A few days ahead of the start of the Berlinale (13-23 February), Cineuropa caught up with Vincenzo Bugno, head of the World Cinema Fund (WCF). During our chat, we touched on the importance of the fund in these turbulent times, the upcoming events and initiatives unspooling in Berlin, teamwork and the potential partners it is seeking, among other topics.

Cineuropa: What are you focusing on at the moment in terms of strategies? Should we be expecting something new regarding the streams of funding?
Vincenzo Bugno: An institution like ours is always a work in progress. First of all, because we are constantly assessing the needs of the film industries in the regions we work with. Our goal is to democratise film production, giving a voice to countries that have remained invisible in the industry for years. Right now, our priority is to reaffirm our existence. This is not something to be taken for granted, given the current political climate, where funding for cultural activities is often not considered a priority - especially considering that filmmaking is becoming increasingly expensive. The existence of a cultural industry is more vital than ever in a world where the United States is discussing annexations and turning the Gaza Strip into a resort. Concepts such as international understanding and intercultural exchange, which were taken for granted just a few years ago, can no longer be assumed. This is why the World Cinema Fund is essential and inevitably linked to geopolitical realities. 

What are the events related to the Fund that will take place in Berlin? 
It is important to stress that the WCF was not created solely to fund films for the Berlinale - they remain independent. Of course, we always have some films featured there, but there is no formal agreement. This year, we have five films in different sections of the festival, all of which strongly represent the Fund. In Competition, we have The Message [+leggi anche:
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intervista: Iván Fund
scheda film], while the newly introduced Perspectives section includes the Egyptian film The Settlements. We also have a Special Screening featuring a film from Lesotho, along with two other African productions. Our relationship with African cinema has grown over decades, thanks to a dedicated programme. In addition to the films, we also host one of our most important annual events: the World Cinema Fund Day. This includes panel discussions and presentations about the films we have at the Berlinale. One particularly exciting discussion will focus on the Arabic film industry, which promises to be an intense and thought-provoking session. Additionally, we will hold a special focus on distribution and the professionals involved in it, with discussions centred around visibility. Since 2017–2018, we have been working on ways to enhance film visibility, moving beyond the now outdated concept of "audience design" to what we prefer to call "audience strategies". Our programme, "World Cinema Fund Audience Strategies: On the Road", provides consultancy on this topic in various countries worldwide. We partner with local organisations and festivals to explore how different regions can engage potential audiences. This is both a marketing tool and an exercise in applied sociology.

Could you mention some examples of the films that have been financed by the Fund and have had success over the past few years?
Our work is driven by an immense passion, and we see it as personally enriching. Through the projects we support, we gain insight into distant cultures and societies. Many of these projects are challenging to realise, but every film we have funded over the years has been completed. The majority have been screened at A-list film festivals, and we are often surprised by the market success some of them achieve. Being part of Berlinale Pro has played a key role in this process. We have always had a space at the European Film Market (EFM), called World Cinema Fund EFM Screenings, where we present around a dozen films each year. These screenings are highly attended and have resulted in excellent distribution deals. One notable success was the Paraguayan film The Heiresses [+leggi anche:
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scheda film], which was sold in 35 countries—an exceptional feat. Another example is Pepe [+leggi anche:
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intervista: Nelson Carlo De Los Santos…
scheda film], which was in Competition last year. Directed by a Dominican filmmaker, it was a co-production between the Dominican Republic and Namibia, shot in Colombia. The film tells the story of a dead hippo and won a Silver Bear for Best Director, gaining international recognition. These successes prove that, despite the challenges of today's world, audiences remain curious about diverse cinema, and there is significant space for the work we do.

How does your team work? Could you describe the day-to-day? How many applications do you have to deal with annually? 
We receive 500 project submissions per year. Our core team consists of four to five people, supported by additional readers who assist in evaluating all the materials we receive. The films we support are ambitious—both in form and content—and we take great pride in this. We hold two selection sessions per year, with each involving a jury. After the initial shortlisting, we start working on the films that make it through the final selection.

Are you looking for partnerships? 
We are a joint initiative between the Berlinale and the Kulturstiftung des Bundes (German Federal Cultural Foundation). Our existence depends on these funds, as well as EU support and contributions from private entities. It is interesting to note that while most of our funding comes from the public sector, private sponsors are also showing increased interest in our activities. For example, since 2024, we have introduced a new funding prize for African films, financed by TUI, a major travel company, through the TUI Care Foundation. I see this as a very positive development and a direction we are keen to explore further. That said, I firmly believe that European institutions should continue to invest in and recognise the importance of our projects.