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Venice 2024 – Venice Production Bridge

Industry Report: Distribution, Exhibition and Streaming

Europa Distribution champions collaboration between independent producers and distributors at Venice

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A working session brought together over 70 professionals from both fields to explore effective ways to enhance cooperation between the two sectors

Europa Distribution champions collaboration between independent producers and distributors at Venice

Following a well-received pilot edition last year, Europa Distribution renewed its partnership with the Venice Production Bridge during the 81st Venice International Film Festival, hosting a new working session that brought together independent producers and distributors to explore effective ways to enhance collaboration between the two sectors. On Sunday 1 September, over 70 professionals from both fields (representing a substantial increase on the previous year) gathered at the Hotel Excelsior on the Lido for a closed workshop titled “Bridging Stories and Audiences: A Working Session with Film Distributors and Producers Aimed at Improving Collaboration and Expanding Audience Reach”.

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The event, introduced by Pascal Diot, head of Venice Production Bridge, and moderated by Christine Eloy, managing director of the international association of independent film publishers, consisted of two parts: a presentation of the brand-new Film Marketing & Audience Development Support Programme by Eurimages, and a brainstorming session involving film distributors and producers.

Thierry Hugot, programme manager and financial controller at Eurimages, outlined its new funding scheme, a continuation of the previous distribution support that ended in 2020. This initiative aims to foster the circulation and visibility of Eurimages-backed films: “Following an internal evaluation, it was decided to redesign the programme to be more inclusive of all Eurimages member states and to create greater synergies with our co-production support,” in Hugot's words. The ultimate goal is to increase the audience and maximise the potential of films supported by Eurimages during the production stage through innovative marketing solutions.

Another key aspect of the project is to strengthen cooperation between producers and marketing specialists (distributors, sales agents and communication agencies), who must collaborate in the application phase and begin working on the promotional campaign before the film's completion. Hugot then detailed the various eligibility criteria, the range of expenses covered by the new scheme, and the selection process conducted by a group of experts designated by the funding body.

After the presentation, attendees were divided into six different groups, each comprising both distributors and producers from around the world, to examine common challenges across the value chain. The brainstorming session provided an opportunity for both groups to gain a deeper insight into each other's needs and constraints, promoting mutual understanding of their respective roles. During the session, the groups worked on developing new strategies and solutions to streamline the workflow from creation to audience engagement, while addressing their relation to other players. After the discussions, a representative from each table summarised and presented their findings to the entire room.

Gabriel Barbolovici, co-founder of Asgana Production, began by sharing his group's concern about the need for greater transparency within the industry: “It seems like we're all working on our own, from production to distribution to exhibition, and the data available to some parties are not being shared across the entire chain,” he mentioned, noting that this lack of information could be detrimental to the entire lifecycle of the films. He also raised questions about potential conflicts in timelines between producers and distributors, suggesting that in some cases, it might be beneficial to hire a third party to oversee and tailor the promotional strategy. “Every film is unique and has its own audience, which can be nurtured. But we also need to ensure that this film reaches that audience,” he remarked.

Barbolovici's group also went through a “list of good practices” to be applied early in the production of a film, such as ensuring high-quality stills and behind-the-scenes material, which are essential for distribution and promotion. In line with this need for effective materials, Barbolovici also commented on the possibilities of AI tools for creating promotional content, reflecting on how to implement them in a way that makes all parties feel comfortable. “This goes up to an institutional level, and this is a broader call for how to use these tools properly,” he added.

The new Eurimages scheme served as a significant catalyst for discussions across many tables, as explained by Gabrielle Rozing, managing director of the Dutch branch of Imagine Film. While recognising that hiring a marketing company to assist with planning from an early production stage is beneficial, she noted that these external parties don't always have the theatrical focus of a local distributor. “It's important to involve local distributors early on and to nourish strong connections between our two sectors in order to create an impactful distribution campaign that can effectively reach our audiences,” she advised.

This conclusion was also shared by other groups, emphasising that working together on a campaign from the outset is key to success. “In the end, cooperation is crucial; sharing ideas and expertise and starting the collaboration between distributors, producers and sales agents at the stage where stories are created is vital. It sounds easy but is difficult given the workflow we all experience on a daily basis,” said Björn Hoffmann, from German outfit Pandora Film. His table also compared and contrasted the situations in different countries, such as Germany and Spain, regarding the obligation or limitation for distributors to allocate budgets for marketing materials, particularly when specific subsidies are in place for other players in the chain. Hoffmann also called for normalising relationships between producers and distributors through sales agents, especially when high minimum guarantees are paid, to better handle the added pressure and improve communication.

“When it comes to strategies for distributors to really connect with our audience, I think the bottom line for us is to stay creative and be open to innovation,” affirmed the German distributor, who also analysed the changing theatrical landscape experienced in many countries over the last decade. Due to recent developments in audience behaviour, such as certain target groups struggling to return to cinemas after the pandemic, finding partners and identifying relevant topics has become more crucial than ever, as has organising events with partners and film crews to involve the audience.

“Our conclusion was also that the ideal case would be for the distributor to have a say in the project from the beginning, as they have valuable experience of what needs to be communicated,” expressed Andrei Aivanoei from Romania's Transilvania Film.

Another pivotal topic of discussion at his table was the question of coherence in a film's positioning. “Usually, we try to reach as wide an audience as possible, but we do believe that sometimes it’s better to accurately identify your target segment, rather than trying to chase every possible audience,” he concluded.

Next up was Ioanna Panagiotidou, co-owner of Greece's Rosebud.21, who focused once again on the importance of having a publicist attached to the project during production. The Greek distributor stressed that the entire chain must be committed to making quality promotional materials available, “especially now, in the social-media era”. She advocated for producing abundant behind-the-scenes content, pointing out that smaller productions often lack these sorts of assets, which makes effective communication more difficult down the line.

Wrapping up the discussion was Charlotte Lund Thomsen, representative of FIAPF (International Federation of Film Producers’ Associations), whose group discussed the potential of local stories with universal appeal: “You should not start off thinking that a story is too small or too local, because there is always a distributor somewhere waiting to take it to new audiences,” she claimed. They also discussed at length co-productions and the role they can play in accessing several home markets. Regarding promotion, Lund Thomsen brought up topics such as event marketing, dedicated merchandising, involving talent and using apps like Letterboxd to engage with viewers who are already committed and passionate about film.

On a different note, while agreeing with the general consensus and feedback from other groups about the value of both groups working together at an early stage, she also noted that from the producer's perspective, their primary concern at that point is usually securing financing and green-lighting the project. “I think we have to have realistic expectations about how we can move forward in that regard,” she asserted.

Once again, the activity organised by Europa Distribution served as an exemplary platform for exchanging practical ideas and recommendations between both sectors, aiming to build a healthier industry and ultimately increase the visibility of European independent films. The workshop fostered new connections and encouraged collaboration between distributors and producers, who wish to continue bridging the gap between stories and audiences in an effective and meaningful way. With this goal always in mind, the activities of the network continued at subsequent events such as San Sebastián and will also unspool at the upcoming Berlinale.

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