As the 42nd edition of Filmfest München is poised to unspool from 27 June-7 July, we sat down with Christoph Gröner and Julia Weigl to hear how their vision for the festival has evolved. They reflect on key developments, such as the success of the CineCoPro competition, the launch of the Creators’ Conference, and the festival’s commitment to supporting new voices while deepening its ties with international partners.

Cineuropa: After a successful 2024 edition, how have your goals for Filmfest München evolved in 2025? How do you measure success today in terms of programming, outreach and industry impact?
Christoph Gröner: We’re immensely proud of what our entire team achieved last year. We’re now starting to harvest the fruits of that work. We had over 2,600 accredited guests – a 25% increase – and we aim to maintain or exceed that number. A major milestone was reintroducing our CineCoPro competition and €100,000 award, a true achievement to highlight our role of fostering and supporting international co-productions out of Germany.

Julia Weigl: These developments allow us to attract high-level producers, especially from our CineCoPro conference focus regions this year: Austria, Switzerland and South Tyrol. We’re also launching the Creators’ Conference on 27 June in collaboration with the Produktionsallianz [see the news], a full day dedicated to the future of producing, exploring both its challenges and its opportunities. Another great sign is this year’s programme, which includes 49 world premieres.

With New German Cinema at the heart of the festival, what key themes stand out in 2025?
CG: This section is about curating contradictory voices, established names next to first-timers, experimental cinema next to mainstream entertainment. We love this sense of surprise, and when different filmmaking approaches challenge and expand our idea of what cinema can be.

JW: This year’s line-up reflects that mix. We open with a day highlighting fresh female voices, including Karla by Christina Tournatzés, Sechswochenamt by Jacqueline Jansen, Mädchen Mädchen by the Plura sisters, In the Name of the Empress by Jovana Reisinger and Alison Kuhn’s Holy Meat. We are convinced that all of them will shape German cinema in the years to come. We’re also thrilled to welcome back longtime festival friends like Franz Müller, Dietrich Brüggemann and Nikias Chryssos.

How does the CineCoPro Award support your strategy for cross-border collaborations?
CG: We’re incredibly thankful for the support from the city of Munich and the Free State of Bavaria. This award responds to industry needs; it’s made possible through FFF Bayern and offers meaningful financing for co-productions. Nearly half of the competition titles this year are world premieres. The CineCoPro Conference is supported by Swiss Films, Austrian Films, IDM South Tyrol and, for the first time, German Films, which strengthens our role in promoting German talent internationally.

JW: We’re expecting more producers than ever at this year’s conference. Our goal is to provide a platform where producers themselves can define what’s needed and find solutions. Previous editions focusing on the UK, South-Eastern Europe and Canada have led to strong collaborations. We’re looking forward to a vibrant week – screenings like I’m Not Stiller and A Land Within are already sold out.

What are your hopes for the newly launched Creators’ Conference?
JW: The Produktionsallianz, a member of FIAPF, is dedicated to exploring new ideas and financing methods for producers working out of Germany. This conference will present a range of ideas and challenges, sparking conversations that will continue throughout the week.

CG: Accreditation had to close early, as it was fully booked in just a few weeks. We will know more after its first edition. But the refined curation by Erwin Schmidt definitely already hits a nerve of what many producers are currently facing or asking themselves. 

How does the New Talent Award contribute to your strategy for supporting emerging voices?
CG: The award has been around for decades, and the competition for it has brought forth talents like Baran Bo Odar, Tim Fehlbaum, Eva Trobisch and more. For the first time, the producers’ category now includes the right to collect 50,000 FFA reference points, providing a valuable financial boost. This is a small financing kickstart for an upcoming project. Renowned producers like the Weydemann Bros and Ingo Fliess have previously won. We see it as part of our mission to identify talent early and support future productions that shape the cinematic landscape.

How do you position Filmfest München as a launchpad for global cinema while staying rooted in local relevance?
JW: We remain an audience festival for both local and national viewers, but our industry platform has grown immensely over the last couple of years. More and more international professionals come to Munich to scout talent and connect with the German industry. About 80% of our German films go on to other international festivals, and we hope to support international titles the same way. Both I’m Not Stiller and A Land Within are surely films that will be seen in German-speaking countries and far beyond.

CG: The Last Spy, a documentary about the CIA’s origins, will be shown at the Amerikahaus, fostering dialogue with the Americas, and will assemble political thinkers for its premiere. Germaine Acogny, about the godmother of African dance, will soon be in French cinemas. We hope that each and every context we can offer creates resonance. It is not about showing more world premieres each year; we rather pick films that we hope to support in a meaningful way on their journey to international audiences.