Cineuropa was granted access to five interesting projects showcased in Alliance 4 Development (A4D), Locarno Pro’s dedicated co-development programme for films from Austria, France, Germany, Italy and Switzerland.

During this event, which is running from 8-13 August, the delegates accompanying the 11 selected projects are being given the opportunity to receive feedback from international experts on their presentations, to partake in one-on-one meetings with potential partners, and to attend panels and networking events.

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Hôtel des thermes - Maéva Ranaïvojaona, Georg Tiller (Austria/France)
This feature sees a fancy-dress ball at a grand hotel in Madagascar turn into a bloodbath when the ghosts of the colonial past awaken.

“Our ensemble film is a tale of colonial revenge which explores the legacy of colonialism in Madagascar. In a magical-realistic tone, set in an old, haunted and quarantined colonial hotel, different cultures and conflicting goals collide as they strive to define our modern-day reality while reflecting upon a brutal, shared past – both of which seem impossible to reconcile,” the directorial duo explain in their director’s notes.

The team aims to secure “international feedback on the story’s potential for worldwide resonance” and to meet potential broadcasting, marketing, sales, co-producing and funding partners.

The picture is being produced by Alexander Dumreicher-Ivanceanu and Bady Minck for Amour Fou Vienna, in co-production with Laurence Lascary on behalf of De l'Autre Côté du Périph’.

I’m Not Here to Make Friends by Julia Niemann

I’m Not Here to Make Friends - Julia Niemann (Austria)
Thirty-one-year-old Emmy is taking part in a reality show. She moves into a villa on a remote island with 15 other women, where they’re supposed to fight for a man’s heart. But Emmy quickly realises the women couldn’t care less about the man. They fight, as planned, but for attention. They want to be seen at any cost. Emmy soon finds herself on a painful journey promising the greatest of all treasures: the unveiling of her true self. But Emmy discovers something far more entertaining along the way. This is the intriguing premise of this first solo effort by Niemann, who’s best known for Veni Vidi Vici [+lee también:
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entrevista: Daniel Hoesl, Julia Niemann
ficha de la película] (2024) and Davos [+lee también:
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entrevista: Daniel Hoesl y Julia Niemann
ficha de la película] (2020), both of which she co-directed with Daniel Hoesl.

In her director’s statement, Niemann explains: “Reality TV may be the lowest of all forms of entertainment, but when it’s done well, it explores nothing less than the human condition. Just like the movies. I’m Not Here to Make Friends is a film about what we all want: attention. Why are we so addicted to it? Why are we so desperate to be seen? And how much (of ourselves) are we willing to sacrifice for it?”

Budgeted at €3.5 million, the project received development funding from the Austrian Film Institute and is set to enter production in April 2026.

“We’re looking for dramaturgic input and creative exchanges with potential partners, and we’re looking to bring co-producers and sales agents on board with our pitch. Having the chance to win an award opens up great opportunities for our project and gives us greater visibility among financiers and partners,” insists Katharina Posch, who’s producing the pic for Nikolaus Geyrhalter Filmproduktion. “We’re looking for partners in all four countries; a partner from the Mediterranean – Italy or France – is important because we need a seaside shooting location,” she adds.

Ithaca by Alessandro Grande

Ithaca – Alessandro Grande (Italy)
Produced by the helmer himself, together with Luigi Chimienti on behalf of dispàrte, the film opens on a late summer’s evening, when Sebastiano meets his real family for the very first time. He’s 17 and grew up in a village in the mountains with his mother Darja and his father Walter, who are now accused of kidnapping him when he was a newborn. The Notarnicolas, meanwhile, are a large family who live in Calabria. Sebastiano must figure out where he belongs and who he really is: either the son of a modest family of Calabrian workers or a wild boy raised by two criminals who loved him like a son.

“The film is based on a true story which unfolded in the 1990s in northern Italy, exploring universal and timeless themes that have always interested me: the relationship between parent and son, the loss of innocence, the link between family upbringing and individual identity,” Grande explains.

The team is mainly seeking out potential co-producers (“primarily from Germany, Austria and Switzerland”), sales agents and distributors.

A Year Without Summer – Flurin Giger (Switzerland/Germany)
“In 1815, a volcano erupts in Indonesia. Its ash covers the sun, and a mini-ice-age begins. This results in the last major hunger crisis in Europe. A young farmer’s daughter and her family fight for their day-to-day survival.”

This is the succinct pitch for Flurin Giger’s debut feature, set to enter production in the second half of 2026 and slated for release in spring 2027. Now in development, this drama is being staged by Aline Schmid and Adrian Blaser on behalf of Beauvoir Films Geneva, together with The Match Factory Productions. The project enjoys backing from the Federal Office of Culture, SSA and the Creative Europe MEDIA Desk.

“For us, it’s a great opportunity to be part of A4D, mostly for meeting new partners from Italy and Austria. The goal is to start financing the project at the beginning of next year. So this is the last market for us to complete our co-production [plan]”, the creative team told Cineuropa.

Undercurrents by Beatrice Minger

Undercurrents – Beatrice Minger (Switzerland)
The plot follows nine-year-old Luisa, whose life changes dramatically when her mother sends her to live near the Dam of Sihl with her grandmother, whose life was profoundly disrupted when the Dam was first built. One day, Luisa stands at the bottom of the Dam and throws a stone at it. Days later, the authorities discover a mysterious crack. If it breaks, the city of Zurich will be completely flooded. Luisa thinks that she’s the cause of this danger which actually existed long before her time.

“Between the 1930s and the 1970s, Switzerland built 188 dams in order to use water power to fuel its growing economy. Thanks to renewable energy, Switzerland went from being one of the poorest countries in Europe to one of the richest. But there’s always a price to pay. Undercurrents is a film about how the excitement of progress overshadows what we leave behind. We believe in the value of subtle stories reflecting larger shifts in our global society,” explain Rhea Plangg and Michela Pini, who are producing the feature for Lido Pictures and Cinédokké.

While in Locarno, Plangg and Pini hope to secure “potential TV or streaming financing partners, sales and co-productions”. Their project received development funding from Zürcher Filmstiftung, Bundesamt für Kultur and the canton of Schwyz.