Blerina Hankollari, the Albanian participant in EFP’s Producers on the Move at Cannes, worked as a creative consultant before moving into production with her company, Artalb Film Productions. The firm’s films Daybreak [+leggi anche:
recensione
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intervista: Gentian Koçi
scheda film] (2017) and A Cup of Coffee and New Shoes On [+leggi anche:
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intervista: Gentian Koçi
scheda film] (2022) were presented and received awards at many international festivals, and both have been the official Albanian submissions for the Academy Awards.

Cineuropa: Can you tell us about your career as a producer?
Blerina Hankollari: My path into the film industry has been atypical. With an academic background in European philosophy and good readings in film theory, I’ve long approached cinema as both an intellectual pursuit and a personal passion. As a cinephile, I’ve always been fascinated by the intricate details of the filmmaking process. This curiosity naturally led me to begin working as a creative consultant in 2012, before transitioning into film production in 2014. Together with my partner in life and work, Gentian Koçi, we founded Artalb Film Productions – one of the most dynamic film companies in Albania. We carefully select our slate of arthouse projects that align with our creative vision. We are both deeply committed to the idea that cinema is a powerful art form, capable of stirring emotion, sparking thought and provoking new ways of being in the world, both individually and collectively.

What do you think about the current situation for Albanian cinema? 
Contemporary Albanian cinema is entering a defining phase: it’s artistically vibrant, yet institutionally vulnerable. A new generation of filmmakers is crafting a bold and authentic cinematic language, signalling a departure from past conventions and asserting a distinct cultural voice on the international stage. This creative momentum marks a promising new chapter for Albanian film.

However, such artistic vitality is emerging in a context where public investment and structural support have not kept pace. In the face of significant inflation over the past five years, increasing financial support for the development, production and promotion of Albanian cinema is not merely a necessity; is a matter of urgency. Furthermore, the sector must diversify its sources of funding, and implement additional support mechanisms and incentive schemes to ensure sustainable growth and international competitiveness. Albania’s cinema has the stories, the talent and the vision. With the right support, it also has the potential to become a key player in the regional and European audiovisual landscape.

How important do you think European co-productions are for European cinema? What do you think are examples of good practice?
Coming from a country with limited production capacity, European co-productions are vital on multiple levels. They enable arthouse films to overcome financial constraints by providing access to a broader range of funding opportunities. Co-producing partners can also significantly enhance a film’s visibility by contributing their own distribution networks, thereby increasing the chances of theatrical releases, festival participation and exposure on key European platforms. Beyond the financial and logistical benefits, co-productions are rich spaces of cultural and professional exchange. They allow producers, as well as artistic and technical teams, to grow through collaboration and to broaden their creative and professional horizons. While disparities in resources and power dynamics can arise between producers from different production contexts, what unites us is a shared belief that creativity is universal – and that it can transcend such challenges. Two successful examples of this collaborative spirit are the features I’ve produced: Daybreak, an Albanian-Greek co-production, and A Cup of Coffee and New Shoes On, a four-country co-production between Albania, Portugal, Greece and Kosovo. Both stand as examples of what thoughtful, cross-border collaboration can achieve.

What benefits do you think Producers on the Move can offer?
I’m really happy to be part of this year’s Producers on the Move selection, which brings together an exceptionally strong and inspiring group. This programme offers valuable visibility – not only for me as a producer, for my projects and for my company, but also for the growing Albanian film industry. I’m particularly excited to connect with this dynamic group of producers, whose fresh perspectives and creative energy are both motivating and enriching. There is so much we can exchange – ideas, experiences and insights – and I’m confident that many collaborative opportunities lie ahead. While networking often feels like a necessary yet time-consuming aspect of our work, Producers on the Move creates space for genuine, quality interaction. I believe this kind of meaningful exchange is the foundation for trust-based, long-lasting creative partnerships.

What are the upcoming projects you are working on, and why did you choose them?
I am currently in the financing phase for Cold Sun, the third feature by Gentian Koçi – a powerful and emotionally gripping existential psychological drama. The story follows a reclusive man attempting to rebuild his life after serving a 20-year sentence for a horrific crime, and gradually unfolds as a paradoxical and darkly poetic love story. In parallel, I’m developing and preparing to finance the second feature-length documentary by the very talented Albanian documentarian Eneos Çarka. Beyond the Blue Mountains Is the Sea promises a refined aesthetic and a richly layered narrative that blends multiple genres and visual approaches. Incorporating poetic, essayistic and experimental elements, the film bridges two dimensions: the microscopic, elemental world of nature and the vast, anthropocentric realm where humans assume centrality. Both projects are being developed as European co-productions. In addition, our company has several other projects currently in development and co-production. We are always open to new collaborations that align with our creative vision and production strategy.