INDUSTRIA / MERCATO Europa
La Giornata europea del cinema d'essai promuove la democrazia, l'equità e il dialogo interculturale di Cineuropa

12/11/2024 - Il 17 novembre, più di 700 cinema d'essai in tutto il mondo organizzeranno eventi o proiezioni per celebrare la diversità del cinema europeo.
Renowned filmmaker Wim Wenders, who serves as the ambassador for this year's European Arthouse Cinema Day, set to take place on 17 November, has captured the spirit of the event, urging “cinema activists” to break down boundaries through storytelling. He emphasised the need to collectively advocate “across all geographical, political and social boundaries for the expansion of our horizons and viewpoints”, reminding us of cinema’s unique ability to bridge divides through compelling narratives and historical insight. At a time marked by growing challenges – anti-democratic sentiments, populism, and heightened prejudice against minorities and cultural professionals – arthouse cinemas offer vital spaces for open dialogue. They serve as “portals into worlds beyond our own”, and play a key role in local communities by providing access to diverse stories and fostering understanding across cultures. Each screening, each shared story, opens a window onto fresh perspectives and enriches the cultural fabric of society.
European Arthouse Cinema Day, organised by the CICAE in collaboration with Eurimages and the Europa Cinemas network, and this year involving more than 700 cinemas around the world, calls upon political leaders, communities and audiences to join together in upholding essential values that preserve the integrity of these cultural sanctuaries. Among the core principles being championed are the protection of free speech and artistic expression, respect for diverse perspectives, the promotion of inclusion, and support for the safety of audiovisual artists and cultural workers. Additionally, the event highlights the crucial role of independent cinemas in safeguarding cultural heritage and democratic ideals.
Arthouse cinemas, now more than ever, stand as hubs of community, platforms of free expression and venues of empathetic connection.
Click here to support this call, and click here for a full run-down of the events set to take place on 17 November, European Arthouse Cinema Day.


INDUSTRIA / MERCATO Europa
L'Osservatorio europeo dell'audiovisivo analizza le attività dei fondi cinematografici nazionali e subnazionali
di Davide Abbatescianni
12/11/2024 - Secondo il rapporto, che copre il periodo 2018-2022, il sostegno agli incentivi da parte dei fondi europei sta aumentando a un ritmo superiore rispetto ai finanziamenti pubblici diretti.
Last week, the European Audiovisual Observatory (EAO) published a new report on film funding. The document, titled “Insights into Direct Public Film Funding in Europe” and authored by Martin Kanzler, provides high-level insights into changes in the income and activity spending of European film agencies between 2018 and 2022. These insights are derived from data samples from national and sub-national film funds.
The first key insight indicates that Europe’s national film funds’ income and activity spending increased, but at a rate lower than inflation. Specifically, the funds’ income and activity spending grew markedly in 2020 and 2021, likely in connection with COVID-19 crisis support, but growth rates declined sharply in 2022. By 2022, net income for national and sub-national funds was 16% (national) and 39% (sub-national) higher than in 2018, while net activity spending was 8% higher for national funds and 44% higher for sub-national funds. This is compared to an inflation rate of approximately 22% between 2018 and 2023, according to Eurostat.
Next, the study finds that European film funds don’t follow a standard financing model, although most rely heavily on government funding.
European film funds’ income stems from various sources, with several financing models in use across the continent. Some national funds generate income from as many as eight different sources, but most sample funds depend on one or two primary sources. Typically, these are government budgets at the state or regional level, combined with self-generated income. In 2022, 22 of the 29 national film funds in the sample obtained over 80% of their income from government budgets, while industry levies contributed over 80% for two funds, with only four funds drawing from a more diverse mix of sources.
In recent years, the role of industry levies on a pan-European scale has been waning, as national funding has increasingly relied on public sources. The share of industry levies in the funding mix of national funds decreased from 40% in 2018 to 32% in 2022.
This drop does not reflect a reduction in actual levy amounts, which were 6% higher in 2022 than in 2018. Instead, it results from a significant rise in public-sourced funds, whose share rose from 54% in 2018 to 63% in 2022. Although it is not possible to specify which portion of reported income is allocated to incentives, the strong increase in public-sourced income likely reflects expanded budgets for incentives and COVID-19-related support in 2020 and 2021. The effect of investment obligations, which could increase the share of levy financing, may only become apparent from 2023 onwards.
The third key insight finds that most direct public funding is allocated to the creation of works; however, its share has declined as incentive-based production support has increased.
The core purpose of most film funds has traditionally been to support the creation of works, and the period from 2018-2022 is no exception. National funds dedicated 62% of their direct public funding spending to the production (58%) and development (4%) of film and other audiovisual works. Sub-national funds, with generally narrower mandates, allocated an even larger share (82%) of their cumulative net activity spending to work creation, with 73% going to production and 8% to development.
However, the share of direct public funding provided by national funds for the creation of works decreased from 66% in 2018 to 62% in 2022. This drop is attributable to an increase in direct public funding being funnelled to other activity lines, not a reduction in absolute funding for work creation, which remained stable over the period. Meanwhile, incentive support amounts dedicated to the development and production of films and audiovisual works among eight national sample funds tripled over the five years in question.