest Baudelaire, Eric like flmmakers, Other the French CNC called ‘reinforced development’.” likerecommendsomething up Eurimages set to be should supported more flms in the development phase. I will think “I the stage: during development flms underlines supportng Mitcof necessity Boris the idea. this expresses OlafsdotrKatrin producer; also the to not and flmmaker the to directly going grants writng creatng suggests the Fatahi Sara process. during writng support more for of ask Lots flmmakers making.” their during conceived and funding no done are that flms understands that is now untl by “There out Abramovich: pointed Manuel As fnancing. and research aesthetcal of terms in both process ongoing an as editng, even and shootng, and writng consider to speakers our among common is It producton Reconsidering what are the forms linked to that.” be projectand achievehowits visionthis to wants should queston main The misleading. be carefulofItsanctfcatonplot.can thethe with am I be should we think writng, IScript’, ‘Nobut saying not script in believe do I more. bit litle a me worries script the on emphasis “The anotherkind.”just summarizes:– Nemes László Non-conventonal flms have to have a structure in three acts, but it has to be very well explained. movie could be diferent from classical structure

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46 Funding strategies the budget together.” put to them ask I so insttuton, another with connect I then But flm. the make to enough not it’s Sometmes, budget. the handle to how on free very very I’m museums. by ofen commissioned are describes works “My experience: Barba this clearly and Rosa festvals foundatons. co-productons, internatonal on insttutons, diferent based as sourcesmoneyofsuch strategies are fnancial projects that non-conventonal for idea the on agree co-producton interviewedflmmakers Most well. as strategies internatonal implement and galleries) museums, awards, and industry festvals grants, private public investors, (private funding: funds public of combine sources ofen diferent projects Non-conventonal Funding need to be taken into account. technicians other for and designers Salaries sound editors, same. the is needed craf the as project, non-conventonal a or conventonal a for same the ofen is crew the that us reminds the same budget than a fcton.” Rosa Barba also deserve could documentary a that accept must “We explains: Mitc Boris case. the always not is This ones. conventonal than expensive less A general idea is that non-conventonal flms are

sources the festval.” of infrastructures the into not and themselves, grants the on money of amount maximal the the make and criteria of evaluaton more open and also to put flmmakers), also but (industry people, grants the atribute that experts of panels the organize to way economic) more a (and best encouragethe[them] “Iwould fnd to the adds: Baudelaire Eric project.” understand the of equallypotental and this cinema appreciate of really kind can who people right the of formed be should jury the and and visuals, words combine should applicaton “The says: Porumboiu Corneliu chaos.” be will this is projectgoing to be experimental’ because they thought ‘this say: would a I where include line to single not me told producers newproject, my “With states: Fatahi Sarah cinema.” of standardisaton a to contributng is contrary the on but visions, unique cinematc fostering and funds theiractuallynotway project its of evaluatng flm a current internatonal “The of that: functoning deplores Nemes László fund commissions. encounterto projectstheir with applying when difcultes they that claim flmmakers the of Most flmmakers. for concern recurrent a are system funding public the their within compositon and commissions evaluatng and Juries Evaluatng

commissions

Sara Fatahi (2018) Chaos, 47 Chapter 2. By Elena López Riera funding bodies. waysin projectswhich are evaluated from public interviews the on the focus mainly artsts/flmmakers the with from drawn conclusions The the diversity of non-conventonal cinema. protectng be and spreading resourcesin canimportant they as factor, positve a as hailed are ones classical the beyond distributon other of form and services streaming of proliferaton than fairer TheorAmazon. Netlix as such platorms is bigger that fees, screening of terms in policy company’s the with agree flmmakers the of most audiences; larger reach to flms of kind this allow – Mubi as such - NewplatormsVOD generatons have already lost this experience.” because new all the and cinema the ofto go longer no people First part. difcult most “Distributon the distributon: is supportng of idea seems to be essental. Albert Serra insists on this conventonal flm. This is why distributon support Distributon is the not an easy moment for a non- Distributon visual pieces. audio- buy collectors sometmes Nevertheless, art contemporary marketstll is it veryhard speculateto the flms. with in because possibility, remote a just arebenefactors)or foundatons as (such collectors Private emphasized. ofen been has that aspect an is this and trust on based is for a specifc piece. The demanded curator/artst relatonship usually are on presentaton developed based are nor script, neither artsts: shows the of works previous museum and Gallery cinema funds do. public as money of amounts big such give don’t investors private or museums hand, other the a On funds. underlines cinema to comparedfreedom greater also Tan Fiona interventonist.” not they’re and languages new on vision large in a have insttutons they because important, art very is cinema and museums of interest “The remarks: Mitc more Boris as artsts, to give freedom non- usually they for cinema: partners conventonal interestng are Museums Sources Creatve processes & funding strategies Filmmakers & visual artsts

of

funding

concerns

outside

cinema new context in which we live. the to adapted ideas innovatve bring can who surelythroughthem”,go ones theyarethe since Eric will As cinema of practce. future “The suggests: artstc Baudelaire their of base the at freedom creatve the protect to generally, more project,and diferentflm approachinga ofways They cinema. would appreciate a fund like Eurimages conventonal to accept of paths the coincide with always not do and open fexible, are Many of them have insisted that their work models without having to go through a producer. supportfor direct ask them of some vulnerable); and solitary ofen is (that practce work theirfor In distnct. are general, many of the distributon speakers demand protecton and of forms producton its since support, specifc and terms economic in protecton special need does it but cinema, conventonal of sub-genre a considered the be Non-conventonalnotcinema. should cinema for strategies new non-conventonal ofof distributon and producton think to order in museums, and programmers curators, as festvals, such stakeholders, other with synergy and inclusion greater suggest also flmmakers Some more fexible with the writng forms. be also should commissions the ofmembers the a flm, before shootng, does not suit all practces: script, as a classic way to describethe process of necessary.consideredThe also is fund cinema a materials requested for a standard applicaton for process.livelymutatng a and Areshapingof the Several of them write, shoot and edit in parallel, as diversifedway. a consideredin be workfow the Many of the flmmakers interviewed suggest that and consumpton of flms have changed. producton development, concepton, the which platorms. VOD Financing funds should adapt to a the new context in of consolidaton the and recent years, due to greater access to technology in evolved have flms thinking,distributng and producing of ways The languages. and formats newdecode to able be theyshould that diverse, the and open more that be should projects the assessing agree speakers the compositon of the members of the commissions of all Almost 48 Speakers Syria & screenwriter I Filmmaker Sara Fattahi Catalonia, Spain & producer I Filmmaker Albert Serra France, USA Artst & flmmaker I Eric Baudelaire Hungary & screenwriter I Film director László Nemes Argentna cinematographer I director & Filmmaker, flm Manuel Abramovich

Netherlands Artst & flmmaker I Fiona Tan & lecturer I Serbia director, producer Documentary Boris Mitić & visual artst I Spain Flmmaker Carlos Casas Romania & producer I Film director Corneliu Porumboiu Italy Visual artst I Rosa Barba

49 Chapter 2. Chapter

roducers have been a key category for the carefully evaluated, only that the flmography P understanding of how to implement the of a director ofen functons as a guarantee of future of the Eurimages Lab Project Award. Their a fruitul collaboraton. These dynamics are well contributon has been paramount for measuring summarised by Marco Alessi, producer of three the scope of how the producton practces flms that received the Eurimages Lab Award, around Europe difer. All our speakers have when he says: “Collaboraton with a flmmaker an impressive festval track-record (Berlinale, is a mater of trust. The whole package is much Cannes, or Locarno among others), and some more important than the script only. Words do have interacted in prominent art contexts. We not work for some projects.” French producer chose to focus on two categories of producers: Оlivier Marboeuf, who is not only a producer those who are fully pledged to non-conventonal within Spectre Producton but also a curator

Gold Is All There Is, flms; and those who are experienced with and storyteller, agrees: “I always choose people. Andrea Caccia (Produced by Marco Alessi - Eurimages Lab Project Award 2017) classical arthouse works, as well as being If I cannot believe in a person I don’t take the engaged in more cutng-edge flms. project. You can fail making even the best flm, but if you keep walking at the end, you will fnd Initiating a collaboration something really precious.” with a flmmaker/artist Regarding elements that are considered before startng a collaboraton, the producers ofen ask The consulted producers are used to selectng for: By Anna Gudkova projects to work with at a very early stage of • A writen descripton of the project development with or without a script. The that might and might not include a script. By importance of the previous works of a director descripton we mean the main argument or and their approach were ofen listed among story, the characters involved, the motvaton; Producers the primary aspects to be taken in account. • Visual descripton and material: it could Producers need to understand the way of be a mood board, a portolio, rushes, references working and the vision of their flmmaker and which are valuable to understand the directon Empowering a vivid artsts. Therefore, they pay a great atenton of the project; to their body of work when startng on a new • Previous works by the director which project. are relevant for the upcoming project and & collaborative This doesn't imply that a project is not representatve of their way of creatng. community

51 Chapter 2. By AnnaGudkova Empowering a vivid & collaboratve community Producers Courtsane festval. Ghent-based the of co-founder and producer Belgian a Logie, Marie individual says the artst/flmmaker”, and feld the both developing forefectvemore much be theywould people, more to but maybe, grants small project-based, aren’t and freedom, complete in given sums are that be could there “If phase. development spend as suggested have circuits art in experience with producers The producers and would facilitate the flm's life. This and directorsboth for efectvemore be would welcome. most the be at would support stage this fnancial a producton, future its therefore and project a of development the to linked hardships the ease to order In outcome. ofprojectheavilyphase a can own infuence its process that statng producton an given of efectveness award the about asked When scholarships’ &new talents Advocating for ‘free & great a by out that speakers our pointed of majority was it However, fxed costs and one that cannot be improvised. with phase delicate very a is post-producton the directorsofthat the emphasisedsome who during the producton. This is echoed as well by facilites, but also to pay back debts accumulated post-producton the of costs the cover to only Filmmakers where the money is needed most.” forItused couldbe development or producton stage. late a such at awards Eurimages give to sense makes it post- think don’t really the I reach producton. to – stages other at money need people but awards, post-producton of lotprogrammer forLocarno:a a “Thereare and Serbian as such this, producer Stefan Ivančić, who is also a flmmaker about vocal very are and producton

support

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about whole

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Nobody will go afer you if you afer go will Nobody the

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52 & audience outreach creatively Addressing distribution is This raises the raises This wider alike. audience promptng the and industry the byinterest thus arthouse, labelled be in themainstrands of renowneda festval itcould selected was flm the Once programmers. curators/ festval and agents distributors/sales categories: professional two by defned mostly Untl now the fate of non-conventonal flms was always going be important for us." audienceotherto ofkinds flms. Thatbalance is our bring can we so trusted are we that flms these to thanks It’s about. heard already have they that flms them showing audience the of trust the gain to need we that conscious very are "We cinema: non-conventonal of favor in platorm streaming the of strategy the details in Marañon, Chiara charge of programming & distributon for MUBI, easier.” much become should Circulaton professionals. or cinema of kind this about passionate are that people of composed either microcosm, this in exist only they now Right them. in interested museums and festvals small make and them about write to bloggers and critcs flm incite to need also we but distributors, encourage we should only to out non- of is support cinema conventonal the of aspect essental An Project Award should be granted. Lab Eurimages the moment the about thinking developed shown be will flm the thoughts important many most the of One presented. be should cinema non-conventonal of project theaudience. than conservatve more lot are channels TV of programmingofcharge in people think “I point: channel considerably ARTE commissioning editor Rasha Salt is expectaton.clear on that is the audience than bigger the that certain

distributed, maximise

to

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ensure avoid the ‘gheto efect’ and at the same tme to orderto In them. with work to howknowdon’t or atractve them consider don't either they because circuitsnon-conventonal in presented only are that flms ignore to tend Distributors cinema.” of idea their widen and cinephiles astonish able to are flms artst museums ofen As in built. be flms should of presence the towards goers cinema normal of awareness greater A space. art an in featured flms as or as works art both - museums in also cinema great fnd to possible is it that goers cinema for enough in cinemas. On happening the other hand, it is stll is not explicit what of aware are lovers art and exhibitons of public the “Ofen that: says audience. ArtgalleristChantal Crousel rightully diverse more and wider a atract to ways and cultural Museums, organisaton of marketng and promoton. considerperfecta it opportunity re-thinkto the so more even and because of the COVID-19 pandemic. Producers mutaton constant in is system distributon traditonal The cinema. kind of this of awareness the promote to order in agents sales and distributors with working of importance the underlined also Producers dedicated industry. a of consideraton presence the and in beneft marketng their taking chosen carefully be events in which those flms are presented should

a

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public Stefan Ivancic (2014) , the , Moonless summer,

53 Chapter 2. By AnnaGudkova Empowering a vivid & collaboratve community Producers o atiae Bcue hy il ae away take will they happy Because be partcipate. will to they prize, the partcipants receive if don’t even that sure I’m then - you the about talking project, allowing them to see expertsyou, producers,to understand with and day flmmakers, a spend you If award. an on decide more to pitch a than something workshop “I a like organising need: suggest same the would feels Marboeuf Olivier people. creatve for house” “open an as serves and guides process, whole only the also during producers but the not support, that fnancial practces Fund, provides Film best Flemish the the of describes Logie Marie producton capacites). ex- (i.e., Soviet, Balkans, and other countries with limited producers/directors conventonal non- for schemes training as well lack as countries support many that noted be should It strong a community. build to and environment industry the in raise cinema non-conventonal to of awareness help will spaces those of potentals networking The knowledge. pragmatc meets a a is there that expressed been has It not is it alone enough. this that recognised widely been has it support, fnancial a of importance obvious the Besides cinema. non-conventonal for structure supportng the of part be should awards non- Eurimages for The projects. environment conventonal nurturing of a importance creatng the addressed speakers Our for non-conventional cinema acommunityBuilding be compared to compared be can that places project: each of specifcity the on experts with work to and issues common t foster exchanges among partcipants. The idea is spaces would considerably help discussions and residences o

system

create

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o fmaes n att. Those artsts. and flmmakers for think

of

of

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Conclusion uoe Te on ta rmie cnrl was central remained that point The Europe. in cinema non-conventonal of development the seen for important is extremely as Award producers by Project Lab Eurimages The and the festval cannot do that. community be organized and managed throughout the year, to needs flmmaking community A that. like work doesn’t “The community: the ones organized by festvals, for a sustainable the limitatons the about warns Associaton, Producers Film German the Erwin of director them”. managing Schmidt, M. in got have they what sharing reallyof instead pitchingare artsts tme, the of Most connectons. and knowledge, feedback, stll other doors.” fnancing has a strong its symbolic value and projects;opens daring to open remains fund the for newlanguages, important.mostis It shows that cinema, non-conventonal for Eurimages in “Aspace research: our during producers the by recognised stakes the summarise aptly Slot The words of French/Danish producer Marianne to be presented to the market. a as reservoir rather but few, happy the for ‘gheto’ a as not community their see to producers for need the Thus, public. prospectve their with destny their infuencing strongly is presented The way in which non-conventonal projects are of the market. interest the atract can it as critcal considered is award the of of value practces symbolic prestge the Eurimages, the to innovatve Due level. European a of on on development impact deeper the a having thus and other inspiring funds in award the of potental the recognised speakers the policies, of terms In to

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54 Speakers Germany Volte Slagen I Producer I Michel Balagué Crousel I France Galerie Chantal Gallerist I Chantal Crousel Serbia Non-Aligned Films I Producer I Stefan Ivančić Portugal & Board, APCA I Bando à Parte Producer I Rodrigo Areias Belgium Auguste Orts I Producer I Marie Logie

MUBI I UK & Distributon I Programming Chiara Marañon Producton I France Producer I Spectre Olivier Marboeuf Germany Associaton I Film Producers of the German Managing director Erwin Schmidt ArteFrance I France for La Lucarne I Commissioning editor Rasha Salti

55

Chapter 2. Chapter

Film Festivals

We exchanged with a dozen flm festval directors and/or curators from B3 Biennale of the Moving Image, Berlinale Forum, Geneva IFF, Ji.hlava IDFF, Locarno FF, IFF Roterdam, San Sebastan Film Festval, Toronto IFF’s Wavelengths, and Visions du Réel – either in hile mapping the feld of non-conventonal one-to-one interviews or during a round table W cinema, giving space to incubators discussion. It was important to include these and exhibitors is crucial. These platorms are festvals into this study since they are the the places where non-conventonal flms get pioneer spots that curate and programme non-

White on White, showcased, where flmmakers and artsts come conventonal moving image. Théo Court (2019) together with other people in the flm industry to exchange on projects that are innovatve, As festvals are the main platorms for flms to courageous and looking for a new cinematc meet their audience, it is necessary to understand language. For this study, we have interviewed their logic: what are the trends? How do they representatves of about twenty diferent establish a relatonship with the audience in incubators/exhibitors that are actve in Europe. terms of programming and promotng non- conventonal flms? How do they support This artcle aims to collate diferent case studies non-conventonal cinema? While talking about By Esra Demirkiran that champion radical cinema. In the frst part, the current situaton of flm festvals, Giona A. we will introduce how flm festvals today think Nazzaro, artstc director of Locarno FF, mentons about the issue of audience, and what can be the responsibility of festvals in supportng their strategies to engage with their audiences. non-conventonal cinema: “The festvals and Incubators In the second part, we will present the museums' decision makers have the biggest responsibility and art centres' best practces of supportng in supportng innovatve flmmakers. We should non-conventonal cinema. In the third part, we ask ourselves: what are we doing or what & Exhibitors will discuss the diferent parameters of labs, have we done in order to protect individuality, residencies, and schools working with non- freedom of expression and freedom of thinking Championing radical conventonal flmmakers. otherwise?” cinema

57 Incubators & Exhibitors Championing radical cinema

Chapter 2. Chapter A discussion about the responsibility of a festval showcasing non-conventonal flms engage reveals the discussion about the audience, with the audience, especially, when it comes to Integraton of new technologies in festvals is which is always a precarious topic. But it should methods of testng the limits of the ‘secured’ also part of the discussion in the festval circuits. also be mentoned that the interviews done for crowd as well as of reaching a new one. The crossroads of technology and cinema the study indicated that communicaton with The festvals discuss how to extend the audience creates new narratves, but also raises questons the audience is discussed by the industry more and bring their programme together with a in regard to its accessibility and distributon. than in the past, since the spectator experience larger community. Anaïs Emery, head of Geneva Anaïs Emery points out that it is not easy for is rapidly changing in today’s world partcularly IFF, prefers a combinaton of both structured every festval to screen flms with special with the online platorms. Giona A. Nazzaro designs and defned formats together with technical requirements. Anna Katharina Gerson considers audience to be a fabricated concept undefned experimental spaces in which the from B3 Biennial of Moving Image also points that comes from a certain ideological and audiences could be taken out of their usual out the difculty of including video games in a fnancial project: "The same way it is fabricated, consuming paterns and be surprised by the festval resultng from the nature of the gaming it can be de-fabricated. Besides the fact that experience. Berlinale Forum’s Head, Cristna industry. audience is the sum of people I am trying to Nord, shared her experience with an initatve reach, this is prety much an imaginary bunch.” run in cooperaton with several programmers that allowed Berlinale Forum to reach a bigger There are various examples of projects and Andréa Picard, programmer of Toronto IFF's audience. Andrea Picard mentons that being initatves aiming to promote non-conventonal Speakers Wavelengths, thinks that curators and part of a big festval like Toronto gives them flmmakers and visual artsts. While some programmers always underestmate their an opportunity to introduce more challenging are stll running, others were forced to end audience. Drawing on her experience, she pieces to a wider range of audiences, since big due to various complicatons. Wavelengths concludes: “Toronto is a very big and absolutely Hollywood galas and short experimental flms (Toronto IFF) initated a project that was run Émilie Bujès commercial type of event. And there always are all part of the same festval. If there is an in cooperaton with galleries that included 10 Artstc Director I has been an audience for edgy projects. We audience interested in discovering something exhibitons per year with the partcipaton of Visions du Réel I should not create a gheto for them.” This new, they could easily fnd their way. works by contemporary artsts and flmmakers. Switzerland raises questons about how the flm festvals Although the project existed as a satellite of the program, they had to end it because of producton costs. Emilie Bujès pointed out a partnership of Visions du Réel with On & For, a cooperatve Speakers Katharina Gerson project conceived to advance and strengthen the feld of artsts’ moving image. B3 Biennale Head of of Moving Image, as a cross-media moving Programming Anaïs Emery Andréa Picard image festval, equally accommodates flms, & Cooperaton I Executve director video games, or VR projects. Moreover, they B3 Biennial Senior Film Curator I & artstc director I bestow an annual BEN Award in 6 categories of the Moving Toronto Internatonal Geneva IFF I (Most Important Artst, Most Infuental Artst, Image I Germany Film Festval I Canada Switzerland Best Film, Best Moving Image Artwork, Best Upcoming Moving Image Artwork, Best VR). One of the pioneering projects was Art:Film initatve of IFF Roterdam. It aimed to support Marek Hovorka non-conventonal cinema, flms by visual artsts Festval Director I Cristina Nord Giona A. Nazzaro as well as edgy and innovatve moving image Jihlava Internatonal (see the special secton). The initatve by Ji.hlava Head of Berlinale Artstc Director I Documentary Internatonal Documentary Film Festval, Forum I Berlinale I Locarno Film Festval I Film Festval I Emerging Producers, that accompanies and Germany Switzerland Czech Republic promotes each year a cohort of producers who are developing hybrid flm projects, can also be mentoned.

By Esra Demirkiran 58 59 Incubators & Exhibitors Championing radical cinema

Chapter 2. Chapter These prizes are small when we consider the funds for flms. Both Sandra den Hamer, the Head of the EYE Filmmuseum, and Andrea Lissoni, the artstc director of Haus der Kunst, point out that most visual artsts work alone and can do a lot with that amount of money. Andrea Lissoni also considers establishing a To what extent could art museums fnance non- fund to produce artsts’ flms at Haus der Kunst. conventonal cinema? What could be done by At this point, the role of private investment Museums and Art Centres the art centres to fund or fnancially support in supportng non-conventonal cinema is the flms of video artsts? There are two good rising. Andrea Lissoni voiced that due to their Museums and Art Centres present a relevant in a cinema. examples of funding for artst flms. Both are in high relevancy, the private players should be force in disseminaton and promoton of non- For a flmmaker screening a flm in a dark room, form of an award. involved in the supportng scheme. Another conventonal flmmaking since they act as either on a relatvely big screen, a specifc quality of The EYE Filmmuseum confers a yearly Eye mean of support of the visual artsts’ flm works exhibitors of the flm work by visual artsts, or the image and sound is a necessity. Moreover, Art & Film Prize to highlight and to stmulate discussed is a direct acquisiton of the flms by flm curators for their museums. There are also inclusion in an exhibiton allows a dialogue flmmakers and artsts working in cinema. an art centre or a gallery. some unique examples of museums fnancing with other works at the art space, which isn’t Established in 2005, the Museum of Modern moving image work by artsts. the case for a flm exhibited in a cinema. Art in Warsaw used to give in the early 2010s Labs, residencies, and schools the Film Award in collaboraton with The Polish The museums and art centres we interviewed Film Insttute and the Wajda Film School. In for the study work with both flmmakers and 2018, the museum for instance gave a Film Labs and residencies are somehow the visual artsts, who create non-conventonal fellowship and residency to Syrian flmmaker locomotve of creatng non-conventonal moving image: the Centre Pompidou in Paris, Reem Al-Ghazzi. The Eye Art & Film Prize is cinema, especially in Europe. They are the the Haus der Kunst in Munich, Tabakalera Charlène Dinhut worth 25 000 Euros and the Film Award in the platorms of the frst unveiling of the projects in San Sebastan, or the EYE Filmmuseum in museum in Warsaw was 500 000 PLN - around to the insttutons and encounters with industry Curator I Amsterdam. In Eastern Europe, the Museum of 110 000 Euros. While EYE Filmmuseum awards professionals, while looking for support. Schools Centre Pompidou I France Modern Art in Warsaw and the Garage Museum the artst, the Museum of Modern Art in Warsaw and workshops are also places that provide the of Contemporary Art in Moscow also provide co-produced the awarded projects and included students a deeper insight on the kind of cinema relevant best practces. them in their collecton. they would like to make. There are two main aspects that museums and arts centres are discussing while working with non-conventonal flmmakers and artsts: frst is Some museums or art spaces have their own Speakers the screening or exhibiton of the work, then cinemas. They may exhibit video work by an the fnancing of non-conventonal flms. artst in the art space and screen the flm of that specifc artst in the cinema. Charlène Sandra The screening of video artwork and flms have Dinhut, curator in the Centre Pompidou in Paris, Andrea Lissoni a diferent set of requirements. How do the mentons the diference with a special focus on den Hammer Artstc director I museums and art centres distnguish between the sound setng: “For flms, it is necessary to Director I Haus der Kunst I the screening room and the exhibiton? A visual create an area isolated from the external sound EYE Filmmuseum I Germany, Italy artwork, whether it is a single or a mult-channel that is hard to create in co-presence with other Netherlands video, is mostly screened in the art space. The rooms. It seems to me that many artsts think of expectatons of the artst for the light, sound and their practce more for the exhibiton space or the space are diferent than for a flm screened the internet than for the room.”

By Esra Demirkiran 60 61 Incubators & Exhibitors Championing radical cinema Chapter 2. Chapter

For this study, among many insttutons, we College (Denmark), FidLab (France), Bergman interviewed representatves of Groupe Ouest’s Foundaton & Bergman Estate Residency Less is More (France & European partners), (Sweden), Future Expanded (Italy), Le Fresnoy How do these insttutons support non- necessary for the existence of non-conventonal The Animaton Workshop and VIA University (France) and Casa de Velázquez (Spain/France). conventonal flmmakers? How do they make flms. She thinks that although platorms and the selecton? What do they think about markets are free to host the type of cinema the ‘script problem’ that non-conventonal they want, if they base their selecton solely on flmmakers have? What are their suggestons the script, they cut themselves of from non- Speakers to resolve flmmakers’ problems when applying conventonal cinema. to diferent juries and selecton commitees? At Fabienne Aguado, Head of artstc studies at what stage could non-conventonal flmmakers the Casa de Velázquez in Madrid, mentons that Tim Leborgne be supported? their residency is one of the few places where Fabienne Aguado Leader, Talent & Skills Labs, residencies, and schools are among the flmmakers and artsts can send projects without Director of Artstc Development frst places where flmmakers and visual artsts a script and stll convince the jury. Studies I & Director of Open develop their projects and collect feedback. Tim Leborgne, Head of the Residency Programme Casa de Velazquez I Workshop I VIA Every year, these insttutons receive many at Animaton Workshop, VIA University College, Spain, France University College I applicatons and make their selecton following works only with animaton artsts for which the Denmark diferent sets of criteria, whilst always looking creatve process does not start with a script, but at the quality of the project. Their experience with images. with selectng and working with flmmakers and Jan Holmberg, CEO of the Bergman Foundaton artsts from diferent backgrounds is crucial. and member of the selecton commitee of the Leonardo Bigazzi Fabienne Moris Bergman Estate, confrms that the visual artsts Curator I Lo Schermo FIDLab Director I Due to the nature of their specifc project, non- and flmmakers staying at the residency are Dell'arte I Italy FIDMarseille I conventonal flmmakers ofen don’t have a selected on the basis of project notes, and not France proper script to submit to a platorm or a fund. a script. Nevertheless, they ofen either write a script just “to access opportunites that they would The issue of the tming of the support is a otherwise not be able to access” as Leonardo separate discussion. While some industry Natalia Trebik Bigazzi from Future Expanded remarks, or their professionals argue that it is more difcult Jan Holmberg project risks being rejected. to explain non-conventonal projects in early Head of distributon A reconsideraton of the submission materials stages and the support should be allocated in a CEO I The Bergman & festvals, and evaluaton criteria, especially the traditonal later stage (late producton or post-producton), Foundaton I Sweden Le Fresnoy I Studio understanding of the script might provide an the majority sees the early stages as the most Natonal des Arts easier access for the non-conventonal projects. suitable. Antoine Le Bos thinks that in order Contemporains I France For Antoine Le Bos, artstc director of the Less not to throw money out of the window, non- is More Training programme, even if there is no conventonal flmmakers should be supported in script, there should always be a road map of the the development phase. According to Leonardo project. He also suggests submitng 5-minute Bigazzi, these projects should be supported Antoine Le Bos video instead of writen materials: “A script is at the beginning, when they need the basic Co-director & Artstc closer to a novel, a flmmaker explaining the funding on which they can build everything else. Director I Le Groupe project in a video is closer to a flm.” Moreover, he laments about lack of “a radical Ouest/Less Is More I Fabienne Moris, Head of FIDLab, thinks that project that is willing to support research and France establishing diferent criteria for evaluaton are vision, regardless of the outcome of the market.'

By Esra Demirkiran 62 63 Incubators & Exhibitors Championing radical cinema Speakers I IFF Rotterdam - the Art:Film Initiative & CineMart.

Leonardo Bigazzi’s suggeston brings us to from anthropology, philosophy, sociology as Tobias

Chapter 2. Chapter Jacobine the queston of the compositon of selecton well as writers, artsts and producers. Fabienne Pausinger van der Vloed commitees. The common practce is that Aguado says that there is no need to ask a non- Head of Development the members of the juries don't come from a conventonal flmmaker to send her/his project Director and Acquisitons I background related to non-conventonal, edgy, to a commission, where the members will not & Head of Studies I The Match Factory I or non-narratve cinema. Although there are be able to read or understand it. Antoine Le Bos ACE Producers I Germany funds focusing on innovatve, experimental concludes that the problem is not the categories Netherlands flms, in most cases, the compositon of the of people; it's about their ability to feel and to juries stays disputable. Fabienne Moris thinks antcipate what a flm will be when they are that in the commissions, there should be people just confronted with potentalites. Marit Tobias Pausinger and Jacobine van der van den Elshout Vloed say: “Back then, we saw the trend of visual artsts who had huge success in the Head of IFFR Pro I art world and who potentally could fnance Internatonal Film Speaker I Tabakalera “Each insttuton makes its own decisions, a flm because of their name. The idea Festval Roterdam I have its own budget but at the same was to bring people from art world and Netherlands tme, they work together on diferent flm industry together and to understand projects. For example, members of Maialen Beloki the functoning of each industry to fnd the board of the flm school are from new toolsets for development, fnancing, Deputy Director I Basque Film Archive, San Sebastan FF The Internatonal Film Festval Roterdam, producing, and distributon models.” As Tabakalera I Spain and Tabakalera. Another example: the as a large festval welcoming many the art world is very diferent from the residency programme is organized by diferent cinema voices under one hub, flm world especially in fnancing and in Tabakalera, San Sebastan FF and the flm has experience with diferent actons distributon, Tobias Pausinger mentons school. supportng non-conventonal cinema. that they also discussed merging classical Based in San Sebastan in Spain, One is Art:Film initatve, and the other flm distributon chains like television Tabakalera is an internatonal centre ‘Festval of the Whole Year’ and the one is the IFFR Pro, the industry secton of and cinemas, etc. with the art world. The for contemporary culture. It has an Residency Programme are two interestng IFF Roterdam which includes CineMart initatve had collaboratons with art fairs, interestng and rich structure, where a projects that Tabakalera organizes. and Hubert Bals Fund. co-producton markets, flm festvals, festval, an exhibiton centre, a residency ‘Festval of the Whole Year’ is like a collectors and gallerists. and a flm school are put together in the festval that includes screenings, talks Art:Film started under the umbrella same building. The diferent insttutons by flmmakers and research programmes of CineMart, and it was a pioneering Many of the projects selected for Art:Film are San Sebastan FF, Elías Querejeta which runs all year long. The residency initatve at the tme. It was established in were completed. Despite the big success, Film School, Etxepare Basque Insttute, programme invites fve projects for each 2011 by Jacobine van der Vloed, currently the project ended afer six years. Marit the Basque Film Archive, the Kutxa term. There is one Basque project, one Head of ACE Producers, and Tobias van der Elshout, Head of IFFR Pro, says: Foundaton, LABe and Zineuskadi. We Spanish project, one internatonal project, Pausinger, currently Head of Acquisitons “With Art:Film we saw in those years that wanted to understand how this unique one project of an alumni of NEST Film and Development at Match Factory, it there was a great diference in how the art example functons and how it champions Students Meetng of San Sebastan FF ceased to exist in 2017. Art:Film was a world fnances and functons. And we saw non-conventonal cinema. and one project of a student at the flm platorm connectng visual art and cinema. that this was difcult to put it together school. Each year artst flms were selected with the way cinema industry works”. Maialen Beloki, Deputy Director of San and conferences & panel discussions Sebastan FF and Head of ‘Festval of the When it comes to non-conventonal organized. Already before establishing the The CineMart of IFF Roterdam presents Whole Year’ at Tabakalera, talks about cinema, Maialen Beloki says that: “In the initatve, both had kept note of artsts a space where non-conventonal flms the three main objectves that all the residency, diferent types of cinema and applying to co-producton markets with could fnd a place for themselves. Marit insttutons have: cinematc experiences are promoted. In feature projects. Those were the days van der Elshout details CineMart’s intent • Training and the transmission of flm the exhibiton centre, they work with visual when visual artsts (e.g., Steve McQueen to open up to diferent kinds of formats, knowledge. artsts and non-conventonal flmmakers. or Apichatpong Weerasethakul) started to and to directors & talent that will come • Development of new talent. They have exhibitons about expanded or have huge success at flm festvals. with just a really good idea: “We want to • Research. hybrid cinema, and a summer school for be able to ofer them support to work on visual artsts.” that idea.”

By Esra Demirkiran 64 65 Chapter 3. Cemetery, Carlos Casas (2019) Innovating public policy making Chapter 3. Chapter

he idea behind this part of the study was the subject is also indicatve of more abstract T to bring into perspectve the manifold factors, the most obvious of which is the systematc approaches, as they protect the most personal comprehension of binary oppositons elusive part of the organized sector, which ofen such as new vs traditonal, conventon vs also corresponds to the most fragile one. disrupton, mainstream vs experiment, by the managers, commissioners and other decision- By mapping the landscape from this taking groups administering the mechanisms. perspectve, we wanted to gain an overview Semantc aspects of the studied subject is not of the insttutonal practces and draw as many to be neglected! conclusions about the commonalites and trends as possible. We also wanted to compile in one The following summary draws upon the place the repeatng challenges occurring in or interviews held with thirteen managers of the around these mechanisms and possibly pair funding bodies from ten countries conducted in them with existng solutons. One of the tasks the course of six weeks at the turn of the year of the research was to single out exemplary 2020/2021. The selecton of the interviewees measures and practces, as well as to provide was done on the basis of recommendatons by an idea about the ways the natonal and/or Eurimages, and on the additonal assessment regional structures could best use the external of the relevance of decision-makers and/or the Grit, Itonje Søimer Gutormsen (2021 - Eurimages Lab Project Award 2018) stmulaton such as the remodelled Eurimages partcular models. Choosing the interviewees, Lab Project Award. we were conscious of geographical diversity, By Marina Gumzi diversity of the size of the territories, their Afer just the frst few interviews, it became historical backgrounds, their dependency clear that the experience and feedback gathered on their respectve politcal structures, their from the interviewees would be even more fnancial capacity as well as on gender and age Non-conventionality heterogeneous than assumed. The fact is that no of the representatves. unifed cinema exists, however there are many diferent flmmaking practces, i.e., many ways Regardless of these diversifcatons, the results in public support of thinking about and making flms. Diferences obtained from the interviews can only provide in the insttutonal support mechanisms for the relatve and to some degree specifc conclusions. new and unsystematc flm practces provide an Moreover, while the goal of the majority of the mechanisms exemplary proof of that. interviews was to understand the natonal model (such as in case of Austria, Denmark, Hungary, On the one hand, the complexity of the subject Netherlands, Portugal, Serbia, Slovenia, and Defning the elusive, derives from the diferences of fnancial Sweden), some interviews investgated specifc capacites of the individual funds, and their regional situatons (e.g. regions of Friuli Venezia various levels of integraton into support Giulia in Italy, Ile-de-France in France, the Berlin/ organizing structures. They refect diferent market sizes, Brandenburg metropolitan region and the joint histories, and the general stability of the regional regional unit Hamburg Schleswig-Holstein in and/or state supports for arts and culture. On Germany) and are therefore insufcient for the unsystematic the other hand, the indeterminate nature of speculatons about natonal realites.

69 Chapter 3. & Criteria Structures, Strategies Defning the elusive, organizing the unsystematc in public support mechanisms Non-conventonality By Marina Gumzi as perceived be automatcally diferent-than-standard can proposals barrier: as invisible functon can an They a here. play role legacies signifcant and traditons flm Natonal to the general expectatons of the fund. contentsinto existngtheaccording criteria and the translate toapplicants’ ability the largelyon basis to-case flms. 'Diferent' projects are handled on a cater for the specifc needs of non-conventonal scheme autonomous or fund is specialized there Portugal and Slovenia Serbia, In Natonal Film Insttute in Hungary); Moving in the Netherlands, Incubator Programme at the Screen, Danish fund verbeelding De and ScreenNew Sweden, New (examples: debutants expression experimental and either that body funding Brandenburg); Berlin- France, Medienboard the in at Fund CNC Media New the at fund creaton digital The (examples: body funding main the under and Sport, Austria); ServiceFederal Culture,MinistryofPublic Arts, flm practces (examples: Film Department of the formechanism support innovatvethe manages following cases: agencies structureddiferently a) diferent strategies (dynamic factors): and factors) (statc backgroundsdiferent them in recognize and mechanisms support the of of the landscape, we can look at diferent aspects In order to beter understand the heterogeneity • • • ehnss f upr ae aae by managed are support of Mechanisms A An n uooos udn body funding autonomous An special scheme uooos department autonomous o bt - aty r exclusively or partly - both or , hr. hi sces depends success Their there.

operatng under the main norgs artstc encourages

, such as in the in as such , or

operatng supports that case- to no in non-conventonality and experimentaton. genres mix efectvelyincreasemost the contributesthe to to encouragement the which of guidelines, seven on based is mechanism producton. The for funding for apply they when material visualas wellas proposalswriten with their present prepare and substantally, to projects their flmmakers development The the Euros. enables 000 support 100 to up - the in refected amount of is support allocated to selected projects which development, on placed is focus creatveConsiderable onwards. process the of is beginning format the at the encouraged with experiment to Freedom platorm. distributon a with projects selected provides also which broadcaster(SVT), natonal coordinatedcollaboratontheis in withscheme This flmmakers. second-tme and frst by flms of producton and development the supports diferent funding models b) as them package documentaries. to example, for through, contents their get to system the in apertures for look to flmmakers the cause can or 'bad', structure, and opened it up to a wider variety wider a to up it opened and structure, the funds, these of each for commitees juries/selecton ‘Short + Innovatve’), and by appointng diferent range budget into budget Germany Holstein, • • Support is allocated to the projects through projects the to allocated is Support Sweden Moving imödrn Hamburg Filmförderung

aaeet recently management three sub-funds according to the to according sub-funds three ‘ih n’ ‘ietrs u’ and Cut’, ‘Director’s End’, (‘High b dvdn te integral the dividing by : , Sweden . Some examples: Helen Ahlsson Insttute I Sweden I Swedish Film Moving Sweden Film Commissioner – Te scheme The :

eomd the reformed Schleswig-

70 f betiy bu te ults f ls that flms of qualites the about objectvity these of from arising point diferent decision-making models is the queston glaring most The Insttute, Film Hungary). Natonal Program, (Incubator support producton about decision the takes a before process development the during projects the appointed process making Brandenburg); Berlin- Medienboard in Intendant Sweden, and decision-maker decision-making bodies diferent assessment processes and by c) the mainstream. does not specifcally scheme support flmmaking beyond The taken. is support about decision associated with the programme, before the fnal are that doctors script selected of support the with developed are phase development early their development with helps and development of their phase in projects selects cinema. incubator the The in distributed for flm a had open yet not is fund directors, scriptwriters and producers, the who have Hungary: Insttute, distributon. focused on flms with the potental for theatrical is producton.theirfund in The as wellas script their in stereotypes, using avoid to flmmakers restrictve)control measure assist to aims which ot ocal, ih h c-ald ant- co-called the stereotypingchecklist with notceably, most which contribute to a larger diversity of content, ofprojects. Funding is allocated to the projects through projects the to allocated is Funding • • • • Adecision takenis a in a by taken is decision A Programme Incubator Twobodies gate-keepingdiferent group of experts

Theyintroducedalso nl uyslco commitee jury/selecton fnal Poet ta gt eetd at selected get that Projects . (e.g. commissioners in Denmark wih s are ot y an by out carried is which , Helge Albers Holstein I Germany Hamburg Schleswig- CEO I Filmförderung

- an instructve (but non- (but instructve an - : regulateddecision- ; Ntnl Film Natonal , oe appointed sole

newmeasures diferent assess early

is with mainstream arthouse cinema. it than structures traditonal on build don’t that morepronounced moreand projectsdecisive in idiosyncratc projects for more feasible. This hindrance is arguably collaboraton internatonal the making in hindrance decisive a together all the ofnot if factor, enormous an presents expectatons stll – fund the suit to content the adoptng also but readers diferent to idea the the how packaging of projects at – not only communicatng thus hints is which package impossible, virtually applicaton same the with Sweden and Portugal in support for Applying the supportng visual material. was project a that granted support on the basis of a treatment and happened has it where as propagatedby, for example,Moving Sweden, principle evaluaton case-to-case more a from largelydifers This all. at evaluatonpossible be to process the for grounds main the present applicaton writen a cases, above-mentoned the all in Moreover, this aspect. in funds the between diference immense the shows document, supportng per text page A4 one than more no send to applicatons the all Hamburg or Filmförderung Hungarianthe by rule recentlyadopted the example, Serbian, for with, funds, natonal requirements Slovenian, Portuguese applicaton the at the Comparing concerning the applicaton requirements in result operatons d) wantng the best for simply it?” but project the in stakes personal any the having lead without – process the can through creators and beter development its to decision- the maker; whynot have someone whocancommit by project the to long-term commitment more a establish not Why choice? the behind reasoning the and consensus the all need we do whyprojects, innovatve supportngand edgy “When comments: Insttute, Film Danish the at commissioner flm feature Næss, Riise Silje reason. and measures impersonal by objectfed being than rather individual one by recognized if clearer out shine might proposal The categorize. non-conventonal of 'edginess' the of and potental measure to harder are h aoelse dfrne i mdl and models in diferences above-listed The

clsi-osen wih requires which Schleswig-Holstein, and infat diferences signifcant t measurability its . stll

71 Non-conventonality in public support mechanisms 1) New Media Funding, Medienboard Berlin- Defning the elusive, organizing the unsystematc Brandenburg 2) Digital Creaton (Créaton Numérique), Internet and/or ‘digital channels’ on Internet The New Media Fund division of Medienboard Natonal Centre for Cinema and the Moving platorms such as YouTube, Dailymoton, Berlin-Brandenburg - one of several German Image - CNC, France Facebook, Instagram, Twitch, etc. The Digital Chapter 3. Chapter regional funds with special strand for new media The fund operates autonomously within the Creaton support mechanism has embraced new - provides a calibrated funding mechanism that complex architecture of the CNC as the third technology in a systematc way, and looks at focuses mostly on the local/regional efect. pillar next to the funds for cinema and the each of the identfed groups of practces as an New Technologies: The mechanism exists since 2006, which is one for series and television formats. The fund autonomous feld of creaton and distributon. Managing the Unknown when it started systematcally supportng covers diferent creatve areas that all embrace, Fontenay explains: “Previously, my department gaming developers. Open to innovaton within in a partcular manner, digital technologies. was operatng under the umbrella of the cinema audio-visual media in a broader sense, several These schemes are handled separately from fund, and afer that, under the audio-visual During the research, we have come across new formats of content eventually found their each other. fund – we were stll part of the general cinema- three mechanisms that represent outstanding way in too. Today, the mechanism consists of based legislaton. Digital is now autonomous examples of a systematc embracing of support for development and producton of as the third « pillar ». We are satsfed as we creatve opportunites ofered to flmmakers a variety of diferent innovatve audiovisual don’t need to seek ways of squeezing our and other audio-visual content-creators by projects: games, multplatorm content, virtual projects into their regulatons and standards. the new means of technology. and augmented reality experiences and diferent Olivier Fontenay Especially for XR that is far from the movie non-tv serial formats. industry, and far from anything else: it’s a Head of Unit Digital These mechanisms are implemented in the completely autonomous feld of expression, not Creaton I CNC I France support system on three diferent levels and The fund operates with fve deadlines per year. an extension of anything, and perhaps not even in three diferent countries. The frst example The decision about support is taken through a fully defned industry yet. It might one day is the support mechanism for new media, the so called 'Intendanz-Prinzip', by which the become such, and it might incite its own market, which operates within the regional fund of fnal verdict, afer each submited project is or become something else.” Medienboard Berlin-Brandenburg. Then, the discussed by the panel of experts, is taken by The frst stream is about content creaton French fund Créaton Numérique/Digital the head of the fund (Intendant). Projects are through gaming that CNC has been The separaton of the support mechanisms Creaton operates as an independent fund mostly backed by loans and in 2020, the fund systematcally supportng for more than 20 permits the guidelines and regulatons to within the French Natonal Centre for Cinema invested approximately 3 million Euros into the years. Each year 15% of the projects that receive approximate the volatle nature of creaton and the Moving Image - CNC, and represents its support of innovatve content. The mechanism support through this funding scheme can be and innovaton, which stand at the heart of youngest systematcally managed feld of audio- also established an ongoing collaboraton with considered interactve movies. The second these practces, and to the true needs of the visual creaton. The third example is a micro flm schools in the Berlin-Brandenburg region stream covers the mult-faceted feld of digital practtoners. This fexibility keeps the fund initatve Pixel, Bytes + Films, which has been through the initatve Digital Program. Esther experience creaton. Created in 2016, this in touch with the actual feld of creaton, and introduced by the Austrian Film Department Rothstegge, funding advisor, explains: “We mechanism covers diferent forms of combined open for the new. As a result, the fund has of the Federal Ministry of Arts, Culture, Public ofer young flmmakers to try something new real and virtual environments and man-machine the credibility of a relevant partner in the eyes Service and Sport to promote innovatve without them needing to play according to the interactons, and other interactve narratves. of creators, and can efectvely partcipate in projects with a digital focus. hard rules of the market.” Young flmmakers Previously, the XR projects received funding regulatng the landscape, not with limitatons regularly respond to the call and bring in through other schemes. About 120 projects but by fne-tuning the cultural balance with These mechanisms represent trailblazers in diferent kinds of story-driven content reaching are supported each year, a signifcant number enhancing diversity. A good example is the fund the atempt to accommodate creatvity that out for interactons: from game to 360-degree of projects is submited by flmmakers. The third policy for gaming: “We don’t need to only help combines flmmaking practces with new flms and apps. stream, DICRéAM (Dispositf pour la créaton projects that can stand alone on the market. We technologies or exceeds them by proposing artstque multmédia et numérique), represents support games done by women creators and new forms of art - most signifcantly, a 'wild card', and combines all undefned (and minorites, projects that might otherwise not be gaming formats, XR and other audio- undefnable) reservoir of creatvity. According able to exist: creatve and innovatve projects, visual experimentaton through innovatve to Olivier Fontenay, the idea of this scheme is whoever creates them.” Expression through new technology-based outlets. It is not necessarily Esther Rothstegge to support projects that could not be supported technologies seems specifcally prone to various flms that are in the focus of these mechanisms, elsewhere: “Everything that is new, creatve levels of under-representaton. Interventons but instead new kinds of audio-visual New Media Funding and original out there come to our desks, and by progressive funds such as ‘Digital Creaton’ experiences that converge with classical Executve I Medienboard be hopefully supported by this fund.” A fourth hold the potental of being hugely important flmmaking practces through their storytelling Berlin-Brandenburg stream, Fonds d’Aide aux créateurs video sur in balancing new, developing felds of creatve core. GmbH I Germany Internet, established in 2017, aims to support industries and their economies. projects that are released for free on the

By Marina Gumzi 72 73 Chapter 3. Defning the elusive, organizing the unsystematc in public support mechanisms Non-conventonality By Marina Gumzi s h Asra bodatr R II which III, ORF broadcaster Austrian the programme is the of partners main the of One from XR-related creatve industry. start-ups and with events networking courses entrepreneurship and development practcal flm sales, & distributon of ways new law, media new on workshops of support programme which consists comprehensive a by accompanied Each editon of the annual project is artst/collectve. can Euros000 per25 funding to up to amount project Individual connecton with new technologies. to/in connected methods artstc and/or skills additonal develop to well as established artsts, who wish as youngartsts and flmmakersemerging both are programme the of Target groups TV-formats. new contents, flm and webisodesartwork, trans-media and cross- user-generated and crowd-sourcing projects formats, documentary serial non- and serial material, fctonal of narraton new media in of various forms and shapes such examinatonas: serial cinematc experimental which has been running since 2010, is to support The idea of the programme Pixels, Bytes + Film, Service and Sport, Austria ofFederalthe Ministry of Arts,Culture, Public 3) Pixel, Bytes + Films, Film Department Service and Sport I Austria Ministry for Arts, the Civil of Federal Ministral Film Department Division Arts and Culture I Head of Department I Barbara Fränzen

audio-visual practces might not be foreseeable. new funds or mechanisms to support innovatve regionalofformatonecosystems,orwhere the couldespeciallybe inspiring for smaller natonal initatve that measure applicable The and lean a exemplifes strategies. outreach creatng in models, agency autonomous distributon their encourages their encourages and rethink it to Furthermore,them formally. and creatvely both expressions their enhance and support to of tools possible as potentals technologies new embrace flmmakers the helps audio-visual the initatve by boutque-sized singular,A media. new traditonal ofered opportunites the with practces bridges that Pixels, Bytes + Film represents a micro initatve professionals. industry and artsts media of composed commitee an selecton by internatonal selected were projects were 11 projects submited, 100 than more editon, the 2021 For professionals. among credibility and agility its fosters which partners, of cooperatng The pool its platorm. extends contnuously and digital programme TV broadcaster’s on the works on fnished the present to opportunity the and support editng provides

A Film About The Desire To Make It Work, Franziska Kabisch &Laura Nitsch (2018) 74 back in 2007, such pairing was relatvely new. relatvely was pairing such 2007, in back entre scheme the the with started extremely we When impact landscape. but eventually and measurable valuable, not are These angles. new interestng in result can disciplines diferent between “Collaboraton progression: favoursuch ofin flmmakers,speaks and artsts together brings which scheme, (‘Imaginaton’) verbeelding De was which of part Fund, Film long-tme head of New Screen Pas, at the de Netherland van Dorien by shared experience The private the market of digital experience. shape actvely who executves, private-company also but world, insttutons art the and from individuals infuental other and curators art contemporary include These would felds. diferent from decision-makers disciplines, creatve to need would chain value cinema traditonal the such for order In supportto beterdevelop new internatonal networks. them providing and technologies, and get acquainted with the new sets of digital tools of over-repetton traditonal narratve conventons; helping artsts the rejectng actvely importance of: the to pointed interviewees exhibiton the and dimension producton digital of accelerated an support several interviewees crisis, pointed to sanitary the global the by us brought upon reality new the of light in Especially audiences.diferent include and spaces cinema exhibiton potentals to reach beyond traditonal and distributon new embrace to opportunity of the initatve was repeatedly recognized as an Re-evaluaton and the subsequent restructuring its contnuaton. for hope the and initatve, the of appreciaton their expressed interviewees the contrary, the the of legitmacy critques Onnever questoned. waspurpose awards:the the the of addressed None however, existence. of Project fve years frst its Lab in place in put Eurimages was it as initatve the of few a at drawbacks hinted funds regional the and natonal of representatves with discussions The Feedback &Expectations pn p o lmns ht upr other support that elements to up open

convergences n t te xet and experts the to and need to structurally Concretely, .

o emerge, to distributon.” the is room the in elephant big The weakest. the as seen be automatcallyprojects will these then does, project other every as people same the for ‘hunt’ to forcedmakers their and arena main the in positoned be to contnue projects ‘special’ these If audiences. of types diferent reach to designed be and channels distributon and diferentacross exist to museumssupported be galleries, in screened be to allowed automatcallybe should module 'special' umbrella that theof under supported are that Maybe flms chain. value old same the to projects 'conventonal' the author-driven cinema. handle The system referred also these decision-makers that people same – the with confronted eventually were Projects Lab The lacking. was scheme Projects Lab the whatexactly was that opinion, my In chain. value diferent a on run and we don’t necessarily know them well – they industries, diferent to ted are practces these Because practces. their for relevant are that players of group new whole a in bring to need makers (of the non-conventonal flms), we would scheme is to be useful for, and supportve of the the“If that out pointedeventWest networking Meets East When thedirector of the Fundand Relatons of Internatonalthe Friuli Venezia Giulia Audiovisual of Head Gropplero, Alessandro value chain. bound to the dominant dynamics of the old flm model was recognized into, as the born were Projects Lab supported landscape distributon The and the mixing of formats and disciplines.” experimentaton of principle our copied partly new that fund our within other up set were severalmechanisms that scheme pioneering this of because also was It approach. such of necessity the detectng in right were we But closedness and the rigidity of the current the ofrigidity the and closedness , which has kept its actvites too closely too actvites its kept has which , weakest point of the current wih previously which , Fund I Italy Giulia Audiovisual Relatons I Friuli Venezia & Head of Internatonal Head of WEWM Alessandro Gropplero

75 Chapter 3. Defning the elusive, organizing the unsystematc in public support mechanisms Non-conventonality By Marina Gumzi level of responsibility as well as propagatetrust as responsibility oflevelwell as increasedgeneral an support can decisions and choices individual The non-conventonality. of seems to be more in line with the inner dynamic boards and juries of approvals tmely avoid to and decisions, case-based taking of ability The advisor. and development-expert curator, a as acts expert this guidelines, general With of help the expert. sole one by decided is support where model, commissioner’s Scandinavian the in seen is non-conventonal the supportng in approach holistc and bespoke a of beneft The the traditonal system today. of edge the on created being is that segment and creatvitythe for applicable fully be about not might relevance thinking of habits the even and dynamics networks, frameworks, old and projects, The these self-evident. as taken be therefore to cannot applied be can past the in worked that everything not – projects attude the of the to importance pointed further comments Fränzen’s very is important!” exchanges internatonal enhancing – too Eurimages, the of level the on done be defnitelynetworks.their ownshould Thisbuild people get and exchanges, internatonal more be will and restarted.It(…) be would very facilitateto good re-considered being is fund thatthe important it’s and problems happening! were is There this that great is “it contnues, she “Nevertheless,” covered.” were expenses their even not and project’stheirvalue, elevate events: pitches Lab Project expecttheyknowcoulddidn’t what the to going were that “Artstsconcrete: more even be to Award, Project Lab the for eligible artsts the supportng with experience previous her of because able, Fränzenwas issue. similar a addressedFränzen Barbara byexpressed remark the way,some In

if they would they if n adig h non-conventonal the handling in

meet anyone who could who anyone meet tnv ad diligent and atentve

from

these that is the case, that their proposals are boring, areproposalstheir that case, the is that think we if them, tell but extremelyinterestng, recognizeto applyablethat peopleare the that love with yourantagonists, etc.? Webe to need in fall me making you are them, answering just than rather questons asking youare expected, you are than them: further stepping you are projects. ask enough, curious our constantly on to love’ need ‘tough We exert to is – fund – although I don’t say this to the applicants a as do is to need we new,what think “I noteworthy: the shaping in the responsibility regarding shared Ahlsson Helen Sweden’s commissioner Moving the of attude the model, Apart from having in place a fnancially generous between diferent agents in the ecosystem. Lab projects.” the with than start to place beter no is There tme. our and to something mean really stories that voices fnd flms, of kinds other making ofrelevance Europeanin flm! startWe to need defcit a been commercialcampaign?has There programme in a cinema, to the product behind a the to just than more something to contribute they Do society? Danish refectthey Do think? Danish Are flms culturally important? Do they it: make people measure to try even now We content. the of importance cultural the about talking started we Insttute, Film Danish the At more. and more questons these ourselves ask to need we world, changing fnd this In interestng. we do stories of kind what schools, flm to recruit we do whom with starts fences It around. built and established narrow we the that of circuits out break to need We issue. was expressed by Silje Riise Næss: “It’s a politcal power the with ofthose hands the in lies that the about convicton similar A to us afer they’ve found something sharper.” reject the applicants, but ask them to come back for the unconventonality: we need to be able to or too easy. We, too, need to take responsibility responsibility

76 n/r rfsinl wti te natonal resistance and prejudices the to within it use and environments, professionals and/or needing to explain the changes to the politcians Projectin Lab argument Eurimages’ a as recognized also was Programme the Moreover, speakers. several by expressed was landscape, changing steadily the ft to solutons alternatve with up bigger picture, and the lack of resources to come structures support their modernize and rethink to suggestons could they that confessed waySeveralaroundrepresentatvestoo. openly other the go certainly will process but learning the study, this of aim main Programme the is Projects generaton Lab second the adaptng design to systems natonal and individual from practceselements good Recognizing eeinn ter aoa systems natonal their redesigning Speakers , that could assist managers of funds of managers assist could that , Lmttn i sen the seeing in Limitatons . towards the new and use inspiraton and inspiraton use fght the potental the fght Center Serbia I Serbia Director of Film Gordan Matić Ile-de-France I France Fund I Région & Audiovisual Grant The Cinema Myriam Gast Centre I Slovenia of Slovenian Film Managing Director Nataša Bučar potental when

to integrate into our natonal model.” would defnitely be something insttuton we would follow and try internatonal important an on the natonal level, a trend propagated by such be fully compatble with the support regulatons while the technicaldetails might not necessarily So, support. systematc our of dimension this about careful being now are and theirengagement, of because topic the on study research entre an launched We flmmakers. female of favour in advocacy their and equality gender Eurimages’oflevel.think on natonal focusJust the on things ‘above’changes from comes that guideline or trend initatve, “Every answered: Centre Film Slovenian the of head the Bučar, non-conventonal cinema in the country, Nataša forsupport special no existsthere that fact the given support, natonal a with compatble be projects non-conventonal for fund European pan- a could howasked When landscapes. flm natonal fragile more and/or smaller younger, to benefcial especially be could This unknown. Denmark Danish Film Insttute I Film Commissioner I Silje RiiseNæss Ile-de-France I France Grants I Région Post Producton Colin Maunoury Fund I Netherlands NL I Netherlands Film Head of New Screen D orien van dePas

77 Chapter 3. Chapter

he new scheme proposed that would We would recommend, for the selecton T consttute the new generaton of the commitee (deciding upon the Design & the Eurimages Lab Projects Support Programme is Audience Awards) to be nominated for a non- composed of 3 complementary streams enttled: renewable period of 3 years, in order to meet • The Design Lab Awards; the demands of responsibility & contnuity that • The Audience Lab Awards; were addressed by many speakers - especially • The Carte Blanche Lab Awards. funders, and for their series of decisions to defne a much-needed editorial policy guided The artcle intends to detail the specifcites by the priorites set in the strategy/guidelines. of each stream. We consider that combined This will eventually ensure a beter readability together they will make a comprehensive set of and visibility of the new programme. The Carte recommendatons, with a level of direct fnancial Blanche Lab Award will be decided upon by support to projects & flmmakers amountng to a 3-member jury composed by the partner Fotbal Infnit, Corneliu Porumboiu (2018) 225 000 Euros a year. This represents a rather festval, and thus changing at each festval. reasonable 12% increase compared to the frst generaton of the Programme. We recommend We are looking forward engaging in establishing this model for a cycle of 3 years conversaton with Eurimages’ representatves, at least, to be possibly extended following an in order to consider amendments, variatons, evaluaton. and suggestons to the proposed scheme, which would enhance the feasibility and the The scheme is designed to include 2 highlightng pertnence of the Programme. We would simply By Mathieu Darras promotonal events a year: like to emphasize the relevance of the scheme • the Design Lab & the Audience Lab Awards, as a whole. In our opinion, if each Award is decided upon together by a 5-member selecton stand-alone, they are all intrinsically linked. Not commitee, shall be announced each year in bundled and implemented together, their impact A new scheme April in a diferent Eurimages member state, would be reduced. during an event made in associaton with a partner organizaton known for its actvites & We would like to stress the fact that the The Design, Audience, expertse in non-conventonal cinema. descriptons of these streams should be • the Carte Blanche Lab Award is to be read together with the next artcle detailing decided upon by a 3-member jury. The Carte ‘Guidelines’. and Carte Blanche Blanche Award shall be announced during a partner festval set in a Eurimages member state, known for its actvites and expertse Lab Awards in non-conventonal cinema, with a diferent festval hostng the Award each year.

79 Chapter 3. and Carte Blanche Lab Awards The Design, Audience, A new scheme Lab AwardsLab Design The By Mathieu Darras taketo part. Therefore, haveexploringwe been need organizatons of range wide a successful, interest of expressions following starts scheme the before These organizatons will be chosen by Eurimages art centres, Labs & residencies, etc.). museums/ (festvals, study the for interviewed cinema conventonal be will typically organizatons 1 These nominate annually. will flmmaker organizaton partner Each flmmaking. non-conventonal of practces of scope large and diversity the representng collectvely and Europe, identfed for their expertse in the feld, organizatons partner the on rely scheme the will that fact the of consists making An A scheme involving partner organizatons to new talent. a from maximum of 12 proposals. Priority commiteewill be given selecton 5-member a by 15 of scholarships with artsts visual & flmmakers annual the for allow be AwardsDesign flm failure.will ofThe possibility and of trials support development to & projects, concepton the to research and experimentaton answer the to of to interviewed, many stakeholders by aim identfed need, Awards strong the Lab Design The mark of distncton. them promote thanks to the also visibility brought by the Eurimages’ whilst talent, promising of proofconcept comprehensive a to idea inital an & audiovisual talent on their The Design Lab Awards aim to support new flm noav faue n em o policy of terms in feature innovatve

0 Ers each Euros 000 n wl drcl support directly will and . Concretely, these awards will support awardswill Concretely, these . nuaos ehbtr o non- of exhibitors & incubators cun wr o u t 12 to up of work scoutng sc a sm o those of some as such , ae ad cv in actve and based Te wl b selected be will They . . For the scheme to be to scheme the For . creatve path from norg true encourage when it comes it when individual 5 cl for call a

across Europe The advantage of this structuring is that: have to their work acknowledged internatonally. thus and flmmakers, non-conventonal of to advocate for the recogniton and the support policya actvein an partinitated by Eurimages, is a really strong desire – even an urge – to take there felt we answers, diplomatc merely being positve essentally were reactons another with a or new Eurimages way scheme, and one their associated being in would interested be organizaton their if interviewees the asked systematcally we interviews, our During of supportng flmmaking talent. a work highlighted by Eurimages having on largelybased partcipatewill be to motvaton their that consider We involved. be to organizatons these trigger would what ubr f lmkr nmntd ess the versus nominated flmmakers of interest, number of confict of issue the Besides Promotng the diversity of new talents commitee. selecton independent an but awards, the on decide will who organizatons the not is it fact, process decision-making the from process to recommendaton and this with further go to not decided eventually We nominated. have flmmakers best they the of could potental the representatves for advocate their that fact the by guided Awards, Lab Design the about themselves decide to organizatons nominatng the for envisioning were we proposal, our of a of one the is considered have we that threat The lead to hundreds of applicatons. easily could therefore and criteria, many restrictve so include not profle does a which support, such of for especially Eurimages, for generatewould call open an whatcompared to quality of profles considered emulates their work; in the feld of non-conventonal flmmaking, and concrete opportunity to extend their mission • • • it it it ofc o interest of confict nags h bs o tln t be to talent of base the enlarges iiie te diitav burden administratve the minimizes iscae h scoutng/nominaton the dissociate novs ntte & organizatons & initatves involves , and is likely to increase theincrease likelyto is and , that are known for their expertse nominated; I a erir version earlier an In . and being given Fr from Far . overall their the . In . 80 xeine fmaes dsie h increase the (despite flmmakers experienced that with perceptonassociated being mainly of has Eurimages the considering However, criterion. this recommend to researchteam our mater of fact we didn’t reach a consensus a within as critcism, harsh to open be could choice a such that awareperfectlyare We criterion. age an establish to be could opton possible One might not be valid here. flmmakersfeaturesor2nd their1st on working to talent new designatng of practce common not limitng the support to feature flms only, the thus practces, flmmaking non-conventonal of scope large a embrace to meant is Programme, overallthe also but Awards,new Eurimages SupportLab Lab Design the only not As cultural context. the to according also but Europe, of largely, not only between the diferent countries experience and age), and the answer to it difers of terms in (both talent new a be to contnues remains a dauntng one However,the a rather established flmmaker as well. an existng work, and thus most likely to highlight ofbasis the on Lab upon Awardsdecided being Blanche by Carte the and projects flmmakers established ambitous targetng specifcally awards of categories 3 the of diferentaton clear a allows This specifcally. it positon especially to and scheme the intostrategy the of talent new of priority the artculate clearly to important it that scheme one of the 3 Awards composing the overall new only the isLab Awards Designsub-scheme The concept get supported – more than 40%; a propose considering they have a fair chance to to eventually encouragement non-conventonal flmmaking practces; of diversity the showcase and express to commitee the help could it out importantlyand thatby awardshaving5 giveto entries, of number the by overwhelmed being of concepts to choose amongst, but they are not and thoroughly considered so that: givenofawardsnumber • • h fmaes r given are flmmakers the choice large a has commitee selecton the wt te uine a Aad more Awards Lab Audience the with , agt nw talent new targets queston of what a new talent is newtalent ofa questonwhat , especially how long one has been thoughtully been has W consider We . strong , by the flmmakers will be considered ineligible. new good use of public money; the demonstratng of and awards, the grantng flmmakers the several mentoned, features of the scheme would facilitate this goal: already the Besides characteristcs research. and encourage experimentaton truly will Awards Lab Design The Encouraging experimentaton & research festval". a directed thatrecognized flm a atshortselected was flm have festval who flm or initatve, partner incubator of or partcipants cooperatves recent partner of members actve recent alumni of a partner educatonal insttuton, arecreators content“Emergingwho to: open is program the evaluaton, that state Theyinspiring. Youngbe could & Ernst the in mentoned programme Watch’ to ‘Talent its by defned criteria The new & emerging talents Eurimages by for these Awards, set with the notons of priorites the ft profles visual whose artsts, and flmmakers nominate they that so organizatons partner the with conversatons be would opton best the possibly flmmaking, non-conventonalof realites the to ill-suited is criterion feature 1st/2nd the that aware being and criterion age the aside Putng 35 years of age be should the core target group for the Design Lab Awards that underestmated.Thereforeestmate be we not shall talents promising of number sufcient a nominatng in across come mayorganizatons partnerthe that challenges thesupport, yetthe diferentate frmly would years 30 at limit the set To limit well. as age one crucial a the been have set would to where of queston The move. flmmakers of recent of in targetng precise supported years), being features frst of • • the the poet ta ae led i development in already are that projects ; ocp pooe wl b absolutely be will proposed concept fnancial support shall directly beneft flmmakers and visual artsts under artsts visual and flmmakers would generally be a welcomed a be generally would . wt sml poess of processes simple with , . eel Cnd for Canada Teleflm e generatons new o engage to wih is which , ,

81 A new scheme The Design, Audience, The selecton commitee will assess all the 12 During the process of the study, the queston and Carte Blanche Lab Awards proposals (if all flmmakers nominated submit of the audience gradually gained a central one), and will select the 5 Design Awards (15 place, being at the core of the interrogaton of April). Immediately afer the announcement & almost all the stakeholders, a situaton most Chapter 3. Chapter promoton of the Awards, the flmmakers will The Audience certainly exacerbated by the closure of cinema receive a scholarship agreement to complete, theatres due to the Covid19 pandemic. From The Design Lab Awards would be implemented and will receive the frst instalment (1st May). Lab Awards early on, our intent has been to translate this as follows: strong percepton into the policy-making Once each partner organizaton has nominated The flmmakers will then have up to 8 months recommendatons for the new Eurimages Lab one flmmaker (1 February), the later will have (tll 31 December) to implement their research/ The Audience Lab Awards aim at supportng Awards Programme. 45 days to create & to submit a concept note experimentaton in order to come up with a proof ambitous non-conventonal flm projects, to Eurimages (15 March). of concept, which will be used to demonstrate possibly crossing over to other art forms, on A grant 100% dedicated to support audience the feasibility and artstc potental of their their endeavours of reaching out to audiences, outreach costs At this stage, this is important for the format flm project. This proof of concept will be wherever these audience are. These awards will In a frst draf of our recommendatons, we of the concept note (writen & audiovisual submited to Eurimages in order to trigger the support flms that are at the stage of development were planning to create Awards that would elements) to be as free as possible. Filmmakers payment of the balance of the scholarship. As and/or producton, and that demonstrate a equally support producton costs and audience will be given complete freedom to convey the with similar public schemes that already exist high level of cooperaton between diferent outreach costs. However, we have realized that concept of their audiovisual project as they in Europe, and is introduced in the previous Eurimages member states. this scatering of support not only would not want. The only obligaton will be an explanatory chapter of our study, the awarded flmmakers help for the visibility of the scheme, but also note on the research/experimentaton they will not have to justfy their expenses, but will The Audience Lab Awards will be annual, and would be constraining for the awards recipients. intend to carry out thanks to the Design Lab have the obligaton to deliver new materials to will support 3 flm projects with grants of 40 000 Award. justfy the award. Euros each, supportng the audience outreach Indeed, one recurring feedback we received costs. The Audience Lab Awards will be decided from the Eurimages Lab recipients of the upon by a 5-member selecton commitee programme 2016-2020 was related to the following an open call with strict criteria. administratve obligatons – notably having to Design Lab Awards Key Figures justfy the overall producton costs of the flm Addressing the paradigm shif of viewing when the support was limited to the post- Benefciaries Materials to submit & deliver practces producton costs. The justfcatons requested Individual flmmakers & visual artsts. • Submission: A concept note The Audience Lab Awards are meant to address were viewed as excessive, since they were Priority to new talents. (exact format up to the flmmaker). the enormous paradigm shif of viewing as demanding as the ones for much larger • Report: A detailed proof of practces currently in moton identfed by producton grants (several hundred thousands Eligibility, call & selection process concept within 8 months. many of the stakeholders interviewed, and the of Euros), even though the award was limited Each year, 12 flmmakers are invited to necessity to break down the barriers between to 50 000 Euros. An Award mixing producton submit a flm concept for the Design Lab the stages of development, producton, and & audience outreach support would maintain Awards. Timeframe distributon, and to insert the queston of this situaton, while even reducing the level of Each flmmaker is nominated by one 1 February: Individuals nominated by the audience much earlier in the creatve & support for producton considering that the partner organizaton. partner organizatons. producton processes, possibly as early as overall framework of the Eurimages Lab Awards The concept submited shall be absolutely 15 March: Deadline for flmmakers to when the flm is conceptualized and developed, Programme is not to be substantally increased. new. submit concepts. and defnitely when its producton starts. Awards decided by a 5-member selecton 15 April: Selecton commitee Dedicatng the entre support to audience commitee. meetng & announcement of the 5 The Audience Lab Awards diferentate outreach costs would help to solely focus the Design Lab Awards. themselves quite radically from classical selecton criteria to the audience engagement, Financial Support 1 May: Scholarships agreements distributon support schemes, in the sense that distributon, and promoton strategies of 5 scholarships fnalized & pre-fnancing payment they positon the support when the flms are the flms. At the same tme, we recommend of 15 000 Euros each allocated. being conceived and made, and not once they that Eurimages requests only for the proof of 31 December: Deadline to submit are made. Indeed, as many stakeholders (from audience outreach-related expenses, and not 70% in pre-fnancing payment proof of concept & payment of the various backgrounds and with diverse practces) the overall producton costs, to the Awards balance. clearly expressed, the queston on where, when, recipients. Ultmately, it should signifcantly 30% in balance payment and how the flm will be shown, directly impacts lower the administratve burden for both afer submission of proof of concept on the concepton of the flm. Eurimages and the Awards recipients.

By Mathieu Darras 82 83 Chapter 3. cinema conventonal and non-conventonal between have we study, a witnessed the in earlier expressed As ghetos de facto. createto is flms programmestargetngatypical support such regarding interviewees many by hand other the on flms’ on one hand and the ‘conventonal flms’ ‘non-conventonal between border strong a diferentatedand programme,is identfedclearly a having besides decision, this However, a much looked-afer induced efect of taking and daring flms. risk- of costs producton/post-producton the supportng schemes internatonal rare the of ofone shelving the as seen programme,be and the of evoluton negatve a as appear could it outreach(Audience Lab Awards). Atfrst glance, Awards & Carte Blanche Lab Lab Awards) (Design concepton or of audience phases but their either flms, the of costs producton actual the support directly would programmeAwards Lab none of the sub-schemes of the new Eurimages that recommendatonmeans Eventually,a such conventonal flms non- for gheto a of upholding Preventngthe used for digital/event-based actvites. content for digital/event-based actvites; mult-platorm campaigns; including communicaton; campaigns, Social Media Manager(s); are not limited to: but include could costs outreach audience The and Carte Blanche Lab Awards The Design, Audience, A new scheme By Mathieu Darras • • • • • • Costs of publicaton. be to materials the of productonof Costs audio-visual to related creatvity of Costs Costs of event-based audience engagement engagement audience online of Costs & Marketng Strategy, Audience of Costs I rcn yas te Eurimages the years, recent In . rwn prst o te borders the of porosity growing Ide, dne raised danger a Indeed, . not to uphold to not

e oetly lgbe o te uiae Lab Eurimages the for eligible potentally be to projects Eurimages-funded the for return in support co-producton Eurimages the of to be considered ineligible for the main scheme t for is idea The interviews. the Eurimages’ Secretariat staf members during by corroborated and decisions funding the of analysis and byan demonstratedstatement a more, more practces flmmaking conventonal by non- integratng were characterized that decisions funding was fund co-producton the Council of Europe; Fund, of which at least one is a member state theof of states member diferent in established co-producers two least at between operaton one is a member state of the Council of Europe. least at which of Fund, the of states member diferentin producers,established independent Co- Eurimages the Producton Fund scheme of criteria the of some should submited projects The comprised between 15 and 20 projects an to applicatons of number submission for with materials of set demanding proposals a and criteria for be call a would launch will EurimagesFebruary, Awards 1 on Annually, Lab implemented as follows: Audience The engagement campaigns audience & promoton innovatve Supportng support the same costs. not would Fund co-producton Eurimages the and AwardsLab Audience the Indeed, Awards. • • ipa att ado tcncl co- technical and/or artstc display two least at between co-productons be Ti sol ntrly ii the limit naturally should This . he Eurimages Lab Projects not Projects Lab Eurimages he , notably they must: estmated range estmated tit eligibility strict opy with comply per call. and ,

84 related costs. tmeline of audience outreach actvites; including campaigns, distributon & promoton producton companies’ profles, previous works); strategy to an havedemonstrate would projects the call, the to to encouraged apply explicitly be that would forms fact art the other to crossing projects and daring & innovatve criteria, these Besides • • • a detailed budget of the audience outreach- a detailed plan for the audience engagement, notes, intenton (synopsis, package flm a , supported by: Audience Awards Lab of 40 (non-refundable subsidies) 5-member selecton commitee. a by decided awards & assessed Projects Eurimages’ Secretariat. the by checked applicatons of Eligibility & submission requirements. Each year, an Eligibility, &selection call process 70% 3 Financial Support Benefciaries companies, if they co-produce the flms. Productoncompaniesand/or distributon 30% innovatve audience outreach audience innovatve grants

000 Euros each in pre-fnancing payment in balance payment open call with strict criteria

payment of the balance of the grant. orderpayment,instalmentin frst receiveto the a provide to have will company producton The frst instalment by May, 1. receive agreement will company producton majority the commitee, selecton the hostng organizatons partner the of one by organized a of part as Awards the of announcement the Afer 15. April, by Awards Audience 3 the select will and proposals, all the assess will commitee selecton The 15th. March,by submited be should applicaton The eald eot ihn 6 months 36 within report detailed o opee ad il eev the receive will and complete, to Key Figures implemented. the audience outreach actvites campaigns; engagement, promoton & distributon a detailed plan for the audience Materials to submit &deliver report & Payment of the balance. Within 36 months & Pre-fnancing payment allocated. 1 May Lab Awards. & announcement of the 3 Audience 15 April companies to submit applicatons. 15 March for projects. 1 February Timeframe • • Report Submission : Grant agreements fnalized : Selecton commitee meetng : Deadline for producton : Publicaton of the call : A detailed report on promotonal event promotonal : A package, including : Deadline to submit fr the afer grant a

85 Chapter 3. and Carte Blanche Lab Awards The Design, Audience, A new scheme By Mathieu Darras the by composed jury 3-member a by upon decided be will Awards director’s upcoming flm. The Carte Blanche Lab 30 of prize support will and be will Awards Lab Blanche Carte The visual concretely support their & ongoing career flmmakers awarded artsts the give to intendAwards Lab Blanche Carte the only Not Eurimages Lab Project the Award Programme. with associate to intends Eurimages that daring works aim their for known artsts visual non-conventonaland Awards flmmakers celebratng Lab & Blanche promotng Carte The AwardsLab CarteThe Blanche be given making process, and generally that artsts should the flmmakers’ previous works speakers, more that our expressing of many answer by to given meant suggestons also are They feld. the in fgures exceptonal highlightng non-conventonal by flmmakers, promote meant and are celebrate Awards to Lab Blanche Carte The Promotng non-conventonal flmmaking pre-approved by Eurimages. a amongst flm a and festval,partner bythe programmecurated to given be shall Awards greater visibility greater more freedom

0 Euros 000 , refectng the values and priorites Eurimages I France Deputy Executve Director I fmae wt a cash a with flmmaker 1 Enrico Vannucci ou sol b pt on put be should focus o e netd n the in invested be to bt t lo intends also it but , ate festval partner with their next projects. in the decision- annual . The . at to ,

eie b te uy t poue h director’s the produce to jury, the by decided Award complimentary and not to create confusion. twothe awards wouldclearlybe defned that wereassuming positve, executvedirector of Eurimages. Theirreactons deputy Vannucci, Enrico and Award, Audenta Equality Group at Eurimages responsible for the Gender the ofChair and Insttute Film Austrian the of director deputy Zappe-Heller, Iris with exchange an have did we sense, make would recommendaton this that sure make already to order the of model existng largely the are under Awards designed Lab Blanche Carte The The Audenta Award model features. flmmakers frst internatonally-recognized of produced who fnancing feature second for Euros),or feature flms for school graduates (about 40 developmentInsttute’sfunding Card Wild to recent graduate flmmakers, the Funds’s Wildcard projects; flm new of development and work further for support as used be should that and visionaries’ Festval Award SEK Impact Film million 1 Stockholm its with the (Sweden), or flm, next olr (25 dollars 100 once its with (Poland), Krakow of Cinema Independent of Festval Internatonal the Modern Art museum; in work their of exhibiton an produce to order 000 Euros personally and up to 30 000 Euros in Prize Pompidou-supported Centre fund the making of new work by the artst, or the Prize Film & its and (Netherlands)Filmmuseum EYE stakeholders the mind in having designed were Awards Lab Blanche Carte the mentoned, and served ofen as a reference. were However, exhibitons their for world, artsts the to art blanche’ the ‘carte give museums/curators in where prevalent practces The • • •

flm funds l festvals flm Fac) wee h wne rcie 35 receives winner the where (France), allocated to the director of the Best Film l museums flm TeleflmCanada’s automatcsupport uiae’ uet Award Audenta Eurimages’

0 dlas n 2021) in dollars 000 , with its 25 000 Pounds prize to prize Pounds 000 25 its with , from both art & cinema felds: , such as the t akolde internatonal acknowledge ‘to , a 40 sc a te f Camera Of the as such , et rccs f various of practces best

000 Euros prize awarded sc a the as such , Flanders Audiovisual the positoning ofpositoning the Marcel Duchamp Marcel Swedish Film rcw Film Cracow Stockholm

000 US 000 EyeArt tobe In .

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86 ovnoa fmaig sc a Arsenal’s as such flmmaking, conventonal non- in actve most festvals the of some that fact the is retain to nuance notable most The supportng non-conventonal cinema. acton an for Eurimages with associated be to idea the – organizatons incubators to similarly werewith welcomingengagedverypositvely– want to stress that most of the festvals that we we partners, possible name specifcally to itself allow not does study this if Even Programme. best ft would policy editorial and actons whose festvals, crucial most be will it programme, past the of evaluaton the in concretely organizatons implementng the acton. As partner we have highlighted the be will Programme, Award Lab Eurimages Projects the of generaton frst the to similarly and Award Audenta the to Similarly Lab AwardsLab CarteThe Blanche commitee. Award decided by a 3-member jury. Secretariat. festval checked by the Eurimages’ Eligibility of flms pre-selected by the partner festval. A Eligibility, &selection call process Priority to established talents. Individual flmmakers & visual artsts. Benefciaries ih h pirts f h Lab the of priorites the with to scout and to select the flm the select to and scout to programme of flms l festvals flm curated by a

will be given over the period 2022-2024. Awards Lab Blanche Carte the where festvals, a launch festvals, for to call be shall process the Practcally, with festval directors. individual our is organized we in table round the in and interviews appeared positon it this as minority, However, in flms. their and competton are Forum, Berlinale Key Figures No material to submit. Materials to submit &deliver festval. Dates depending on the partner Timeframe of 30 1 Financial Support to distnguish amongst flmmakers amongst distnguish to cash prize

000 Euros. n t dsgae h fs 3 frst the designate to and opposed to the idea of a of idea the to opposed Group I Eurimages I France Gender Equality Working Head of the Eurimages Iris Zappe-Heller 87 Chapter 3. Chapter

his artcle proposes a set of guidelines fcton and the necessity to extend the support T highlightng the most relevant priorites to short forms. The scheme should embrace revealed by our study. Their objectves are to innovaton and create a system that allows ‘the maximise the capacity of Eurimages to support right to fail’. This means creatng a support that innovatve languages and to identfy the right is not only able to accommodate structured stakeholders – to build solid partnerships for projects, but that also nurtures daring ideas and the actuaton of the upcoming Lab Project visions. Another important priority is to imagine Award. a scheme adaptable to producton models that steps out of the classical formats. At the centre of our reasoning has been the need to create the pre-conditons to reach out Once the general scheme of the new Eurimages the largest number of pertnent projects and Lab Project Award Programme will be approved

Garage People, to guarantee the consistency of the awarding and validated by the Board of Management, the Natalija Yefmkina (Audenta Award 2020) system. The core idea of those requirements is to Fund shall launch during the 2nd semester of ensure diversity, both in terms of languages and 2021 a series of calls for expressions of interest accessibility. The guidelines will allow Eurimages targetng partner organizatons and experts. It to rely on prestgious structures & experts for shall also prepare during the same period the the process of identfcaton and assessment guidelines for project-based applicatons – at of the projects. It is capital to underline the least for the Design Lab Awards & the Audience essentalness of this aspect in order to navigate Lab Awards. the vast sea of non-conventonal practces in European cinema. With these calls for expressions of interest and these guidelines for projects carried out, the Once these criteria are satsfed, the Programme could be launched by the end of implementaton of the scheme should have as 2021 in order to be implemented from 2022 a premise that, in order to encourage research for a frst cycle of 3 years. The vade mecum and innovaton, authors shall express the below has been designed to bridge the needs essence of their projects without having to of Eurimages with the needs of the targeted adapt it to ft in a ‘box’. Thus, the necessity to creatve industry. It is inspired from already go beyond existng categorizatons: for instance, existng practces and from the experience of By Rebecca De Pas the diference between documentary and the stakeholders. Guidelines

89 Chapter 3. Guidelines the right partnerships the toGuidelines ensure By Rebecca De Pas contemporary works. the is fostertrulyinnovatveto primaryand conditon experts of pool diverse and balanced gender-a rememberthat to redundant not is It sciences and arts. Guidelines toGuidelines experts identify structures spaces training programmes, labs other art forms; works with blending and cinematc boundaries genre crossing diverse and facilitate and innovatve foster promote, to mission a carefully be shall evaluated with the following chosen criteria: structures The by their industry atendees. projects these for interest of level low the and programme, a limited capacity to scout projects, their in flms non-conventonal of scarcity the to carry out such award. The main reasons were out, there was an inadequacy of established those structures pointed already and Younghas & Ernst as prestge, commitment real their and festvals, partner AwardProject Lab Eurimages previous the by engagement clear the Despite the feld partner the choosing structuresaccordingtheirproven to in impact of importance The Those characteristcs can be found in: the widening audience for technologies by ofered equality flm and other disciplines;

• • • • • • • • The general mission of the structure – the for interest genuine A A A Film festvals Interdisciplinary insttutons, residencies, uem, r cnrs n exhibiton and centres art Museums, with programmes dedicated to cinema; rvn aaiy o tat talent atract to capacity proven cetc r research/educatonal or Scientfc omtet o iest ad gender and diversity to commitment ; . . promotng ; oprtn between cooperaton ;

possibilites from with

from other is creatve felds. professionals of projects that borrow/use forms and practces those evaluaton correct the ensure of to fundamental blending The also in regards to the fnancial plan and budget. - The capacity to evaluate an applicaton in detail fronters of distributon; a cinema, strong knowledge of new technologies and new produced non-conventonally of promotonthe and/orofflms artst other types for working in co- experience Proven producton. internatonal internatonal regarding policy in European experience basic the of of knowledge environment, industry years 5 - research centres; & multdisciplinary foundatons, art residencies, providers, VOD curators, festval distributors, of as such cinema, promotonnon-conventonal and support, development, feld of the in actve are who players Industry - sectors of the cultural industry. capacity of dealing with stakeholders from other schemes outside the cinema world and a proven - Experience in working with funds coming from in Europe; landscape cinema the of knowledge careerand recognised internatonally an of years 5 least at with co-producton, in experience proven with a cinema in and working disciplines artstc in between experience with Producers - promotng another artsts’ career. in engagement actve an and feld producton the in stakes and issues evaluate to Capacity - a with knowledge of the cinema landscape in Europe; and practce ongoing an with career, internatonallyrecognisedan of years 5 least at in practce a with disciplines artstc other and flm with between artsts and Filmmakers - following the characteristcs: with and categories project, the following from a experts evaluate consider should accurately Eurimages to order In proven experience in the feld their to according scouted be should experts commission evaluatng an forming a be should projects assessing in view of points Diverse

• • •

Filmmakers and artsts Exhibitors and Incubators Producers odtn ie u non qua sine conditon . External . while 90 ihu a rdcr s lgbe o te Design the for eligible as producer a without working flmmakers consider would if Eurimages valuable be would It work. their of kick to investors private and insttutons from money itis possiblefor artstsand flmmakers to gather on company budget, certain a untl productonbecause also board.This a without work to It is a common practce for flmmakers and artsts Filmmakers with no producer atached accessibility of the support. the facilitate to steps some are here granted, need of Eurimages to be able to track the money the imperatve the mind in Keeping granted. regardingbe to order in fund meet to have strict projects the the conditons the of were the requirements by interviewed addressed issues stakeholders main the of One and fexibility requirements Eurimages between balance A the requirement of the call. to format the or content, the adaptng without project, their of potentalites the express fully to possibility the applicants give to conceived foradapted diferent productons.is model This We detail here an applicaton model that can be application forGuidelines aproject-based process. creatve entre the cover would that elements a on more rely elements. The tools to writenevaluate the project shall structured without also selecton in the partcipate to sense, allowed be this shall project the In cinema. non-conventonal of projects for call a in partcipate to compulsory flmmaking, a script should not be considered as in importance general its questoning and without narraton of absence the imply not does script a of absence The project. a evaluate to tool main the as script the ofpersistence the is support innovatve works and its actual to capacity to do so ambiton main fund’s a the between speakers, hiatus most by out pointed As Overcoming the script as frst evaluaton tool this consider to workfow have model in order to be really impactul. will grant future The making. theirareliterallyconceived during flms the which in model circularmore a offavour in overcome ofen is postproducton producton/ development/ script/ on based model the that is research our during notced aspect Another Imagining another path for producton necessarily preclude tracking their expenses. a fair and efectve grantng process and will not wider pool of contenders Lab Award. This would lbl package global facilitate inclusion and a for the grant, ensuring ht includes that In Praise of Nothing, Boris Mitć (2017) 91 Chapter 3. Guidelines Visual elements artstc elements. other the of level same the on shall considered be and importance great of research ofen is the phase projects, cinema conventonal connectons with the director's statement. creates and development original structural and the idea, demonstrates treatment The is. usually script a way same the in considered be Treatment and research content and style of the flm to come. of the overviewofclear a give should and terms project the in to approach tool director’s the basic understanding a is statement The motvaton. personal the beyond goes context arethatworks conceivednon-conventonal a in the of importance The Director's statement elements to a scripted flm project complementary and Alternatves way. unconventonal screening spaces in a sustainable should This prove that the applicant is capable of navigatng exhibitors. by interest of leters co- the producers. to equal considered be shall players Those spaces. exhibiton private and museum centres, research universites, foundatons, such as sources private include could fnancing that reliableplan a with complemented and Budgetng and fnancing soundscape shots, edited examples. boards, material, research mood material, scoutng works, By Rebecca De Pas

• • • • • h bde sol b crfly detailed carefully be should budget The other to references include: could These non- other and flms making artsts For treatmentthe non-scriptedcinema,In shall dtie dsrbtn taey including strategy, distributon detailed A

director's statement for statement director's

where to reach out to a potental audience. applicantshould have a clear visionon how and with the aim of the award. On another contradictonhand, the in be would this as compulsory, releaseconsideredbe notbe can must it plus, a as a hard factor to access the award. If a cinema release Projecttheatrical a consider Lab to not was Award past the for strength of point A Open to diferent distributon models exhibiton, performance as or research. such domains, artstc be other in experience should crew the also include main and atenton with considered the of and biography the flmography seem, may it as banal As Biography and Filmography of the team director's work. the ofcirculaton the evaluate to capacity their on and expert the of knowledge the on based ofdirector'sthe previous achievements be shall evaluaton correct a The work. non-conventonal evaluate to criteria only the considered be a indeed positve is and outstanding achievement, it cannot selecton a If mandatory. be not careerthe director,achievementofin a an shall the as industry the by re-evaluate considered ofen selecton, to festval important A-list An festval. A-list the of dynamic is it Here, language. taking into consideraton their chosen cinematc etc.). The director's previous award,work shall be considered, exhibitons, (selecton, directors the of achievements the assess objectvely also to but project, the beyond engine creatve the understand be fully to shall only come not to compulsory, project the of possible as representatve as flmography A project. new a start to motvaton their of understanding the Director's previous work The artstc universe of a director is a pillar for 92 41 Conclusion. or the past fve years, the Eurimages Lab Eurimages’ intuiton of partnering with F Project Award has shown the internatonal festvals for its promotonal actvites opened cinema industry that European insttutons the way to imagine more ambitous forms of were ready to take risks to support innovaton cooperaton that could reach out to those and research. The vitality of non-conventonal artsts whose practces move across the borders cinema is proof of the fascinaton that moving of diferent disciplines. The cooperaton with images stll has on both artsts and audiences. other prestgious insttutons that are actve The study we have conducted in the past on an internatonal level represents a precious months has been an excitng journey in a rapidly opportunity to involve a wider range of players mutatng universe. We were welcomed with and to create new synergies. Another factor enthusiasm, a sign of a long-awaited interest that will maximize the impact of the Eurimages by internatonal insttutons for innovatve Lab Project Award is the contributon that the cinematc languages. programme will provide in reaching out to wider In the difcult atempt to defne the essence of audiences, not only through cinemas, when they non-conventonal cinema, we came up with the fnally re-open, but also through the diferent conclusion that what really unites these flms possibilites [that online digital] technology is their contnuous redefniton of the norms, ofers. their capacity to read our fast-changing society, Since its incepton, Eurimages has been a queston its dogmas and contradictons and, champion of the cultural excellence of European fnally, translate its instances and myths through cinema, and has contributed substantally to the moving images. This cinema moves freely fourishing of our industry. The Eurimages Lab Un flm dramatque, Eric Baudelaire (2019) between genres and formats and it is capable Project Award is a scheme that represents a step of feeding itself with input from diferent forward in this sense, as it could contribute to disciplines. the mingling of innovatve languages in a market that needs it today more than ever. Eurimages’ capacity to adapt the Lab Project Award to this agility will be capital for the By reformulatng the Lab Project Award success of the programme. An important factor programme, Eurimages has a great opportunity that should be considered atentvely would be to create an organic contnuity between its to engage professionals working in this feld to promotonal actvites and its main scheme evaluate the projects, as they are able to fully supportng internatonal coproductons. The grasp the multple facets of non-conventonal number of projects successfully defying the flms. These flms represent an important conventons of cinema that Eurimages supports occasion for the fund, not only to expand its each year, through its main scheme, is proof mission, but also to truly promote its actvity enough that non-conventonal cinema is an in a sector of the market that up untl now has essental ingredient to the strength of European been underestmated by internatonal funding cinema. To this end, the new Lab Project Award bodies. If some natonal flm agencies have been will go up against the logic of gheto and shall faster to understand just how important these functon as a launchpad for ambitous projects. By Rebecca De Pas players are to strengthening the cultural identty The outcome of this study is that contnuing this of a country, European insttutons have yet to programme is a self-evident choice. The mutual embrace the potental of these flms ability to beneft of this programme goes far beyond the Conclusion artculate the incredible richness of European exchange between money and communicaton: creatve energies. it is an alliance that ensures a healthy future for European cinema in its integrity.

95 Siuli Ko, K.O. Productons & Programme Digital Corneliu Porumboiu, Film director & Producer, List of people Culture, Cinekid, Netherlands Romania Antoine Le Bos, Co-director, Le Groupe Ouest Michel Reilhac, Co-curator, Venice VR, Venice & Artstc Director, Less Is More, France Internatonal Film Festval, France/Italy interviewed Tim Leborgne, Director of Open Workshop, Silje Riise Næss, Film Commissioner, Danish VIA University College, Denmark Film Insttute, Denmark Andrea Lissoni, Artstc Director, Haus der Hugo Rosák, Head of Film Industry, Karlovy Kunst, Germany/Italy Vary Internatonal Film Festval, Czech Republic Manuel Abramovich, Filmmaker, Argentna Dániel Deák, Coordinator of the Incubator Marie Logie, Producer, Auguste Orts, Belgium Esther Rothstegge, New Media Funding Fabienne Aguado, Director of Artstc Studies, Programme, Natonal Film Insttute, Hungary Camille Lopato, Founder & Sales, Diversion Executve, Medienboard Berlin-Brandenburg Casa de Velázquez, Spain/France Charlène Dinhut, Curator, Centre Pompidou, Cinema, France GmbH, Germany Helen Ahlsson, Film Commissioner – Moving France Chiara Marañon, Programming & distributon, Rasha Salt, Commissioning editor, La Lucarne, Sweden, Swedish Film Insttute, Sweden Anaïs Emery, Executve & Artstc Director, MUBI, UK Arte France, France Helge Albers, CEO, Filmförderung Hamburg Geneva Internatonal Film Festval, Switzerland Olivier Marboeuf, Producer, Spectre Sten-Kristan Saluveer, Head of programming, Schleswig-Holstein, Germany Sara Fatahi, Filmmaker & Screenwriter, Producton, France Cannes Next, Marché du Film, Estonia/France Marco Alessi, Producer, Dugong Films, Italy Syria Gordan Matć, Director, Film Center Serbia, Yianna Sarri, Head of Agora – Consultant for Rodrigo Areias, Producer, Bando à Parte, Olivier Fontenay, Head of Unit Digital Creaton, Serbia Innovatve Programs, Thessaloniki Internatonal Portugal CNC, France Colin Maunoury, Post-producton Grants, Film Festval, Greece Michel Balagué, Producer, Volte Slagen, Barbara Fränzen, Head of Department, Région Ile-de-France, France Albert Serra, Filmmaker & producer, Catalonia, Germany Division Arts and Culture, Film Department of Boris Mitć, Documentary director, producer & Spain Erika Balsom, Researcher & Senior Lecturer in Federal Ministry for Arts, the Civil Service and lecturer, Serbia Erwin M. Schmidt, Managing director of the Film Studies, King’s College London, UK Sport, Austria Nathalie Monteillet, Public relatons and German Film Producers Associaton, Germany Rosa Barba, Artst, Italy Chloé Galibert-Laîné, Researcher & Filmmaker, promoton, Eurimages, France Marianne Slot, Producer, Slot Machine, France Eric Baudelaire, Artst & flmmaker, France/ France Fabienne Moris, FIDLab Director & Program Fiona Tan, Artst & flmmaker, Netherlands USA Sergio Garcia de Leaniz, Project Manager, Coordinator, FIDMarseille, France Natalia Trebik, Head of Distributon & Maialen Beloki, Deputy Director, Tabakalera, Eurimages, France Gyda Velvin Myklebust, Programme Director, Festvals, Le Fresnoy - Studio Natonal des Arts Spain Myriam Gast, The Cinema & Audiovisual Grant New Nordic Films, Norwegian Internatonal Contemporains, France Meriem Bennani, Multmedia artst, Morocco/ Fund, Région Ile-de-France, France Film Festval in Haugesund, Norway Dorien van de Pas, Head of New Screen NL, USA Katharina Gerson, Head of Programming and Giona A. Nazzaro, Artstc Director, Locarno Netherlands Film Fund, Netherlands Leonardo Bigazzi, Curator, Lo Schermo Cooperaton, B3 Biennial of the Moving Image, Film Festval, Switzerland Marit van den Elshout, Head of IFFR Pro, Dell'arte, Italy Germany László Nemes, Film director & screenwriter, Internatonal Film Festval Roterdam, Frédéric Boyer, Artstc Director, Les Arcs Film Alessandro Gropplero, Head of When East Hungary Netherlands Festval, France Meets West & Head of Internatonal Relatons, Susan Newman-Baudais, Head of Jacobine van der Vloed, Director & Head of Nataša Bučar, Managing Director, Slovenian Friuli Venezia Giulia Audiovisual Fund, Italy Programme - Co-producton/First Features, Studies, ACE Producers, Netherlands Film Centre, Slovenia Jan Holmberg, CEO, The Bergman Foundaton, Eurimages, France Enrico Vannucci, Deputy Executve Director, Émilie Bujès, Artstc Director, Visions du Réel, Sweden Cristna Nord, Head of Berlinale Forum, Eurimages, France Switzerland Marek Hovorka, Festval Director, Ji.hlava Berlinale, Germany Iris Zappe-Heller, Head of the Eurimages Carlos Casas, Filmmaker & visual artst, Spain Internatonal Documentary Film Festval, Czech Roberto Olla, Executve Director, Eurimages, Gender Equality Working Group, Eurimages, Anna Ciennik, Industry Village Manager, Les Republic France France Arcs Film Festval, France Thierry Hugot, Financial Analyst, Eurimages, Katrín Ólafsdótr, Filmmaker & producer, Jérémy Zelnik, Head of Industry, Les Arcs Film Chantal Crousel, Gallerist, Galerie Chantal France Iceland Festval, France Crousel, France Stefan Ivančić, Producer, Non-Aligned Films, Tobias Pausinger, Head of Development and Sandra den Hammer, Director, EYE Serbia Acquisitons, The Match Factory, Germany Filmmuseum, Netherlands Chloé Jarry, CEO & Executve Producer, Lucid Andréa Picard, Senior Film Curator, Inge de Leeuw, Programmer, Internatonal Film Realites, France Wavelengths, Toronto Internatonal Film Festval Roterdam, Netherlands Siniša Juričić, Producer, Nukleus Film, Croata Festval, Canada

96 97 Photo credits

Films Maesta, Andy Guérif (2015) / © Capricci flms Man Bites Dog, Rémy Belvaux, André Bonzel, & Benoît Poelvoorde (1992) / © Les Artstes 2 Lizards, Meriem Bennani, Orian Barki (2020) / Anonymes © Meriem Bennani, Orian Barki Moonless summer, Stefan Ivančić (2014) / A Film About The Desire To Make It Work, © Non-Aligned Films Franziska Kabisch & Laura Nitsch (2018) / Reminiscences of a Journey to Lithuania, Jonas © ORF III Mekas (1972) / © Anthology Film Archives Baby Bump, Kuba Czekaj (2015) / © Balapolis Roi Soleil, Albert Serra (2018) / © Andergraun Cemetery, Carlos Casas (2019) / © Spectre Films Producton Seashell and the Clergyman (The), Germaine Chaos, Sara Fatahi (2018) / © Litle Magnet Dulac (1928) / © Light Cone Films Stand-In (The), Rä di Martno (2017) / Diamantno, Gabriel Abrantes & Daniel Schmidt © Dugong Srl (2018) / © Les Films du Bélier Swated, Ismaël Jofroy Chandouts (2018) / Donoma, Djinn Carrénard (2010) / © Donoma © Le Fresnoy Prod Tracking Satyrs, MML Collectve - Michał Eamon, Margaret Corkery (2009) / © Zanita Mądracki, Maciej Mądracki & Gilles Lepore Films (2020) / © Madants Film Fotbal Infnit, Corneliu Porumboiu (2018) / Un flm dramatque, Eric Beaudelaire (2019) / © 42 KM Film © Poulet-Malassis Garage People, Natalija Yefmkina (2020) / White on White, Théo Court (2019) / © El Viaje © Tamtam Film GmbH Films Gold Is All There Is, Andrea Caccia (2019) / © Dugong Films Going South, Dominic Gagnon (2018) / People © Dominic Gagnon Grit, Itonje Søimer Gutormsen (2021) / © Mer All pictures to the best of our knowledge from Film personal archives, except: Hidden City (The), Víctor Moreno (2018) / © El Rosa Barba / © Studio Mizuki Tachibana Viaje Films Nataša Bučar / © urska boljkovac History's Future, Fiona Tan (2016) / © Family Chantal Crousel / © Archive FIDMarseille Afair Films Mathieu Darras / © Marko Erd In Praise of Nothing, Boris Mitć (2017) / Sara Fatahi / © Alexi Pelekanos Director of publicaton: Mathieu Darras © Dribbling Pictures Jan Holmberg / © Göran Segeholm Heads of Study: Mathieu Darras and Rebecca De Pas La Reina, Manuel Abramovich (2013) / Gordan Matć / © Maja Medić Research Associates: Esra Demirkiran, Anna Gudkova, Marina Gumzi, © Salomón Cine László Nemes / © Lenke Szilágyi Elena López Riera, and Natacha Seweryn Leviathan, Verena Paravel & Lucien Castaing- Cristna Nord / © Anja Weber Coordinator: Kristna Aschenbrennerová Taylor (2012) / © Arrête Ton Cinéma Fiona Tan / © P. Hirth Graphic design / Layout: Cornélia Paris Proofreading: Suzy Gillet 98 99