05/02/2026 - Amid a shifting global marketplace, the Berlinale Pro director reflects on innovation, cross-IP strategies and how the EFM supports European producers

(© Duchili)

As the European Film Market (EFM, 12-18 February) continues to reposition itself in a shifting global landscape, Berlinale Pro director Tanja Meissner reflects on consolidation versus expansion, producer-centred strategies and the growing importance of cross-IP thinking. From animation and genre cinema to international exchange and new business models, Meissner outlines how the EFM aims to remain a focused, high-quality marketplace while supporting innovation, skills-building activities and European competitiveness.

Cineuropa: Berlinale Pro has brought the EFM, Talents, the Co-Production Market and the World Cinema Fund under one umbrella. How do you define “growth” for the EFM in this context?
Tanja Meissner: Growth for us doesn’t mean expansion for its own sake. Traditional linear content trading remains at the heart of the EFM, but the industry is in a difficult and constantly shifting context, and markets are placing a stronger focus on innovation. The status quo has never really applied to cinema. There is always something to adapt to. Our strategy is about consolidation, synergies and creating space for experimentation. Global marketplaces need to support new forms of storytelling and upskilling, particularly for European producers who need to remain competitive internationally. Berlinale Talents and the Innovation Hub play an important role here.

Producers are at the core of the EFM. They represent around one-third of our participants, and their economic survival increasingly depends on new skills, new business strategies and, in some cases, additional revenue streams beyond traditional models. Rather than focusing on what is broken in the industry, we try to offer concrete added value. That’s why we’ve shifted away from classic panel formats towards workshops that provide practical knowledge and clear takeaways. Innovation for us is not only technological; it also means questioning business models, thinking across policy and culture, and moving away from siloed thinking. This mindset runs across Berlinale Pro as a whole.

With initiatives such as EFM Beyond [see the news] focusing on cross-IP strategies, gaming, XR and new business models, how do you ensure the market supports diversification without losing focus on cinema?
EFM Beyond is very much about balance. Cross-media storytelling can be a real growth driver for European IP, especially at a time when producers can no longer afford to spend years developing a single project without financial security. Many companies are diversifying, and strong IPs can now be developed across formats from the outset. What we try to transmit through workshops is that you can’t simply replicate the same content across media. Each format requires its own structure and creative logic. That’s where knowledge transfer becomes essential.

This is not about moving away from cinema; it’s complementary. Extending IP into games, series or brand partnerships can lengthen its lifespan and expand its audience beyond a single theatrical window. We saw enormous interest in our Cross-IP Accelerator, organised with Annecy and SpielFabrique, which confirmed how strong the demand is. We also collaborate with the CNC’s Game France label, bringing independent game developers to Berlin to pitch IPs for film and TV adaptations. All of this sits alongside the core market activity. It is also our 12th consecutive year of EFM Startups, and alumni praise its role in launching and positioning their startups. These initiatives are supported by Creative Europe – MEDIA. Their support makes it possible to invest in competence-building and European competitiveness, which is essential.

With the launch of the EFM Animation Days, animation moves firmly into the centre of the market. What gaps were you aiming to address with this initiative?
Supporting European animation was very important to me. Animation is traversing a difficult moment, even though it’s a sector where Europe truly excels. Export figures are strong, particularly for family-orientated films, and animation is also a key vehicle for transmitting European values and imagination to younger audiences. Germany has a very dynamic animation ecosystem, with strong studios, technical expertise and training structures. Beyond that, animation is a crucial vector for European identity. It is one of the ways in which we transmit our values, stories and imagination to children.

Animation was already present at the EFM through sales companies. What we wanted was to give it greater visibility and a clearer platform, through pitching sessions and curated events. One piece of added value that Berlin offers is cross-sector connection. We actively connect animation studios with documentary producers who are increasingly interested in animated elements but often lack the right contacts. The response has been very positive, including strong engagement from regional funders in Germany, the UK and Canada. We also host work-in-progress screenings curated by Annecy. I don’t see this as a zero-sum game, because if animation grows in Berlin, it strengthens the ecosystem as a whole.

Through initiatives such as Far East in Progress and Frontières Focus, the EFM is strengthening its international outlook. How do these collaborations fit within the market’s core identity?
Everything we do starts with the needs of buyers and sales companies. These collaborations are complementary, not a shift away from our core. Genre cinema, in particular, is experiencing a resurgence, partly because it is now more broadly accepted by public funders, festivals and commissioners. Genre has moved far beyond its former image. There’s often strong artistic ambition and social commentary involved. I’ve always been closely connected to genre films, and this combination is exactly what makes them so relevant today. Markets like Frontières and Focus Asia have built strong, clearly defined brands. Collaborating with them makes sense both creatively and in terms of resources. Their curated showcases add value for our participants, while allowing these brands to remain visible throughout the year. In a constrained environment, this kind of collaboration is essential.

With Morocco as the Country in Focus, how do you approach the balance between cultural exchange and economic considerations?
Morocco has many strengths that we wanted to highlight. This is our first Country in Focus from the African continent, and Morocco is currently a strategic production hub with strong incentives, studio infrastructure and creative talent. International co-production potential is very high. I wouldn’t describe this as a political decision; it’s primarily an industry-driven and creative choice. Of course, there is always a cultural dimension when you broaden the focus of a market, but in this case, the decision was clearly rooted in the strength of Morocco’s production ecosystem and its relevance for European producers.

When the 2026 EFM comes to a close, what will define success for you?
Success is not just about numbers, as metrics don’t always capture the real impact. From my own experience as a sales agent, what matters most is the quality of the encounters and the efficiency of the market. A successful edition is one where professionals leave Berlin feeling like their time was well spent, where projects move forward, partnerships are formed and deals are closed. Of course, sales outcomes depend on many factors beyond our control, but hearing that companies did strong business in Berlin is always encouraging. In the long term, success means reinforcing the EFM’s identity as a reliable, high-quality content market that values substance over scale. I often wish we had more time and resources to do even more, but being clear about our priorities is also part of that identity.