Ahead of the start of the European Film Market (EFM, 12-18 February), Cineuropa spoke to Sata Cissokho, who took office as head of the World Cinema Fund (WCF) in September 2025. Coming from a background in sales and acquisitions, and also leading the EFM Toolbox Programme, Cissokho reflects on her first few months in the role, the evolving responsibilities of the fund in a fragile political and economic climate, and the challenges of distribution and market access for filmmakers from underrepresented regions.

Cineuropa: After several months as the head of the World Cinema Fund, what has surprised you the most when moving from sales and market work into a funding institution?
Sata Cissokho: The move was actually very organic, as I was in charge of acquisitions and working closely with directors and producers. My approach has always been to understand the filmmakers’ vision and evaluate the artistic qualities of their projects, but also the audience they could find outside of their home countries. The biggest difference lies in my way of reviewing projects, which is now less influenced by market pressures and more by cultural impact. It’s also quite different working in the public sector, especially as part of the Berlinale ecosystem. Seeing how things intertwine between the festival and the Berlinale Pro environment generates a strong feeling of common goals and shared values.

In today’s political and economic climate, what feels most urgent to safeguard or rethink when it comes to the World Cinema Fund’s mission?
I think it’s important to assess whether the way the fund has been operating so far is still in line with the needs of the filmmakers it is designed for. It feels urgent to safeguard some of the existing guidelines, especially those related to the spending obligation in the country of production. This regulation ensures that the support given is used for the actual production of the film and benefits the local industry. At the same time, more and more filmmakers are struggling because of economic and political pressures, so we need to explore how we can further support those working in increasingly complex situations.

Alongside the WCF, you also lead the EFM Toolbox Programme, which focuses on market access for underrepresented producers. Has this experience influenced how you think about the WCF’s responsibilities beyond financing?
For me, producers are just as important as directors in the life and success of a film. What we’re doing with Toolbox is opening the gates for producers coming from historically underrepresented backgrounds and helping them overcome barriers. This is very much in line with the WCF’s responsibility to promote diversity in cinema. Having completed my first edition as head of Toolbox, I’m even more aware of the difficulties of bringing authentic voices to life from a producer’s perspective, and of the challenges around funding when you are not yet established.

Distribution is often one of the weakest links for films from WCF regions. From what you’ve observed so far, what can a fund realistically do to support circulation without becoming a sales entity?
The WCF offers distribution support to German distributors releasing films from WCF regions. We are not acting as a sales company, but rather encouraging distributors to take a risk by easing some of the distribution costs. Distributors are increasingly cautious, especially as cinema audiences have shrunk worldwide, but supporting them is part of our mission if we want to maintain diversity in cinemas. Coming from sales and distribution myself, this is a topic that is very close to me, and I’m keen to work closely with distributors to find the best ways to accompany them.

The EFM can be overwhelming for first-time participants. From your perspective, what do Toolbox producers or WCF-supported filmmakers tend to underestimate most when they arrive at the EFM?
The EFM offers many opportunities to connect with professionals from all areas of the film industry. The key is to come prepared and to understand what is happening where and when. The EFM website is a great source of information and shouldn’t be overlooked. It’s also important to have clear goals, whether you’re looking for production partners, a sales agent or connections with festival programmers. It can feel daunting at first, but once you know why you’re there, you realise that every interaction can bring you a step closer to your goal.

Looking ahead, how would you like the international film community to understand the role of the World Cinema Fund?
I see the World Cinema Fund as an ecosystem builder. We enable collaborations between filmmakers from eligible countries, and German and European partners. Beyond funding, we give them opportunities to cross borders and connect with the European market. There are still new paths to explore, especially when it comes to reaching audiences, but the fund already plays a fundamental role in building bridges.