“Culture is not a luxury; it’s a tool of defence.” That sentiment set the tone for “Invest in What Matters”, a high-stakes debate held at the Marché du Film on 15 May. As the EU enters early discussions on its next long-term financial plan — the Multiannual Financial Framework (MFF) — a group of cultural leaders and MEPs gathered to advocate for stronger support for the audiovisual and film sectors.

Chaired by Pauline Durand-Vialle, CEO of FERA - Federation of European Screen Directors, the panel featured producer and European Film Academy deputy chair Ada Solomon, Emma Rafowicz and Laurence Farreng, both Members of the European Parliament (S&D and Renew, respectively), and Mathias Holtz, president of Europa Cinemas. They all agreed on one core issue: Europe’s film and audiovisual industries need greater protection, visibility and funding within the next EU budget cycle, which will run until 2034.

Solomon, speaking with urgency and emotion, reminded the audience of what’s at stake: “Culture is a non-lethal, amazing weapon for survival. When we talk about a good life, it’s not just about economics; it’s also about health, education and culture.” With Romania heading into a tense presidential election, she warned of the risks posed by growing extremism and the lack of investment in culture: “We invested very, very little in education and culture – and now, fascists are almost ready to take over the country. I measure my words. It’s happening.”

The producer’s stark perspective on democracy’s fragility underlined the event’s central concern: how can Europe defend its democratic identity without robust cultural policies and funding mechanisms?

Creative Europe – the EU’s flagship programme for the cultural and creative sectors – became a key talking point. At just 0.2% of the EU’s total budget, the programme may appear modest on paper, but its MEDIA strand in particular has had an outsized impact on the continent’s film ecosystem. “It shapes the entire film industry,” noted Rafowicz, who praised it for supporting co-productions and strengthening independent cinema. “We can’t talk about culture without understanding the context we’re living in. War is not only fought through weapons; it’s also fought through culture.”

Despite budget pressures driven by wider EU priorities – such as defence, economic recovery and the green transition – Rafowicz stressed the importance of maintaining, and even expanding, cultural funding. “Our role in the European Parliament is to protect culture,” she said. “We have a responsibility, especially now.”

For Farreng, defending Creative Europe is not only about numbers, but also about principle. “It’s one of the smallest programmes in the entire EU budget. It’s crazy to attack it,” she argued. Farreng called for bold thinking and unity across the political spectrum – even hinting that certain factions on the far right may surprisingly support Creative Europe, seeing its value in defending European sovereignty.

Still, during the final Q&A session, she admitted that doubling the programme’s budget, an ambition floated during the panel, might be too optimistic. “Preserving what we already have is the first step,” she said, adding that the European Commission’s silence on cultural policy has been concerning.

Farreng also pointed to geopolitical shifts, including the return of Donald Trump to the global conversation, as a chance to rally support for culture. Solomon took that thought even further, arguing that independent production is not just a business model, but also a civic act. “We don’t want to be dependent. Being dependent means being controlled. Defending cultural diversity and democratic values is our duty.

“We’ve got this diamond – European talent and culture – that others fear. We need to nurture it, protect it and let it grow,” she continued. “Trump sees our cultural products as a threat – and he wants to impose tariffs. I’m proud, as that means we matter.”

Solomon’s vision of cinema as a force for civic engagement was echoed by Holtz, who credited MEDIA support for shaping Europa Cinemas into a pan-European network that fosters the circulation of films, including in rural and underserved areas. “It’s not elitist,” he said. “Often, it’s the only place where people can meet and have discussions around culture. That’s essential for a democratic Europe.”

Holtz highlighted the role of cinemas in maintaining local identity while supporting transnational exchange, noting that the programme helps exhibitors “build a European identity as arthouse cinemas” – one that is both culturally rich and economically viable.

The panel ended with a call to action. All speakers agreed that the audiovisual sector must get organised, advocate for culture and speak loudly during the MFF negotiations. The message was clear: culture and film must not be an afterthought, especially when democratic values are under attack across the continent.