Based in Melbourne, Madman Entertainment is one of Australia’s leading independent film distributors, known for its curated, director-led slate and strong support of European and international titles. In this interview for our Distributor of the Month column, Paul Wiegard and Vera Herchenbach reflect on the firm’s editorial strategy, their long-standing relationship with European cinema, and how the Australian market is responding to global and local shifts in audience behaviour.

Cineuropa: How would you describe Madman’s editorial policy and business model, particularly when it comes to acquiring European titles?
Paul Wiegard: Madman’s editorial policy emphasizes bold, innovative works that resonate with cultural and social themes. In our pursuit of European titles, we focus on films that align with this vision—stories that are not only artistically captivating but also provide fresh perspectives relevant to audiences in Australia and New Zealand. This commitment reflects our broader mission to promote films that “ignite conversations” and “empower change.”

Our business model embraces a hands-on curation strategy, prioritising director-led projects that advance the art of cinema rather than conform to prevailing trends. As a theatrical-driven business, we are also vertically integrated to maximise rights exploitation across all channels. A key criterion for acquiring European titles is our ability to envision a clear pathway for showcasing these films at festivals or through general cinema releases.

How has this evolved in response to shifts in the Australian market and broader global trends?
Vera Herchenbach: Madman has been dedicated to releasing European titles for over 25 years. What has evolved is our release strategies. With more than 57% of Australians identifying as having European ancestry, as reported by the Australian Bureau of Statistics, there is strong audience demand for these narratives.

For over a decade, Australians have benefited from dedicated country and language festivals, alongside major international film festivals in most capital cities. This year, Australian film festivals have drawn audiences that meet or exceed pre-pandemic levels, reflecting a vibrant cinematic culture. As a result, navigating the competitive release calendar for European titles for national release—particularly on, say, twenty or more screens—can be challenging. However, this landscape presents numerous opportunities for a festival strategy, allowing us to connect with audiences in meaningful ways.

How do you position European content within your wider slate? Are there particular genres or regions within Europe you prioritise?
PW: European cinema, both fiction and documentary, represents roughly a third of our slate, depending on the year. Although there is no explicit geographic or genre prioritisation within Europe, French cinema consistently appeals to Australian cinema audiences, and of course, Australia is an English-speaking territory with deep connections to the UK and Ireland.

Given the significant physical distance from our Southern Hemisphere location, cinematic films that transport audiences on a meaningful journey, with relatable characters, can produce outstanding box office results.

Could you tell us about some recent or upcoming European titles in your line-up? What stood out about them from a curatorial or market perspective?
VH: First, I’d mention Sentimental Value [+lee también:
crítica
tráiler
entrevista: Joachim Trier
ficha de la película]. From a curatorial perspective, it is a compelling proposition: deeply personal stories with universal themes of love, loss, and the complexities of human relationships. Surprising notes of humour, familiar faces, and a known director all fuelled with critical support. Importantly, it’s a film we have time to introduce to festival audiences for awareness, followed by a wide summer holiday release (Southern Hemisphere). Furthermore, the US distributor has the capacity and track record to deliver a campaign that will be felt in ANZ.

New voices from Europe we loved and are excited to bring to our audiences include DJ Ahmet [+lee también:
crítica
tráiler
entrevista: Georgi M. Unkovski
ficha de la película], a joyful debut about the power of music at any age—truly uplifting. Late Shift [+lee también:
crítica
entrevista: Petra Volpe
ficha de la película] portrays the unsung heroes of the health system, with a captivating performance by Leonie Benesch. Deaf [+lee también:
crítica
tráiler
entrevista: Eva Libertad
ficha de la película] opens a window into a world most audiences know little about; the film not only fosters empathy for people with hearing impairments but also allows audiences to experience their joys and frustrations firsthand. Each of these films is in great shape to be selected as their country’s candidate for international feature film awards, alongside strong potential for audience awards.

Can you highlight a particularly successful release or campaign for a European film? What contributed to its success, and what lessons did you take from it?
PW: Flow [+lee también:
crítica
tráiler
entrevista: Alfombra roja @ European F…
entrevista: Gints Zilbalodis
ficha de la película] has been a story of patience. Observing the film growing in stature across Europe, we waited and waited for the full impact of the international campaign before releasing the film in Australian cinemas. This was a strategy we discussed at length with the sales agent, who provided updates and developments from across the globe. Lastly, we chose a corridor to release the film outside the major US animations that dominated the holiday period.

How does the Australian audience respond to European cinema compared to other international titles? Are there cultural or promotional challenges unique to your territory?
VH: The Indian and Chinese diasporas in Australia are substantial and vibrant communities with strong engagement in cinema, producing a volume of films comparable to that of Europe for national cinema releases excluding festivals. This dynamic creates competition for total screen space; however, Indian and Chinese films are predominantly supported by multiplexes.

Do you typically acquire European titles at major festivals? How does this process differ from acquiring Australian or New Zealand films?
PW: Almost all European films are acquired at the major European festivals because the ANZ territory is competitive, and we prefer to manage the [whole] ANZ campaign. Differently, most Australian and New Zealand films require a distributor attached at the financing stage.