Do we urgently need a new economic model for culture?
by Fabien Lemercier
There are far less glamorous subjects than attractive cast lists, selections at major festivals or box-office triumphs, but which nevertheless represent crucial stakes for the future of European cinema, its financing and distribution. This is the case with the debates at the heart of the Dijon Film Meetings (organised by the ARP - see Jean-Paul Salomé’s editorial), which kick off today. Subjects up for discussion will include Improving the exhibition of European films (see news), "Radical changes to the French audiovisual landscape" (see news), and "The urgent need for a new economic model for culture."
With the arrival of US companies like Netflix and iTunes, the Europeans need an economic model and strong political will before the market shares are bought up by the former. At the same time, the pay model establishing itself on the Internet could open up financing prospects for creation. Conceivable avenues and measures for domestic and European policies will be analysed in Dijon notably by French Culture Minister Frédéric Mitterrand, Kerstin Jorna (deputy chief of staff to Michel Barnier at the European Commission), Annina Svensson (Spotify), Frédéric Sitterle(mySkreen), Martin Rogard (Dailymotion), Marie-Françoise Marais (Hadopi) and Paul Otchakovsky-Laurens (P.O.L).
The 600 professionals in attendance at the Dijon Film Meetings (presided this year by film director Michel Hazanavicius and producer Thomas Langmann) will also reflect on the relationship "Production/Distribution: a necessary transparency". This relationship, which is at the root of film successes but is sometimes a source of tension, will be analysed by Emilie Georges (Memento Films International), Jean Labadie (Le Pacte), Marc-Antoine Robert (2.4.7 Films) and Olivier Cottet-Puinel (Business Affairs for Pathé Production and Pathé Distribution).
Beyond the debates, there will be screenings, with their directors in attendance, of Philippe Lioret’s All Our Desires [+see also:
film profile], directorial duo Olivier Nakache and Eric Tolédano’s Untouchable [+see also:
film profile], Christophe Barratier’s War of the Buttons [+see also:
film profile], Hasta la Vista! [+see also:
film profile] by Belgium’s Geoffrey Enthoven, Hitler in Hollywood [+see also:
film profile] by fellow Belgian director Frédéric Sojcher, Christian Zerbib’s Our Ancestors the Gauls [+see also:
film profile] and Béatrice Pollet’s Frog Day.
(Translated from French)