Screen Flanders, the economic incentive designed to attract audiovisual production and co-production to the Flemish Region of Belgium, will cease operating from 1 January 2027 following a decision by the Flemish government to eliminate its funding as part of a wider budget-cutting exercise.

The decision brings an end to a mechanism that has operated since 2012 with the specific purpose of generating economic activity around film, television and animation production in Flanders. Unlike the cultural support administered by the Flanders Audiovisual Fund (VAF), Screen Flanders was intended to encourage producers to spend money in the region, with supported projects required to meet expenditure obligations there.

Over 15 years, the scheme has awarded €48.8 million to 251 productions, according to figures published by Screen Flanders. Those projects generated €317.2 million in eligible audiovisual expenditure in the Flemish Region. Screen Flanders calculates that each euro of support has resulted in approximately €8 being spent on audiovisual activity locally.

In 2025, the scheme supported 22 projects with €4.9 million, generating more than €40.2 million in audiovisual expenditure. Under the scheme, qualifying feature films, documentaries, animation projects and series could receive up to €400,000 in repayable support. The money was linked to expenditure in Flanders and could subsequently be repaid, in whole or in part, depending on the project's revenues. The model also enabled international producers to access the incentive through partnerships with Belgian co-producers.

The loss of that mechanism is therefore expected to affect productions originating outside Flanders as well as local companies. National projects have, for example, used Screen Flanders to finance part of their Flemish expenditure, including Lukas Dhont’s Coward, Michaël R Roskam's Le Faux Soir, Cato Kusters' Julian and Anke Blondé’s Dust. Adil El Arbi and Bilall Fallah's Patsers and Michael Abey's The Best Immigrant have also benefited from the scheme. Animation has been another significant area of activity: Screen Flanders-backed projects include Dimitri, Fox & Hare Save the Forest, George & Paul, Interstellar Ella and Sir Mouse, several of which have been presented through European animation industry platforms.

The scheme's economic role has also been closely connected to Belgium's federal Tax Shelter. Screen Flanders argues that its investment enabled the federal incentive to generate greater expenditure in Flanders, strengthening the region's position as a partner for international co-productions, and providing work for local production, technical and post-production companies.

The announcement has consequently been met with concern from the audiovisual sector. Karla Puttemans, CEO of VAF, stated: “Given its crucial role in sustaining a strong and economically viable audiovisual sector in Flanders, we deeply regret this decision. Screen Flanders has been a key driver in attracting international co-productions, leveraging the Belgian Tax Shelter and generating significant economic impact.”

The VAF's core public funding is not being abolished. The Flemish government's allocations to the VAF's Cinema, Media and Games funds will remain in place. The government's position is that audiovisual activity can therefore continue to receive public support through other channels, while Screen Flanders itself does not constitute a core responsibility of its economic and innovation policy.

The scheme's €3.5 million annual budget has nevertheless been removed entirely. The government says the measure is part of a broader effort to concentrate public resources on what it considers priorities for the Flemish economy and innovation policy.

The repercussions could extend beyond the region's borders. In addition to local producers, Screen Flanders has been used by Belgian and international co-productions seeking to combine Flemish spending with Belgium's wider financing framework. Its disappearance leaves Wallimage in Wallonia and screen.brussels as the country's remaining regional economic film incentives.

For existing projects, the change will not be immediate. Commitments already made under Screen Flanders will be honoured, while the second call of 2026 will proceed according to the established procedure. Applications already submitted will also continue to be processed. Producers with awarded support will remain obliged to provide their exploitation accounts and, where applicable, repay amounts to the Fund for Innovation and Entrepreneurship from net revenues. The final 2026 call will therefore mark the last opportunity for producers to apply for Screen Flanders support before the scheme disappears.