We explore how the organisation has developed from a collaborative forum into a global network dedicated to keeping non-national European cinema accessible and culturally relevant

Christine Eloy, managing director of Europa Distribution

With this third instalment, Cineuropa continues its monthly European Networks series devoted to the most influential organisations protecting and promoting European cinema. After focusing on sales agents and exhibitors, we now turn our attention to the distributors' side of the chain. We spoke to Christine Eloy, managing director of Europa Distribution (ED), which turns 20 next year.

Eloy first noted how Europa Distribution has expanded by concentrating on what truly matters to independent distributors: providing “a dedicated space to exchange ideas, compare experiences and learn openly”. She explained that all activities are “co-created” with members through continuous dialogue, which has helped maintain cohesion across a network now spanning 32 countries.

Although operating in highly diverse markets, distributors share the same goal of bringing independent, particularly European, cinema to audiences. Eloy observed that many members from outside Europe – such as Australia, Singapore, Taiwan, Brazil and Egypt – join because no similar organisation exists in their regions, and they value a professional community offering tangible collaboration and support.

“Europa Distribution has naturally become a global reference point, as challenges are similar across continents, and exchanges often influence strategies and campaigns. Our programme allowing members to observe colleagues abroad fosters hands-on knowledge transfer, reinforcing the fact that members are peers, rather than competitors,” explains Eloy, adding that “inclusivity is essential”.

“Whether small or large, all benefit from a safe space to share practices, and many conversations continue well beyond the events. Members are our best ambassadors, and we regularly receive spontaneous requests to join. Our only requirement is independence.”

Next, Eloy explained that balancing commercial imperatives with the promotion of independent and non-national European cinema remains one of the toughest challenges for distributors. Their curatorial role is essential, she stressed, yet even strong titles can struggle for visibility, and the pressure to increase P&A spending merely to stay present is enormous. She emphasised that without the MEDIA programme – “open to all European distributors releasing non-national European films” – many works simply wouldn’t reach audiences, a reality made even clearer in regions lacking similar schemes.

“Members now rely on increasingly sophisticated audience development, treating each film like a brand, analysing behavioural data, adapting messaging and building partnerships. Marketing has shifted decisively towards targeted digital campaigns and social-media activations,” Eloy said, highlighting how “Europa Distribution offers a space to compare strategies and adjust plans based on peers’ experience, and this exchange also has kind of a therapeutic effect, ensuring no distributor faces these pressures alone”.

Eloy also noted that audience renewal remains a persistent challenge, and that young viewers must be approached as distinct groups, since “children, teenagers and young adults respond to different languages and channels”. Distributors in the network have become adept at curating for each segment, including the 18-30 bracket, where a strong visual identity – striking artwork, shareable assets and coherent label branding – helps independent titles gain traction.

What proves most effective here, she said, is not top-down promotion, but “fluid interaction and trusted voices”, as authenticity is crucial for a generation that values artistry, honesty and experiences reflecting their lives. Eloy also pointed to structural models such as the Cineville pass in Belgium, which lowers the financial barrier to trying new films and fosters long-term viewing habits. “Extending the cinema experience beyond the screening,” she added, “helps cultivate community-driven patterns of discovery, while early engagement and film education remain essential in building future audiences.”

Younger staff often play an important role, bringing what she described as an “instinctive cultural fluency”. Digital platforms are central to these efforts, with Instagram used for targeted messaging, TikTok for reaching younger users, and YouTube for broader visibility.

Another core task of Europa Distribution is to provide operational and advocacy support. “Networking and peer-to-peer exchange – representing about 14 activities a year – remain central to our impact, allowing members from different markets to share practical experiences and refine strategies,” reveals Eloy. “Our close contact with them strengthens our advocacy, enabling us to convey their realities when discussing MEDIA schemes, geo-blocking – which underpins the sector – and now AgoraEU.”

For many distributors, MEDIA is the only support available for non-national films, while non-European members often have none. “Training, networking and lobbying reinforce one another: shared knowledge improves daily practice, operational insight fuels stronger advocacy, and that advocacy helps maintain the conditions for distributors to keep taking risks,” she underscored.

When asked about the organisation’s role in cultural diplomacy and policy-making, Eloy confirmed that promoting cultural diversity is at the heart of her team's mission. “By strengthening the network of independent distributors and supporting circulation, we directly foster diversity,” she said. “We ensure that practical realities – from audience engagement to financial constraints – inform policy-making, acting as a bridge between field and policy so that institutional decisions reflect what happens on the ground while maintaining the presence of non-national European films on all screens.”

Furthermore, Europa Distribution does not overlook the importance of sustainability, green practices and digital innovation. “These themes have long been firmly integrated into our work. Through our Innovation Hub, we introduce tech companies developing tools relevant to distributors and create opportunities for direct feedback,” Eloy explained. In particular, the Green Distribution Lab aims to tackle sustainability professionally and through storytelling, using film case studies to explore how distributors can engage audiences around environmental themes. “We also work on ethics-related topics, such as inclusion and gender equality, and our mentorship programme supports young women in distribution,” Eloy added.

With the organisation forming a complementary triad with Europa Cinemas and Europa International, Eloy sees great opportunities for deeper collaboration and for strengthening cross-sector understanding. “We already organise regular sessions between distributors and exhibitors (with Europa Cinemas and CICAE), sales agents (with Europa International) and producers (with EAVE, ACE and EPC). Feedback is consistently positive: these events focus on understanding colleagues, sharing knowledge and finding inspiration without any commercial pressures. I’m proud that Europa Distribution has launched these partnerships, and there is clear demand for more,” she summed up.

For those interested in joining, ED can be reached via its website or by emailing  communication@europa-distribution.org.