12/05/2009

The May issue of Cinergie e-magazine has just been published. This month, the focus is on institutions and other funding mechanisms. With the upcoming departure of Culture Minister Fadila Laanan in June, the first report by the Film and Audiovisual Centre’s new director, Frédéric Delcor, and the launch of Wallimage-Bruxellimages, there is plenty of news to report.

Regarding the new budgetary policy, Wallimage director Philippe Reynaert looks at the practical details. For the past eight years, Wallimage has supported the development of the Walloon audiovisual industry by funding companies and film production.

After years of discussion, an agreement has just been reached with the Brussels Region, which is going to inject €1m. Brussels-based producers (Francophone and Dutch-speaking) will be able to claim production support. A specific system will be put in place, based on the existing one.

There are two important changes: the producer will be able to choose whether the amount paid is a 100% investment (whereas with Wallimage, a minimum of 40% of the sum is invested as a loan). On the other hand, the maximum investment will be €200,000 (compared to €400,000 for Wallimage).

Reynaert believes that this new budget should make it possible to continue supporting Walloon industries, and developing employment for audiovisual technicians in the Brussels region.

Always in the spirit of the times, Cinergie also met with Jessica Woodworth, whose film Altiplano [+see also:
film review
trailer
film profile] (co-directed by Peter Brosens) has been selected for Cannes Critics’ Week. She defends the importance of the image, and speaks of the way it is often badly or underdeveloped, eclipsed by the plot.

Woodworth believes that contemporary directors should “further develop the film’s form. We need more boldness.” She adds that “the tyranny of plot kills everything”, especially in the eyes of selection committees who finance films, and yearn for cinema that leaves room for silence.

(Translated from French)