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INDUSTRIA Eslovaquia

La cuota de coproducciones eslovacas va en aumento

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- Presentamos un resumen de la producción cinematográfica eslovaca en 2018 a través de varios datos y cifras

La cuota de coproducciones eslovacas va en aumento
El esperado segundo largometraje de Ivan Ostrochovský, The Disciple

Este artículo está disponible en inglés.

Slovakian cinema managed to produce 33 feature-length films in 2018. While nine of them were sole domestic productions, ten were majority co-productions and 14 were minority co-productions.

Source: Report on the Slovak Audiovisual Situation in 2018 – Creative Europe MEDIA

In the fiction-film department, the Czech Republic was the usual co-producing partner for productions such as the dance film Backstage [+lee también:
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(helmed by Czech director Andrea Sedláčková); Intimate Enemy, a riff on the home-invasion thriller featuring a “smart house” as the central oppressor; and Laco Halama’s historical drama Dubček. Cellar [+lee también:
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(read the news), starring Jean-Marc Barr, and The Interpreter [+lee también:
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were, in addition to the Czech co-production, boarded by a partner from Russia and Austria, respectively. The Czech Republic dominates minority co-productions as well, including the fairy tale The Magic Quill; Doc Martin: Greatest Case, a feature-length spin-off of a TV series; the social horror Domestique [+lee también:
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by Adam Sedlák; Jan Švankmajer’s last feature film Insect [+lee también:
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entrevista: Jan Švankmajer
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; Jakub Červenka’s Talks with T. G. Masaryk [+lee también:
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; Beata Parkanová’s feature debut Moments [+lee también:
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entrevista: Beata Parkanová
entrevista: Beata Parkanová
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; Robert Sedláček’s historical drama Jan Palach [+lee también:
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; the fairy tale The Secret of the Two-Headed Dragon; the historical drama Pardon [+lee también:
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by Jan Jakub Kolski; Ondrej Trojan’s historical drama Toman [+lee también:
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; the award-reaping Winter Flies [+lee también:
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by Olmo Omerzu; and Radim Spacek’s Golden [+lee también:
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Sting [+lee también:
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.

(El artículo continúa más abajo - Inf. publicitaria)

Out of the bulk of 33 feature projects, 14 films were documentaries, such as Tomas Krupa’s The Good Death [+lee también:
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, Occupation 1968 [+lee también:
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, Marek Kuboš’s The Last Self-Portrait [+lee también:
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, the documentary minority co-production Circus Rwanda by Michal Varga, and My Unknown Soldier [+lee también:
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directed by Anna Kryvenko. Last year, two animated projects were completed: the Czech-Slovak animated film Parralel Movie, by animator and director Matyas Brych, and the animated family comedy The Websters by Katarína Kerekesová, a Slovakian-Polish co-production.

Five feature films completed last year did not get domestic theatrical distribution: The Spider, a portrait of controversial Slovakian mountaineer Pavel Pochylý; the student film Peter Breiner’s Elementary School of Art; Summit Attraction, a biopic about another Slovakian mountaineer Peter Hámor; Swedes from the Slum, a documentary about Roma children who returned to Slovakia from Sweden; and Ego: Precedent, a documentary about the making of the first solo album by a domestic rapper.

One of the largest domestic co-producers turned out to be Radio and Television Slovakia, which worked on a total of 23 feature projects, of which 11 were fiction or documentary films, and one was an animated project, The Websters (see the news).

Source: Report on the Slovak Audiovisual Situation in 2018 – Creative Europe MEDIA

The Slovak Audiovisual Fund (AVF) distributed €10,714,807 to support domestic audiovisual culture in 2018. 75.96% of the funding was allocated to fiction, documentary, animated and student projects and minority co-productions. Out of 523 applications in 2018, the AVF supported 333 of them.

Among the projects that received the highest funding were political thriller AMNESTY (€800,000); the historical drama The Maid (€616,500), a Slovakian project revolving around female homosexuality; Peter Bebjak’s Auschwitz drama The Report (€500,000, to a project which received a total of €775,000 – see the news); Juraj Jakubisko’s Lady Winter 2, the sequel to the fairy tale Lady Winter (€500,000; the project received a total of €1,050,000); György Kristóf’s dystopian dance thriller Bunker (€500,000 - read the news), Martin Šulík’s dramedy Man with Rabbit Ears (€450,000 - read the news), Zdeněk Jirásky’s Kryštof II. (€400,000), Anaesthesia (€350,000), Little Big Detectives (€300,000) and Juraj Bohuš’s Stand Up (€150,000 - read the news).

In terms of Slovakian minority co-productions, the Czech projects receiving support included the animated film My Sunny Maad (€145,000), directed by Michaela Pavlátová, about a Czech woman married to an Afghan man; the revenge dramedy Old-Timers [+lee también:
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entrevista: Martin Dušek, Ondřej Prova…
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(€130,000); and Petr Zelenka’s provocative dramedy The Pilot (€100,000 - read the news).

Slovakian projects that received Creative Europe MEDIA programme backing are the time-lapse documentary The Five Year Plan (Punkchart Films); André Bonzel’s documentary drama Flickering Ghosts of Love Gone By (Artichoke) constructed out of a collection of more than 200 hours of family films from the 1900s to the end of the 20th century; and Michal Blaško’s Victim (nutprodukcia – read the news). A slate funding development grant of €125,000 went to production company BFilm for the projects Once There Was a Sea, Weirdo in the Underground, The American Dream and The End.

In 2018, 16 Slovakian projects applied for Eurimages support, and six of them were successful: Ivan Ostrochovský’s long-awaited sophomore feature, The Disciple (read the news); a Czech-French-Belgian-Slovakian co-production of the animated fable Even Mice Belong to Heaven; Jan Jakub Kolski’s Pardon; Martin Dušek and Ondřej Provazník’s dramedy Old-Timers (the Czech Republic and Slovakia co-produced the film, which premiered at the 54th edition of the Karlovy Vary International Film Festival); the Slovak-French co-production (a Slovakian majority production) Flickering Ghosts of Love Gone By, a love letter to cinema; and Mátyás Prikler’s sophomore feature Power, in which the accidental killing of an innocent person by a well-established politician leads to the exposure of the hidden machinery of political power within a democracy.

2017 was a record-breaking year for domestic cinema (read the news), reaching a peak at 1,431,290 admissions. The numbers dropped considerably in 2018 to 250,984 (the 2012-2017 average was 434,288), although the annual tendency is mostly rising.

Admissions to domestic films in local theatres. Source: Audiovizuálny Fond (AVF)

The number of Slovakian majority co-productions is also soaring compared to previous years.

Source: Report on the Slovak Audiovisual Situation in 2017 – Creative Europe MEDIA
Source: Report on the Slovak Audiovisual Situation in 2016 – Creative Europe MEDIA

(Traducción del inglés)

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