Eurimages supports 24 co-productions
- New projects by Kaouther Ben Hania, Maryam Touzani, Emily Atef, May el-Toukhy and Damjan Kozole are among the selection
The results of the third Eurimages project evaluation session of 2024 have just been announced. Further to recommendations made by independent experts meeting online, the executive committee of the fund has decided to support the co-production of 24 feature films, including 4 documentaries and 1 animation, for a total amount of €6,780,000. Of the 24 co-production projects supported during the session, 16 are to be directed or co-directed by women, representing 76.39% of the total funding awarded.
The films supported include the new work by acclaimed directors such as Tunisia's Kaouther Ben Hania (whose latest work Four Daughters earned her Cannes' Golden Eye for Best Documentary and her second Oscar nomination after the one for The Man Who Sold His Skin), who has received €430,000 for her new project You Shall Not Make an Image (France/Germany/Tunisia/Belgium), a tale of a reserved young woman who studies in Tunis and is passionate about cinema, who receives a mysterious key from her dying grandmother and sets out to explore her family’s past and the beliefs of her village. Other well-established filmmakers that have received funding for their new projects are Morocco's Maryam Touzani, with €500,000 for her Spanish-set Calle Málaga (France/Spain/Germany/Belgium), her follow-up to the acclaimed Adam and The Blue Caftan; German-French filmmaker Emily Atef (3 Days in Quiberon, More than Ever) with €400,000 for Mercy (Germany/France); Denmark's May el-Toukhy (Queen of Hearts), with €349 000 for Woman, Unknown (Denmark/Lithuania/Sweden); and Slovenia's Damjan Kozole (Nightlife), with €275,000 for 20 Meters (Slovenia/Serbia) (read news).
More established filmmakers have been supported, such as Germany's Frauke Finsterwalder (Sisi & I), with €350 000 for Eurotrash (Germany/Switzerland/Austria); Slovenia's Martin Turk (Good Day's Work, Don't Forget to Breathe) with €150 000 for Washed and Buried (Slovenia/Italy/Croatia) (read news); France's Laïla Marrakchi (Marock, Rock the Casbah), with €375,000 for Strawberries (France/Spain/Morocco); and Venezuela's Patricia Ortega (Mamacruz), with €73,000 for 9 Moons (Spain/Belgium).
The supported second fiction features are La Gradiva (France/Italy) by France's Marine Atlan, with €400,000; The Last One for the Road (Italy/Germany) by Italy's Francesco Sossai (Other Cannibals), with €300,000; and Tears of Neon (Poland/Bulgaria) by Poland's Karolina Bielawska (Call Me Mariana), with €127,000.
The supported first fiction features are The Visitor (Lithuania/Norway/Sweden) by Lithuania's Vytautas Katkus, winner of the Next Step Award at the Cannes' Critics' Week, with €210,000; Ivy (Portugal/France) by Portuguese documentary filmmaker Catarina Mourão (Astrakan 79), with €250,000; The Station (France/Jordan/Germany/Netherlands) by Yemeni-Scottish film director based in Amsterdam Sara Ishaq, nominated for an Oscar for her short film Karama Has No Walls, with €150,000; I Won't Die for Love (Spain/Belgium) by Spain's Marta Matute, with €315,000; The Crux (Germany/Poland) by Germany's Ulrike Tony Vahl, with €500,000; The Girl (France/Belgium) by France's Marina Ziolkowski (France), with €400,000; and The Golden Age (France/Italy) by France's Bérenger Thouin, with €370,000.
Regarding the financed animation films, there is one title in this session, Fairyheart (Hungary/Canada) by Canada's Anita Doron, with €500,000.
As for the supported documentaries, the titles are Fixing the War (Ireland/Ukraine) by Ireland's Clare Stronge and Ukraine's Vadym Ilkov, with €41,000; Future Tenses (Greece/France) by Greece's Christos Karakepelis, with €140,000; Sleepless Nights (Portugal/France) by Portugal's Tiago Hespanha, with €95,000; and Queen of the Stone Age (Germany/Switzerland), with Germany's David Bernet, with €80,000.
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