We sat down with Tanja Meissner, the newly appointed director of Berlinale Pro, who shared insights into the exciting updates and opportunities awaiting professionals at the European Film Market (EFM, 13-19 February) and other industry initiatives poised to unspool in the German capital.

Last year, Berlinale director Tricia Tuttle consolidated four key Berlinale staples into Berlinale Pro: the EFM, Berlinale Talents, the Berlinale Co-Production Market and the World Cinema Fund. Meissner’s new role includes leading the EFM while overseeing the strategic development of this unified consortium together with the programme managers.

Cineuropa: You stepped into this new role in May. What added value have you aimed to bring as the new head of Berlinale Pro?
Tanja Meissner: I feel honoured and inspired to explore creative ways of challenging old habits. This role allows me to bring together all the passions and skills I’ve cultivated over the last 20-25 years. Having worked in the industry for over two decades, my previous roles have given me a comprehensive understanding of the value chain, spanning production, distribution and exhibition.

I have a strong affinity with the target group and a deep connection to Berlin. This city holds a special place in my heart, as I started my professional journey here as an intern in the 1990s. My experience offers me a 360-degree perspective – I’ve worked for the festival and participated in it myself. Perhaps this two-sided perspective is rather unusual.

But I’m aware I don’t have to reinvent the wheel. The Berlinale already has a highly efficient infrastructure. I’ve always appreciated coming to Berlin as a salesperson because you can do excellent business here. The infrastructure makes it very easy, and I also love networking. That’s probably a strong asset for this role.

Should we expect any particular changes in terms of venues?
We have already announced that we have found a new screening location, the University of Applied Sciences, which is near Martin Gropius Bau [MGB]. We always receive a lot of screening requests, and it has been challenging to satisfy all of them in the past. So I’m really happy to have found a new venue within walking distance. The other new location for the Co-Production Market is the Octogon – also at Potsdamer Platz and still close by. It’s a really beautiful place.

Could you elaborate on the Breakfast Club and the Innovation Hub?
For me, networking is essential when attending a festival. [...] I didn’t have much time to come up with all sorts of new things, because I’ve only been holding this position for nine or ten months, and things have gone incredibly quickly. But one of the things that was easy to put in place was the creation of new networking formats. The two you mentioned – and there are others – are especially targeted at producers. They take place every day on MGB’s second floor, and we have one in the DocSalon aimed at non-fiction professionals. Among others, we’ve got a format for distributors, where they can mingle and exchange feedback on the screenings they’ve attended. It will take place in the lounge of Cinemaxx.

What will be the main topics of the Female Summit?
It consists of four panels. They focus on gender balance, female leadership, women in film financing, and female representation in TV shows.

Why did you decide to establish a Distribution Award?
I think distributors contribute a great deal to our ecosystem, and their role is often undervalued. There are many incentives for production, but there is a real need for improved infrastructure around distribution. Films don’t truly exist if they don’t reach an audience. [...] Distribution – especially arthouse distribution – plays a powerful societal role when it comes to reinforcing the foundations of European democracy and upholding diversity. Films serve as windows into other cultures, offering an insight into our history and values. When these stories cross borders and are seen in other countries, they help build a deeper understanding of who we are as a community and as humankind. [...] I’m really happy to have found a partner that shares our vision, Fintage House. It’s a rights management company based in the Netherlands that has contributed €7,500 for this prize [read about Distribution Award winner Huub Roelvink here].

What about the expected attendance levels?
For the time being, we’ve reviewed the applications, and they’re at about the same level as previous years. Most of the professionals attending are from Germany, followed by the USA, France and Spain – mainly owing to Spain's presence as the Country in Focus. We’ve also noticed an increase in participants from Eastern Europe.

What role do inclusion and sustainability play in your current strategies?
In terms of sustainability, we use modular, recyclable systems to build our stands, and we have a waste management system in place. We provide recycling boxes for market badges, and our e-mobility fleet is powered by 100% environmentally friendly energy. Since 2012, we’ve offered only vegan and vegetarian catering.

As for inclusion, I think the EFM has played a pioneering role. Diversity is a key factor – not just a moral imperative – that is essential for competitiveness and economic growth. [...] It’s a cornerstone in our Talents programme, our Co-Production Market and, of course, in the World Cinema Fund. The EFM also runs the Market Badge Inclusion Initiative, which is a very important programme co-funded by Creative Europe. This initiative is designed for people who face structural barriers or financial constraints that would otherwise prevent them from attending Berlin. Creative Europe also co-funds our Toolbox programme, aimed at creatives from the Global South and marginalised groups.

How would you describe your relationship with US-based studios and streamers?
I’d say it’s very good. Berlin has always had a strong relationship with streamers and studios, and we trust the partnerships we’ve built. Tricia [Tuttle] travelled to Los Angeles last summer to meet everyone in person. Our director of programming, Jacqueline Lyanga, is part-time based in LA, so she’s also in close contact with that side of the business. We’ve had a long-standing cooperation, which is instrumental in connecting these exceptional films with our diverse audience.

Where do you see Berlinale Pro heading in the long run?
We are really focused on cultivating our unique selling point. […] The main focus lies on the marketplace for licence trading. That’s key. The priority needs to remain the buyers and sales companies, which are the centrepiece of our market. But our participants boast a multitude of backgrounds and activities, and we have the opportunity to address the industry in all its diversity. I want to make the new generation feel truly welcome and elevate diverse talent. At the same time, we want to ensure the rest of the world feels welcome and that our clients get the best infrastructure to do significant business. I’m also exploring new collaboration models with other markets. If we cross-pollinate, that’s incredibly valuable because we amplify everything we’re doing when we do it together. We share many values, and our work demands significant professional commitment, which is increasingly tied to civic concerns. […] I must say it’s really exciting to get creative with all of this.