by Fabien Lemercier
- The point of view of the French distributor of I Like Working, the head of Acadra Distribution and also the general manager of the Italian Film Festival in Annecy
Pierre Todeschini gives us his point of view as the French distributor of I Like Working. Pierre Todeschini is the head of Acadra Distribution. He is also the general manager of the Italian Film Festival in Annecy, and the president of the CICAE (Confédération International des Cinémas d’Art et Essais), the International Art House Cinemas.
Cineuropa: Why did you choose to distribute I Like Working ?
Pierre Todeschini: I thought it was not normal that the film was not distributed here. Acadra was created on purpose for all the films presented in Annecy which do not find any local distributor; we wanted to pick up this lack and make new Italian cinema available to the French public. Francesca Comencini won the Sergio Leone Prize in Annecy, an award designed for directors who the festival members think deserve international recognition. For the release of the movie, we made preliminary work with networks of exhibitors and regional groups. 12 copies of the film were released on the 9th of March. They should run until the end of June.
How are European art films doing on the Old Continent?
Not good enough. In fact, they often do really bad. Non-national European productions represent about 7% of the program in the average European country, and these 7% are usually monopolised by three or four big hits. This lack of diversity is quite a problem : in most cases, the above-mentioned hits are not even representative of their own culture (except for films like Good Bye Lenin!). In general, European art movies are small budget productions which do not manage to reach foreign audiences for lack of distributors willing to handle films admissions won’t event cover. Besides, TV channels do not buy other European productions anymore. It is therefore important to launch long term projects like Cinédiversité, created by the CICAE. It is important to make people regain their interest in cultural diversity and enjoy it. This requires greater willingness from everybody, the distributors, the public, and the exhibitors. A whole process has got to be started again.