24/06/2025 - The professional breaks down how Malta has transitioned into a full-fledged film industry under his administration as well as the growing strategic role of its national festival

(© Mediterrane Film Festival)

During this year’s Mediterrane Film Festival (21-29 June), Cineuropa met with Malta film commissioner Johann Grech, who spoke about the archipelago’s remarkable transformation into a year-round production hub, stressing how Mediterrane serves as both a strategic business platform, and a celebration of cinema’s cultural and economic power.

Cineuropa: Could you describe how Malta’s role as an international hub for filming has evolved since your appointment?
Johann Grech: When I became film commissioner in early 2018, the industry was still very seasonal – productions would come in, then leave, and we’d have long periods without any activity. This year, we’re celebrating 100 years of filmmaking in Malta. The Film Commission was set up in 2000, and our cash-rebate scheme was introduced in 2005.

If you analyse the last 20 years, the industry used to operate in cycles – two good years followed by two bad years, and so on. But since I took over, we’ve shifted the model. Back in 2018, around 200 people worked in the sector for only a few months at a time. Today, we have over 1,000 people working full-time, all year round.

We’ve completely transformed the industry. In 2023, film accounted for 18% of our national economic growth. That means €18 out of every €100 came from the film industry. Over five years, we’ve sustained 15,000 jobs, and the sector’s growth has had an impact on various parts of our economy. This transformation didn’t happen by chance. We have succeeded because we took risks and adopted a robust strategy. These aren’t just words; these are measurable results. Under my administration, we’ve attracted productions with combined budgets exceeding €635 million. In terms of growth, 74% of the industry’s economic expansion happened under my leadership. From 2005-2017, the sector was worth €401.7 million. Since then, we’ve reached over €1.1 billion in value.

How are you tackling upskilling and training?
The challenge now isn’t attracting productions – we’re in a highly competitive global market, and competition is constant – but rather ensuring that Maltese crews can move up the ladder. We want them to take on more senior roles, such as heads of department, and we’re also creating opportunities for newcomers to enter the industry. That means understanding where the gaps are and training people to meet industry needs.

Yes, we do need foreign crews – not just to fill gaps, but because we want to learn from them. But through education and upskilling, we’re working to close those gaps. Right now, we’re servicing eight productions, mostly from the USA, the UK and Europe.

Who are Malta’s main European partners?
We work closely with the British film industry, for instance. We see ourselves as collaborators, not competitors. Film is all about partnership. We share ideas with institutions like the British Film Commission and support training programmes that allow Maltese crews to gain experience abroad and bring that experience back to Malta.

We’re also commissioning a new census to profile the local workforce. The last one, carried out by Sagalytics, showed that 35% of crew members were aged 46 and above, while 65% were between 16 and 45. That shows the industry is now attracting a younger generation, and we want to ensure they have long-term career prospects.

Let’s say I’m an aspiring Maltese filmmaker, aged between 18 and 20. What would be my first steps? Are there any film schools or universities offering training?
We’re working to strengthen ties between the film industry and the local education system, from primary schools to universities and private institutions, including those in the UK. We want to push our narrative early, encouraging young people to consider film as a career.

We collaborate with MCAST, a post-secondary institution, and with the University of Malta. We’re supporting micro-credentials – specialised, practical courses that prepare people for real jobs in film. Film is a trade industry, and sometimes a degree isn’t enough; what we really need is targeted, skill-based training.

We’ve also supported a Master’s in Film, and the programme director has told me that a Bachelor’s degree in Film is on the way. We’re involving private institutions, too, to accelerate our upskilling efforts. The world-class soundstage we’re building will guarantee sustainable careers for future generations in the film industry.

What role does the Mediterrane Film Festival play in your overall strategy?
The festival is a strategic business tool. It helps us attract more productions to Malta. During a panel, I mentioned our key markets: the USA, the UK, Europe, Canada and potentially Australia. Around 70% of our market currently comes from the USA and the UK.

Mediterrane isn’t just about celebrating the art of film or fostering international cultural exchanges; it’s also about business – bringing in producers, studio executives, directors, independent filmmakers, set designers and location managers so they can see Malta’s offering firsthand.

What impact has the cash rebate had?
When I became film commissioner, Malta ranked 13th in Europe in terms of competitiveness, offering rebates of 25%-27%. I lobbied the government to increase it, and in 2019, we introduced a 40% rebate, even during COVID-19.

This wasn’t just about surviving the pandemic. We focused our strategy on attracting major studios and streaming platforms, while also supporting independent filmmakers. Every project matters to us, and the results speak for themselves.

The festival is here to stay. It’s part of a broader investment strategy by the government in film, and the returns are substantial. Mediterrane is not only a business opportunity, but also a chance to raise awareness, engage the public and celebrate the art of cinema.