Market Analysis

Market Analysis (21)

Romania

Oh Ramona! by Cristina JacobMARKET ANALYSIS 2019

BUCHAREST: Admissions to domestic films more than doubled in Romania compared to 2018, especially due to four titles: Oh, Ramona! by Cristina Jacob, 5GANG: Another Christmas by Matei Dima, Mary, Queen of Romania by Alexis Sweet Cahill and Do It Or Shut Up by Iura Luncașu.

The 35% cash rebate scheme launched in Romania in October 2018 was in full swing in 2019 with 62 international and domestic projects submitted, of which 48 were approved, five rejected, one withdrawn and the rest of them still in analysis at the beginning of 5GANG: Another Christmas by Matei Dima2020.

Romanian producer Ada Solomon was voted Deputy Chairwoman of the European Film Academy’s Board on the occasion of the European Film Awards meeting in Berlin in December 2019.

In July, at the first meeting of European Commissions’ Open Method of Coordination (OMC) Group on coproductions in the audiovisual sector, Romanian consultant Alex Trăilă was voted Vice Chair.

Bogdan Mureșanu’s short film The Christmas Gift / Cadoul de Crăciun received the European Short Film Award at the European Film Awards 2019, while Anca Damian’s film Marona’s Fantastic Tale was nominated in the European Animated Film category.

collective / colectiv by German-Romanian filmmaker Alexander Nanau was the first Romanian long documentary selected for Venice. The film screened in the Official Selection – Out of Competition at the Venice International Film Festival of the Biennale di Venezia 2019.

The Whistlers / La Gomera by Corneliu Porumboiu was selected as Romania’s candidate for the 92nd Academy of Motion Picture Arts and Sciences award in the best international feature film category. This Romanian/French/German coproduction had its world The Christmas Gift by Bogdan Mureşanu, credit: Kinotopia Productionpremiere in the Competition of the 2019 Cannes Film Festival and has been sold to approximately 30 territories including North America.

Monsters. / Monștri., the debut feature by Marius Olteanu, had its world premiere in Berlinale’s Forum and won the Tagesspiegel Readers' Jury Award.

From January to the end of June 2019, Romania held for the first time since entering the EU the Presidency of the Council of the EU. Under Romanian leadership, the Member States have agreed on a set of conclusions on improving the cross-border circulation of European audiovisual works, with an emphasis on coproductions (link)

In March, the Romanian Film Centre (CNC) together with Bucharest City Hall’s Expo Arte and the French Institute, hosted the 154th Eurimages Board of Management reunion.

The Federation of European Film and TV Directors (FERA) had its annual General Assembly hosted by Dacin Sara in Bucharest from 20 to 22 September 2019.

Maronas Fantastic Tale by Anca DamianPRODUCTION

Most of the Romanian films shot or finished in 2019 are supported by the Romanian Film Centre. Here are some of them:

In March-April 2019 writer/director Andrei Gruzsniczki shot his fourth feature film, Emil (working title), a 100% Romanian coproduction between AVVA MMIX STUDIO and Hai-Hui Entertainment.

Director/producer and Castel Film Studios’s CEO Vlad Păunescu shot his sophomore feature The Ladder / Scara in September-October 2019. This account of Romania in the turbulent years 1989-1990 was produced by Castel Film.

Vali Hotea shot his sophomore feature, the 100% Romanian production Lebendsdorf aka I Hate Berlin in Romania and Germany in 2019. The film is a black comedy about indecision and the fear of taking responsibility, produced by HiFilm Productions in association with Romania’s nomada.solo and Visual Walkabout, and in coproduction with Romania’s Chainsaw Europe Studio, Abis Studio, Production XMG Media and Scharf Film Production.

Mimi Branescu in Lebensdorf by Vali Hotea, credit: Vlad BascaIcon production, the company behind Andrei Ujică’s The Autobiography of Nicolae Ceaușescu, produced Eugen Jebeleanu’s debut feature Inside / Înăuntru (working title), a drama exploring gay life in contemporary Romania.

Dan Chișu’s new feature film 5 Minutes Too Late / 5 minute, inspired by homophobic reactions that occurred during a screening of an LGBT film in Romania, completed postproduction in 2019. The film is a Romanian coproduction between Domestic Film and DaKINO Production.

In 2019 Cristi Puiu finished the postproduction on his new feature film Malmkrog, which was eventually selected to open the new section Encounters of the 70th Berlin IFF in 2020. Malmkrog is produced by Mandragora (Romania), in coproduction with iadasarecasa (Romania), SENSE Production (Serbia), Cinnamon Films (Serbia),  Film i Väst (Sweden), Doppelganger (Sweden), Bord Cadre Films (Switzerland), Produkcija 2006 Sarajevo (Bosnia and Herzegovina) and Sisters and Brothers Mitevski (Macedonia).

Malmkrog by Cristi Puiu, credit: MandragoraCătălin Mitulescu also put the finishing touches on his fourth feature film Heidi, which had its world premiere in the main competition of the 25th Sarajevo Film Festival. The film was produced by Strada Film.

Among independent productions, Bogdan Theodor Olteanu’s sophomore feature Mia Misses Her Revenge, produced by Tangaj Production, was shot in July and September 2019.

Miami Bici directed by Matei Dima and Codin Maticiuc was also shot in 2019 as an independent production, produced by both of the directors. Matei Dima is a popular vlogger, whose debut feature 5GANG: Another Christmas broke the opening record for a domestic film since 1989 in just a few days since its release at the end of 2019.

Both films by Radu Jude selected for 2020 Berlinale’s Forum, The Exit of the Trains / Ieşirea trenurilor din gară and Uppercase Print / Tipografic majuscule, were produced in 2019. The Exit of the Trains is co-directed together with historian Adrian Cioflâncă and it was produced by Ada Solomon through microFILM together with nomada.solo.

Uppercase Print by Radu Jude, credit: Silviu GhetieUppercase Print is produced by microFILM in coproduction with the Romanian Television (TVR) and Hi Film Productions.

Hungarian/Romanian coproduction The Last Bus by Nándor Lőrincz and Bálint Nagy started shooting in July 2019. The film won the Postproduction Services Award offered by Romania’s Chainsaw Europe Studio in the 2018 edition of Transilvania Pitch Stop (the coproduction platform of the Transilvania IFF held in Cluj-Napoca, Romania), and it is produced by Hungary’s M &M Film and PartnersFilm in coproduction with Hungary’s St. Audio and Romania’s Chainsaw Europe.

Another Hungarian debut feature, Spiral by Cecília Felméri, wrapped shooting in February 2019. The film starring Golden Bear winner protagonists Alexandra Borbély and Bogdan Dumitrache is produced by Hungary’s Inforg M&M Film in coproduction with Hungary’s FocusFox Studio and Romania’s Hai-Hui Entertainment. 

The first film produced by founder of the Superkombat Fight Championship Eduard Irimia through Superfilm, a company he established together with Moshe Diamant and Christopher Milburn in 2018, was shot in Romania in 2019. Back 2 Back is directed by collective by Alexander NanauKader Ayd and has an international cast and crew.

More than 20 international productions were approved for cash rebates in 2019. Here are some of the titles that were shot during the same year:

The anticipated sci-fi thriller Voyagers directed by Neil Burger and starring Colin Farrell and Lily-Rose Depp was shot in Romania with Icon Film SRL/Stillking Films servicing. The project benefited from almost 4 m EUR / 18,585,842 rebates approved in March 2019.

The US independent production Violence of Action directed by Tarik Saleh and starring Ben Foster, Chris Pine and Gillian Jacobs was shot in Romania starting November 2019. The film was serviced in Romania by Icon Film SRL/Stillking Films and received one of the biggest cash rebates approved in 2019, approximately 4.8 m EUR / 22,959,564 RON.

In 2019 Icon Films SRL also serviced the History channel docudrama Doris Kearns Goodwin Presents: Washington and season 2 of the TV series Impulse, created by Jeffrey Lieber and produced by Universal Cable Productions, both benefiting from the Romanian cash rebate scheme.

La Gomera by Corneliu Porumboiu, photo: Vlad CiopleaThe biggest cash rebate approved in 2019 will go to Martin Campbell’s The Asset, starring Michael Keaton, Samuel L. Jackson and Maggie Q, which will be shot in Romania for 10 weeks starting 8 January 2020. The producers are working with Frame Film, which also serviced Riccardo Chemello’s Dampyr (coproduced by Eagle Pictures, Italy’s Sergio Bonelli Editore and Brandon Box), which was shot in Romania in 2019.

The Asset will receive approximately 6.25 m EUR / 29,875,383 RON and it is produced by Arthur Sarkissian Productions, Campbell Grobman Films and Seven Stars Entertainment.

The third film in the Netflix series A Christmas Prince titled A Christmas Prince: The Royal Baby, directed by John Schultz and starring Rose McIver and Ben Lamb, was also shot in Romania in 2019 and benefited from the cash rebate scheme. The Romanian partner of the project, Castel Film Studio, applied for 871,851 EUR / 4,097,704 RON rebate on 22 February 2019.

In 2018 Castel Film also serviced Netflix’s A Christmas Prince: The Royal Wedding by John Schultz, a sequel to the holiday film A Christmas Prince (2017) by Alex Zamm, which had also been shot in Romania.

Castel Film Studios also serviced the second season of the Italian miniseries La vita promessa by Ricky Tognazzi, which started shooting in Romania in July 2019. The miniseries is produced by RAI Italy and had five weeks of shooting.

Monsters. by Marius Olteanu, photo: Parada FilmAn episode of the third season of the Emmy award winning TV series Killing Eve was shot in Romania in October 2019. Alien Films Entertainment was again servicing and the production was approved for the cash rebate scheme. The British television spy series starring Sandra Oh and Jodie Comer is produced by Sid Gentle Films Ltd Productions for BBC America.

Alien Films Entertainment provided services for another two international productions in 2019. Aleksandr Mindadze’s feature film Parquet, produced by Reason & Films (UK) and Passenger Studio (Russia), also coproduced by Alien Films Entertainment, was shot from January through April 2019, while the TV series Alex Rider, produced by Eleventh Hour Films UK for Sony Television, was shot in the spring of 2019.

In 2019, the Romanian company Seven Film serviced Sweden’s Miso Film in the production of the crime series Box 21, based on the first bestseller from the series written by Anders Roslund and Börge Hellström.

The 6-episode series is directed by Mani Maserrat and produced by Miso Film’s Sandra Harms & Karl Fredrik Ulfung for Viaplay and NENT Group. The rebates approved are up to 780,000 EUR / 3,727,168 RON.

Emil by Andrei GruzsniczkiDISTRIBUTION

A total of 194 films were released in cinemas in 2019, of which 31 are domestic films, including minority coproductions.

The most important distributors in Romania, on the basis of first time released feature films, are: Vertical Entertainment, Ro-Image 2000, InterComFilm Distribution, Independența Film, Cine Europa, Odeon Cineplex, Forum Film Romania, Transilvania Film, Micro Film, Voodoo Films.

Other distributors are Bad Unicorn, Macondo, BML Music Entertainment and Clorofilm. Several production companies also have a distribution branch: Mandragora, Parada Film, Zazu Film, Oblique Media Film, Abis Studio.

Usually, big distributors do not release domestic titles unless they are expected to be successful in cinemas. In 2019 Ro Image 2000 released together with 42 KM FILM The Whistlers directed by Corneliu Porumboiu, while Vertical Entertainment distributed two of the most successful domestic films of the year, 5GANG: Another Christmas/5GANG: Un altfel de Crăciun directed by Matei Dima and produced by BRomania, and Do It Or Shut Up / Faci sau taci directed by Iura Luncașu and produced by Next Spot.

collective by Alexander NanauThe Whistlers, produced by Romania’s 42 KM FILM in coproduction with France’s Les Films du Worso, Germany’s Komplizen Film and Arte Grand Accord, has been sold by MK2 Films to approximately 30 territories including North America.

Alexander Nanau’s documentary collective / colectiv was sold by Cinephil in North America to Magnolia, in France to Sophie Dulac Distribution and in the UK to Dogwoof.

The film was produced by Romania’s Alexander Nanau Production in coproduction with Luxembourg’s Samsa Film and HBO Europe. collective was awarded Best Film in the International Documentary Film Competition of the 15th Zurich FF (26 September-6 October 2019). The Romanian premiere is set for February 2020.

The documentary Untamed Romania / România neîmblânzită, directed by Tom Barton-Humphreys and funded by Auchan Retail Romania and the environmental NGO The European Nature Trust, was sold to France Télévisions Group for broadcasting starting March 2019.

Ivana Mladenović’s sophomore feature Ivana the Terrible / Ivana cea Groaznică was acquired by the Toronto-based outlet Syndicado Film Sales. This Romanian/Serbian coproduction produced by Ada Solomon through Romania’s microFILM and Ivana Ivana the Terrible by Ivana Mladenović, credit: microFILMMladenović through Serbia’s Dunav 84 had its world premiere in the Cineasti del presente section of the 72nd Locarno Film Festival (7-17 August 2019), where it won the Special Jury Prize Ciné+.

The Transilvania International Film Festival launched its new VOD platform TIFF Unlimited in June 2019. Between 60 and 80 films screened in the festival’s 17 previous editions are on offer. The organisers hope to cut deals with local and foreign distributors and festivals, as well as with the Romanian National Film Archive.

Vintage Sahia, the first web platform with films produced by the Communist documentary studio Alexandru Sahia between 1950 and 1990, was also launched in Romania in 2019 by One World Romania as a pilot-project that will be developed in the following years.

So far, this digital history platform has segments from approximately 70 films, whose copyright is held by the Romanian Film Centre (CNC). The access to films is free of charge and the platform has also an English version.

The Alexandru Sahia film studio, the only Romanian studio that produced documentaries before 1990, continued its activity after 1990 as SahiaFilm and it is currently insolvent. Its film archive was transferred to the Romanian Film Archive in 2006.

At its 14th edition held 4 to 13 October 2019 the Anim’est International Animation Film Festival launched a competition for VR animated films for the first time in Romania.

Inside by Eugen JebeleanuIn 2019 The Oak / Balanța (1992) directed by Lucian Pintilie and produced by Romania’s Filmex Film in coproduction with the French company MK2, became the first Romanian film restored in the 4K digital format. The restoration was supported by BRD – Groupe Société Générale and Fundația9 through the Lucian Pintilie Cinema Fund launched in 2018. The original negative of the film was digitalised in 4K in the Hiventy laboratory (France) and the 4K restoration was performed by Avanpost Media, the largest high-end postproduction facility in Bucharest. Transilvania Film will bring the film for a theatrical re-release in February 2020.

In 2019 the Romanian Film Archive finished the 4K restoration of Stere Gulea’s black and white drama Moromeții (1987) produced by Studioul Cinematografic București. The restoration was performed entirely at Cinelabs Romania and it was covered by the 3% of Romanian Film Fund destined for the preservation and restoration of Romanian films.

This is the third 4K restoration by the Romanian Film Archive, after the medium length documentary Union Celebrations / Sărbătorile Unirii (1929) by Tudor Posmantir and Liviu Ciulei’s prominent feature film Forest of the Hanged / Pădurea spânzuraților (1965, Studioul Cinematografic București), both restored in the Romanian Film Archive's own laboratory.

Moromete Family On the Edge of Time by Stere Gulea, credit: Transilvania FilmStere Gulea’s Moromete Family: On the Edge of Time / Moromeții 2, a sequel to his film from 1987, was awarded best film during the 13th edition of the Gopo Gala, held at the National Theatre in Bucharest on 19 March 2019. The film produced by Libra Film was also awarded in nine other categories.

EXHIBITION AND BOX OFFICE

Cinema City, which is the biggest cinema operator in Romania, is currently running 26 multiplexes in 19 Romanian towns with 237 screens and 42,031 seats. 

New Bucharest-based cinema operator CineGold SRL opened its first multiplex in Sibiu in November 2019. This is the first multiplex opened in this Transylvanian city, which was the European Capital of Culture in 2007. CineGold SRL plans to open another three multiplexes in Romania in the next three-five years.

Although admissions increased due to multiplexes, the tradition of single-screen cinemas is vanishing. Since 2008, RomâniaFilm, the former cinema network inherited from the communist era, has re-assigned more than 100 cinemas to local councils, but less than 10% are still screening films. Romania is currently the country with the fewest cinema theatres per capita in Europe. Seventy eight percent of Romanian towns don’t have any cinemas in use.

Oh Ramona! by Cristina Jacob

The teen comedy 5GANG: Another Christmas / 5GANG: Un altfel de Crăciun, the debut feature by vlogger Matei Dima, which was released on 27 December 2019, set a new opening record in Romania since 1989, with 146,784 admissions and 592,738 EUR / 2,831,396 RON gross.

5GANG: Another Christmas benefited from the cash rebates. Ten thousand tickets were pre-sold in the opening weekend. With only a few days in theatres in 2019, 5GANG: Another Christmas became the second most popular Romanian film in 2019 after Cristina Jacob’s teen comedy Oh, Ramona!, which is 11th in the general box office with 260,531 admissions and 1,066,468 EUR / 5,094,311 RON gross.

5GANG: Another Christmas is 13th in the general charts with 247,617 admissions and 979,382 EUR / 4,677,738 RON gross.

Oh, Ramona! held the previous opening record in Romania in the last 30 years with 111,881 admissions and 470,142 EUR / 2,209,669 RON gross, according to Romanian film portal Cinemagia.

Adrian Sârbu, former CEO at the Central European Media Enterprises, is behind Oh, Ramona!, which he produced through Zazu Film Production.

Mia Misses Her Revenge by Bogdan Theodor Olteanu, credit: Tangaj ProductionAnother successful domestic film in cinemas in 2019 was Mary, Queen of Romania / Maria, Regina României, directed by Alexis Sweet Cahill and produced by Abis Studio, which is 25th in the general charts with 150,033 admissions and 593,530 EUR / 2,834,829 RON gross.

The general box office is topped by Avengers: Endgame with 3,015,303 EUR / 14,401,724 RON gross (its distributor Forum Film reports its admissions only to the Romanian Film Centre at the end of the year), followed by Frozen II with 2,618,366 EUR / 12,505,868 RON gross and Joker with 2,291,148 EUR / 10,943,010 RON gross.

Admissions to domestic films increased dramatically from 389,172 in 2018 to 806,472 in 2019, while domestic films gross increased from 1.42 m EUR / 6,712,375 RON in 2018 to 3.13 m EUR / 14,733,843 in 2019, according to official statistics issued by the Romanian Film Centre.

For the first time in years a Romanian film got to the overall top ten. The teen comedy Oh, Ramona!, directed by Cristina Jacob and produced by Adrian Sarbu through Zazu Film Production, is ranked 10th with 256,115 admissions and 1,067,312 EUR / 5,016,367 RON gross.

The teen comedy 5GANG: Another Christmas / 5GANG: Un altfel de Crăciun, the debut feature by vlogger Matei Dima, which was released on 27 December 2019, set a new opening record in Romania since 1989 and ranks 17th in the overall chart with 167,025 admissions and 672,867 EUR / 3,162,478 RON gross.

General admissions slightly decreased from 13,348,167 in 2018 to 13,129,899 in 2019, but the total gross increased from 55,953,522 EUR / 262,981,558 RON in 2018 to 56,464,483 EUR / 265,383,072 RON in 2019.

5 Minutes Too Late by Dan Chișu, credit: Doria DrăgușinGRANTS AND NEW LEGISLATION

The annual state support for film industry was 11.7 m EUR in 2019, of which approximately 8.5 m EUR / 40 m RON were shared in two loans sessions in the selective scheme for development and production, while approximately 3.2 m EUR went to automatic supports grants.

On 27 September 2019 the Romanian Film Centre (CNC) distributed 4,176,495 EUR / 19,853,000 RON as production grants for feature, debut feature, short fiction, documentary, animated and thematic films in its first round of grants in 2019.

A total of 1,979,591 EUR / 9,410,000 RON went to the production of nine feature films, with the biggest grant of 420,742 EUR / 2 m RON allotted to Ioana Uricaru’s sophomore feature Reostat, with a script by Cristian Mungiu.

Surprisingly, new projects by accomplished directors including Radu Muntean, Adrian Sitaru, Florin Șerban and Constantin Popescu did not receive funding. Three debut features by Theodora Mihai, Ioana Mischie and Dubravka Turic together received 605,027 EUR / 2,876,000 RON, while ten short fiction films received 207,846 EUR / 988,000 RON.

The thematic section received 568,001 EUR / 2.7 m RON and focused on comedy, where Serbian director Slobodan Šijan’s new project The Great Tram Robbery / Budi Bog s nama received production support as a Romanian minority coproduction alongside projects by Cătălin Saizescu and Ștefan Pătrașcu.

Inside by Eugen JebeleanuSeven long and short documentaries received 420,742 EUR / 2 m RON, while five long and short animated films split 395,287 EUR / 1, 879,000 RON.

The Romanian Film Centre announced script development grants for feature films and documentaries in the same session.

The second session for 2019 was announced on 18 December 2019 with deadline on 30 January 2020 and its results will be known in late spring 2020.

In June 2018 Romania approved a state aid scheme offering a 35% cash rebate on qualified expenditure for international productions shooting in Romania with a minimum local spend of 20% of the total budget. There is a total cap of 50 m EUR per year to fund the scheme. The multiannual scheme approved on 13 June 2018 runs until the end of 2020.

In addition to the 35% cash rebate on qualified expenditure, productions explicitly promoting Romania can also apply for an extra 10%, raising the rebate to 45%.

A total of 62 international and domestic projects were submitted in 2019, of which 48 were approved, five rejected, one withdrawn and the rest of them was still in analysis at the beginning of 2020.

The cash rebate was implemented by the National Commission for Prognosis, but starting from 2020 it is expected to be taken over by the Ministry of Economy.

The Romanian Cultural Institute has an acting President, former VP Mirel Taloș, after Liliana Țuroiu’s departure to Brussels office. In September Alex Trăilă was appointed by the Parliament as member of Romanian Cultural Institute‘s Board of Management.

Home by Radu CiorniciucIn November 2019 Bogdan Gheorghiu was named the new Minister of Culture in Romania, as a transitional cabinet led by the National Liberal Party leader Ludovic Orban was approved by the Parliament on 4 November 2019.

He is the fourth Minister of Culture in Romania in the past three years and he replaced Valer-Daniel Breaz from the Social Democrat Party (PSD), who had been appointed in November 2018.

In 2019 the Industry section at the 18th Transilvania IFF showed off the dynamic and solution-driven initiatives of the Romanian film industry with the launches of new and innovative programmes. One of those is the Film + training programme, which announced the expansion of its activities to encompass micro-budget debut films from Romania, Moldova, Bulgaria and Serbia.

The project received a three-year promise of support from Creative Europe MEDIA, with 48,000 EUR per year, and 50,000 EUR coming from the Romanian National Cultural Fund Administration to be used over a two-year period.

Radu Ciorniciuc’s documentary Home / Acasă and Ruxandra Ghițescu’s debut feature Otto the Barbarian / Otto barbarul are the winners of the Works in Progress section at the 10th edition of the festival Les Films de Cannes à Bucarest, which wrapped on 27 October 2019.

Asociația Cinemascop organised, with the support of HBO Europe, a script contest Write a Screenplay for Sebastian Stan. Experienced or newcoming Romanian language scriptwriters were invited to send an outline for either a feature film or a 6-episode TV miniseries. The first edition of the contest was organised on the occasion of the 3rd edition of the American Independent Film Festival (12-18 April 2019). HBO Europe and Asociația Cinemascop will support the selected projects until the script stage. The Romanian-born American actor Sebastian Stan was a guest of the 2018 edition of the American Independent Film Festival.

Otto the Barbarian by Ruxandra GhitescuAt the initiative of director and producer Anca Damian, producers Ada Solomon and Anamaria Antoci joined the Romanian Association of Women in Cinema (ARFC) as board members and already kicked off some support programmes for emerging women Romanian directors.

TV

The six-episode original HBO Europe series Tuff Money / Bani negri (pentru zile albe), written and directed by Daniel Sandu, started shooting in Romania in August 2019, produced by Cristian Mungiu’s Mobra Films. The simultaneous premiere on HBO Europe is set for 2020. 

The 3rd season of the Romanian TV series Shadows / Umbre started airing on HBO Romania in November 2019. The series is written and directed by Claudiu Mirică. The first two seasons of Shadows aired on TNT in Romania in November 2019. 

Adrian Sârbu and journalist Marius Tucă received a satellite license from the National Audiovisual Council in Romania for the generalist channel Smart TV/Smart TV HD Bucureşti in June 2019. The channel will focus on journalism and urban culture.

In 2019 cable and broadband operator Liberty Global wrapped up the sale of operations in Romania to Vodafone.

Shadows series, photo: Adi Marineci for HBOThe most popular domestic TV series in 2019 was again Las Fierbinți, whose 15th season launched on Pro TV at the beginning of the year with over 2.3 m viewers. The 16th season of the series launched in September 2019. Five seasons of the series are at the top of the national chart.

In April 2019, the Antena 1 channel launched the series Free as a Bird / Liber ca pasărea cerului directed by Răzvan Săvescu, and in September 2019 it launched the TV series Mangalița directed by George Dogaru, as well as the family drama The Sacrifice / Sacrificiul directed by Ruxandra Ion and also produced by her through Dream Film Production. The Sacrifice was approved for cash rebates.

In 2019 Pro TV launched the first two seasons of the TV series Vlad directed by Jesus del Cerro. The second season was approved for cash rebates. A third season was announced for 2020.

The series Moldovenii, made by the comic group 3 Chestii, which has over 1 m subscribers on YouTube, launched on Kanal D channel in November 2019.

Another popular vlogger, Matei Dima (BRomania) produced the teen series L-a seral, directed by Vali Dobrogeanu and launched on YouTube in August 2019. Its first episode had almost 1.7 m viewers through January 2020. Its 10th (and last) episode, launched on 19 December 2019, had over 700,000 viewers through January 2020.

CONTACTS:

ROMANIAN FILM CENTRE
4-6, Dem. I. Dobrescu street, sector 1, Bucharest
Phone: +40 213 104 301
Fax: + 40 213 104 300
www.cnc.gov.ro
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THE MINISTRY OF CULTURE
22, Bulevardul Unirii, sector 3, Bucharest
Press office: +40 212 243 947
www.cultura.ro 
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FILMMAKERS’S UNION (UCIN)
28-30 Mendeleev, sector 1, Bucharest
Phone: +40 213 168 0 83, +40 213 168 0 84
Moromete Family: On the Edge of Time by Stere GuleaFax: + 40 213 111 246
www.ucin.ro 
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ROMANIAN FILM PROMOTION
52 Popa Soare street, sector 2, Bucharest
Phone: + 40 213 266 480
Fax: + 40 213 260 268
www.romfilmpromotion.ro 
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ROMANIAN CULTURAL INSTITUTE
38 Aleea Alexandru
Sector 1, 011824
Bucharest, Romania
Phone: (+4) 031 71 00 627, (+4) 031 71 00 606
Fax: (+4) 031 71 00 607
www.icr.ro 
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CREATIVE EUROPE MEDIADESK ROMANIA
57 Barbu Delavrancea street, et. 1, sector 1, Bucharest
Phone / Fax: +40 213 166 060, +40 213 166 061
www.media-romania.eu 
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Report by Iulia Blaga (2020)
Sources: Romanian Film Centre - CNC, Cinemagia, Pagina de media


MARKET ANALYSIS 2018

Moromete Family - On the Edge of Time by Stere GuleaThe most important development in the Romanian film industry in 2018 is the cash rebate scheme launched by the National Commission for Prognosis on 8 October 2018. A total of 41 international and national projects applied for rebates until the end of 2018.

As the Film Fund increased, more funding was available for the call organised by the Romanian Film Centre (CNC). In 2018 the Romanian Film Centre prepared a new film draft aimed at boosting support and visibility for the film industry.

The CNC allotted more money for minority coproductions, despite the fact that a special category for minority coproductions is expected to be established by the new Film Law.

Following the trend, which has already lasted for almost 18 years now, Romanian films continued receiving awards at international festivals. The most important recognitions for Romanian cinema in 2018 are the Golden Bear and the GWFF Best First Feature Award at the Berlinale for Adina Pintilie’s Touch Me Not. In July 2018 "I Do Not Care If We Go Down in History as Barbarians" / "Îmi este indiferent dacă în istorie vom intra ca barbari" by Radu Jude won the Crystal Globe for best film at the 53rd Karlovy Vary IFF and it became Romania’s bid for the Oscars.

Ioana Uricaru was awarded best director for Lemonade in August 2018 at the Sarajevo Film Festival, while Love 1: Dog / Dragoste 1: Câine by Florin Șerban, produced by Fantascope and also supported by the Romanian Film Centre, received two awards from the festival’s partners. Ioana Uricaru was also nominated for the 2019 Independent Spirit Awards in the Someone to Watch category.

Touch Me Not by Adina PintilieIn October 2018 Anca Damian was awarded best director at the 34th Warsaw IFF for Moon Hotel Kabul.

The domestic film of the year is Moromete Family: On the Edge of Time / Moromeții 2 by Stere Gulea, which became the most successful Romanian film in the last 16 years. The film’s ranked 34th in the general box office with 184,951 admissions and 529,339 EUR / 2,475,122 RON gross.

Sadly, Lucian Pintilie, the most important Romanian film director and the godfather of the New Romanian Cinema, died at age 84 on 16 May 2018.

PRODUCTION

Most of the films produced in 2018 were supported by the Romanian Film Centre.

Cristi Puiu shot his first feature film in French Malmkrog aka Manor House / La conac in 2018. The film was produced by Mandragora in coproduction with Serbia’s Sense Production, Switzerland’s Bord Cadre Films and Romania’s iadasarecasa and Studioul de Creatie Cinematografica Bucuresti. It was supported by the Romanian Film Centre, Film Center Serbia, Sovereign Films (UK) and Cinema City Romania.

Corneliu Porumboiu shot Gomera in Romania and Spain in February-April 2018. This Romanian/French/German coproduction stars Vlad Ivanov and has already been acquired by MK2 Films. The first film that Porumboiu shot outside Romania is a coproduction between 42 KM FILM (Romania), Les Films du Worso (France), Komplizen Film (Germany) and Arte Grand Accord.

Cătălin Mitulescu, who won the Palm d’or for his short film Traffic / Trafic in 2004, shot his fourth feature film Heidi in 2018. He is producing it through Strada Film.

I Do Not Care If We Go Down in History as Barbarians by Radu Jude, photo: Silviu GhetieTudor Giurgiu shot his first feature film abroad, in Spain. The love story Parking is a Romanian/Spanish/Czech coproduction between his company Libra Film, Spain’s Tito Clint Movies and Evolution Films from the Czech Republic.

In October-November 2018, writer/director Marian Crișan shot his fourth feature film Berliner with Moldavian DoP Oleg Mutu, who also shot Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days and Beyond the Hills (Mobra Films). Crișan is producing though his company Rova Film.

In 2018 Iura Luncaşu shot Do It or Shut Up / Faci sau taci, a comedy he is also producing through Next Spot. His previous comedy Ghinionistul was the Romanian film with the best box office in 2017 (223,840 EUR / 1,007,284 RON gross).

The most prolific Romanian independent director Dan Chișu shot a new feature film in 2018, The Gendarme / Jandarmul produced by Domestic Film in coproduction with Dakino Production.

In August 2018 writer/director Ioana Mischie (Fulbright Alumna, Berlinale Talents Alumna) started production on Government of Children, a pioneering transmedia world reuniting a 3D state of the art feature film and an expanded webseries. The project is independently produced by Storyscapes, a Romanian association focusing on transmedia and groundbreaking concepts, and Studioset, a multi-awarded creative studio.

In September 2018 Andrei Cohn shot his sophomore feature Arrest / Arest aka 1983, a drama set in the communist era and produced by Mandragora in coproduction with Multi Media Est and iadasarecasa.

Mandragora also produced Liviu Săndulescu’s debut feature Cărturan, coproduced by Sweden’s Film I Väst and Doppelganger AB and Romania’s iadasarecasa.

In December 2018 Tudor Cristian Jurgiu wrapped shooting on his second feature film And They May Be Still Alive Today / Și poate mai trăiesc și azi, a coproduction between Romania’s Libra Film Productions and Greece’s Graal S.A.

Two debut features shot in 2018 are Monsters / Monștri by Marius Olteanu, a contemporary drama produced by Parada Film in coproduction with Wearebasca, and Legacy / Urma directed by Dorian Boguță and produced by Hai-Hui Entertainment in coproduction with Mandragora and Actoriedefilm.ro. Both Monsters and Legacy are 100% Romanian productions.

The long documentary Our Special Birthday / Născuți în aprilie by Adrian Pârvu, a Romanian/Ukrainian coproduction between HiFilm Productions and Tato Film, was shot in 2018.

Ivana Mladenovic shot her sophomore feature Summer Night, Ten Thirty / Noapte de Vară. 10 jumătate, a Romanian/Serbian coproduction between Micro Film and Dunav ’84. The film entered postproduction at the beginning of January 2019 with a few days of shooting left for Lemonade by Ioana Uricaru2019.

The documentary Whose Dog? / Al cui câine sunt?, directed by Robert Lakatos and produced by Micro Film, started shooting in 2018, but filming will continue in 2019.

We Are Basca produced two long documentaries, which were shot in 2018: Emigrant Blues: A Road Movie in 2 and 1/2 Chapters by Claudiu Mitcu and Mihai Mincan, coproduced with DeFilm, and The Anniversary by Claudiu Mitcu.

Among the feature films completed in 2018 are Anca Damian’s Moon Hotel Kabul, a Romanian/French coproduction between Aparte Film and Cinema Defacto (which brought Damian the best director prize at the 2018 Warsaw IFF), and Ana Lungu’s independent feature film One and a Half Prince / Un prinț și jumătate, produced by Mandragora.

The Romanian minority coproduction Spiral, directed by Cecília Felméri and starring Romanian actor Bogdan Dumitrache, Slovak-Hungarian actress Alexandra Borbély and Hungarian actress Diána Magdolna Kiss, started shooting in May 2018. The film is produced by Hungary’s Inforg - M&M Film in coproduction with Romania’s Hai-Hui Entertainment.

Another Hungarian/Romanian coproduction shot in 2018 is Eden, directed by Agnes Kocsis and produced by Hungary’s Mythberg Films in coproduction with Romania’s Libra Film and Belgium’s WFE Production.

SAF, a coproduction between Turkey’s Terminal Film, Germany’s 2Pilots and Romania’s 4 Proof Film was shot in Istanbul in December 2018-January 2019. The director Ali Vatansever used the Romanian DoP Tudor Panduru and the Romanian actress Mihaela Trofimov in a small part.

Another Romanian minority coproduction shot in 2018 is Son / Sin by Ines Tanović, which is produced by Dokument from Bosnia and Herzegovina in coproduction with Croatia’s Spiritus Movens, Slovenia’s Monoo, Macedonia’s Cut-up, and Romania’s Luna Film.

Most of the postproduction on Donbass by Sergei Loznitsa, which was awarded best director in Cannes’s Un Certain Regard 2018, took place in Bucharest at Digital Cube. The film is a German/ French/Ukrainian/Dutch/Romanian coproduction with Digital Cube coproducing from Romania. Moldavian Oleg Mutu is lensing and Moldavian-born Bucharest-located actor Valeriu Andriuță is in the cast.

Son by Ines TanovićAnthony C. Ferrante started shooting his new horror The Last Sharknado in Romania on 19 February 2018. The sequel to Ferrante’s TV movie hit Sharknado stars the same actors as the 2013 film: Ian Zering, Tara Reid, Casandra Scerbo and Vivica Fox. It was serviced by Romania’s Castel Film Studios.

Also serviced by Castel Film in 2018 are Netflix’s A Christmas Prince: The Royal Wedding, a romantic comedy by John Schultz and a sequel to the holiday film A Christmas Prince, Hallmark’ special Thanksgiving movie called Christmas Princess on Ice, and also Backdraft 2 by Gonzalo López-Gallego, The Princess Switch by Mike Rohl, The Cleansing Hour by Damien LeVeck, Dragonheart 5 (a sequel to Universal’s Dragonheart 4, which was also shot in Romania) and The Hard Way by Keoni Waxman.

In 2018 the Romanian company Alien Film serviced the French feature film The Silver Forest / La fôret d’argent, directed by Emmanuel Bourdieu and produced by Italique Productions for ARTE. The film was shot on location in Bucharest and in villages around Ploiești.

DISTRIBUTION

A total of 193 films were released in cinemas in 2018, of which 23 are domestic films, according to Cinemagia.ro. In 2017 a total of 187 films were theatrically released, including 19 domestic films.

The most important distributors in Romania, on the basis of first time released feature films are: Vertical Entertainment, Ro-Image 2000, InterComFilm Distribution, Independența Film, Cine Europa, Odeon Cineplex, Forum Film Romania, Transilvania Film, Micro Film, Voodoo Films.

Other distributors are Bad Unicorn, Macondo, BML Music Entertainment and Clorofilm. Several production companies also have a distribution branch: Mandragora, Parada Film, Zazu Film, Oblique Media Film, Paradox.

The Story of a Summer Lover by Paul NegoescuUsually big distributors do not release domestic titles, but there are some exceptions. Ro Image 2000 distributed in 2018 the romantic comedy The Story of a Summer Lover / Povestea unui pierde-vară, directed by Paul Negoescu and produced by Papillon Film. The film had 13,861 admissions.

The creative agency ROLLERCOASTER PR launched as a distributor on the Romanian market on 24 August 2018 with the theatrical release of the domestic documentary Licu, a Romanian Story directed by Ana Dumitrescu and produced by Jules et Films.

In 2018 a caravan travelled through Romania and the Republic of Moldova celebrating 100 years of Romanian cinema by screening 100 movies in 100 cities in one year. The project put up by the ARTIS Association in the Romanian city of Iași and the MIA Public Association in Chișinău, the capital of the Republic of Moldova, was launched in Iași with the screening of Eastern Business / Afacerea Est directed by Igor Cobileanski, a Romanian/Lithuanian coproduction between Alien Film and Just a Moment.

Adina Pintilie’s debut feature Touch Me Not was sold by Doc & Film in more than 35 territories, including North America, where Kino Lorber acquired the rights. “The extensive international exposure, with more than 40 selections for prestigious festivals, together with a worldwide theatrical release, which started in October 2018, in more than 35 countries, offered a solid platform to fully develop this active dialogue with the international audiences”, Romanian producer Bianca Oana told FNE.

Touch Me Not / Nu mă atinge-mă was produced by Romania’s Manekino Film in coproduction with RohFilm Productions (Germany), PINK from the Czech Republic, Bulgaria’s Agitprop Ltd and France’s Les Films de l'Étranger. The film was awarded the Golden Bear and the GWFF Best First Feature Award at the 2018 Berlin IFF.

"Radu Jude’s I Do Not Care If We Go Down in History as Barbarians" / "Îmi este indiferent dacă în istorie vom intra ca barbari" was sold by Beta Cinema to Poland, Hungary and ex-Yugoslavia. The film won the Crystal Globe for best film at the 53rd Karlovy Vary IFF and it was Romania’s bid for the Oscars. Micro Film released it in Romania on 28 September 2018. Hi Film Productions produced it in coproduction with the Czech company endorfilm, France’s Les Films d’Ici, Bulgaria’s Klas Film and Germany’s Komplizen Film.

Donbass by Sergei LoznitsaIoana Uricaru’s debut feature Lemonade, produced by Cristian Mungiu through Mobra films, was sold by Pluto Film to several territories after premiering in 2018 Berlin Film Festival’s Panorama section. The film was sold to France’s ASC Distribution at Berlinale’s European Film Market and afterwards to China, Israel, ex-Yugoslavia and Greece, and also in the MENA region (Middle East and North Africa), Mexico, Italy, South Cpreea and Spain. Lemonade, a Romanian/German/Canadian/Swedish coproduction between Mobra films, 42 Film, Peripheria and Filmgate Films, was released in Romania by Mungiu’s distribution outlet Voodoo Films on 26 October 2018.

Gabi Virginia Şarga and Cătălin Rotaru’s debut feature Thou Shalt Not Kill / Să nu ucizi was acquired by Paris-based Indie Sales ahead of its world premiere in the 1-2 Competition of the 34th Warsaw FF. Thou Shalt Not Kill was produced by Axis Media Production in coproduction with Green Cat Film. Idea Film Distribution will release the film domestically in the first semester of 2019.

For the first time Les Films de Cannes à Bucarest, the festival initiated by Cristian Mungiu with the support of the General Delegate of the Cannes Film Festival, Thierry Frémaux, whose 9th edition took place in Bucharest and also in seven Romanian towns from 19 October to 11 November 2018, gave two distribution awards of 2,500 EUR to the future Romanian distributor of an international film screened in Cannes and also of 5,000 EUR to a Romanian film that already has a domestic distributor.

Consequently, the Aide à la Distribution Award went to 3 Faces (Iran) by Jafar Panahi, while the new creative agency ROLLERCOASTER PR received support for the distribution of The Distance between Me and Me, a documentary directed by Mona Nicoară and Dana Bunescu, and produced by Hi Film Productions and Sat Mic in coproduction with the Romanian Public Television (TVR).

Bucharest Film Studios, the former MediaPro Studios, filed for insolvency in 2018. Media Pro Studios was sold by Central European Media Enterprises (CME) to a group of American and Romanian investors including Donald Kushner and Bobby Păunescu in 2015. Bucharest Film Studios’ request for insolvency came after a creditor asked for the company’s insolvency at the end of 2017.

Equally Red and Blue / Albastru și roșu, în proporții egale by Georgiana Moldoveanu (UNATC I.L. Caragiale) was selected for the Cinéfondation section of the Cannes Film Festival 2018.Licu, a Romanian Story by Ana Dumitrescu

The most awarded Romanian short film in 2018 was The Christmas Gift / Cadoul de Crăciun by Bogdan Mureșanu, winner of best film at Cottbus and Izmir, Jury Prize at Montpellier and First Prize at Alcine.

In March 2018 Daniel Sandu’s debut feature One Step behind the Seraphim won eight awards at the 12th Gopo awards, including best film, best director and best debut feature. One Step behind the Seraphim / Un pas în urma serafimilor is one of the few Romanian feature films released on the Vimeo platform. The film was released on Vimeo at the beginning of 2018, only for the Romanian audience.

In December 2018 Moromete Family: On the Edge of Time / Moromeții 2 by Stere Gulea, the most successful domestic film of the year, was released on Vimeo for Romanians living abroad.

EXHIBITION AND BOX OFFICE

Despite the fact that admissions increased to 13.8 m in 2017 due to multiplexes, the tradition of one-screen cinemas is vanishing. Since 2008, RomâniaFilm, the former cinema network inherited from the communist era, has re-assigned more than 100 cinemas to local councils, but less than 10% are still screening films. Romania is currently the country with the fewest cinema theaters per population in Europe. Seventy eight percent of Romanian towns don’t have any cinemas in use. Moreover, RomaniaFilm announced in 2018 that it will close 10 cinemas, leaving only three open, in Cluj-Napoca, Sibiu and Piatra Neamț.

Moromete Family: On the Edge of Time by Stere Gulea, credit: Transilvania FilmDuring a debate around the cinemas organised at the Festival Les Films de Cannes à Bucarest in October 2018, the Romanian Film Centre (CNC) announced its intention to find a legal framework for granting 100,000 EUR for the technological upgrade of cinemas.

In March 2018 Cinema City, the biggest cinema operator in Romania, opened in Cluj-Napoca its fifth 4DX cinema in Romania with an investment of approximately 850,000 EUR. Cinema City is currently running 26 multiplexes in 19 Romanian towns with 237 screens and 42,031 seats. 

Due to the rising number of multiplexes, the number of screens increased from 386 in 2017 to 404 in 2018, most of them digital.

In December 2018 the Austrian company Cineplexx, one of the most important operators in the CEE region, announced its intention to enter the Romanian market and to open eight cinemas with more than 50 screens with an investment of 25 m EUR until 2021. The company is also prospecting a refurbishment project. The first two cinemas will open in Bucharest and Satu Mare in the first quarter of 2019 and another two cinemas will open by the end of 2019.

A total of 23 domestic films were released in Romania in 2018, of which 10 were debuts and six long documentaries. The 19 domestic films released in 2017 included six debut features and three long documentaries.

The most successful domestic film in 2018 was Stere Gulea’s Moromete Family: On the Edge of Time / Moromeții 2 with 184,951 admissions and 529,339 EUR / 2,475,122 RON gross in eight weeks. The sequel to the acclaimed 1987 The Moromete Family / Moromeții directed by Stere Gulea, had a very thorough marketing campaign and release strategy. It had 52,000 admissions after the first weekend and it was seen in theatrical release, special screenings and avant premieres altogether by 70,878 people.

The official premiere was preceded by several avant premieres outside Bucharest and even in the capital city the official premiere was preceded by three avant premieres. Moromete Family: On the Edge of Time, which was produced by Libra Film and distributed by Transilvania Film, is ranked 34th in the general box office, an impressive result for a Romanian film.

Another successful Romanian film in 2018 was the documentary Untamed Romania / România neîmblânzită by Tom Barton-Humphreys, which was produced by the British/Dutch company Off the Fence, but was funded by Auchan Retail Romania and the environmental NGO The European Nature Trust. Untamed Romania, distributed by Transilvania Film, has 81,426 admissions and 251,608 EUR /1,157,400 RON gross, and it is followed by the comedy Pup-o, mă! by Camelia Popa with 23,252 admissions and 377,518 RON gross (according to Cinemagia.ro). Pup-o, mă! is an independent production distributed by Videomix.

The general box office 2018 is topped by Aquaman with 2,418,775 EUR / 11.309.881 RON gross, followed by Venom with 2,144,941 EUR / 10,029,468 RON gross and Avengers: Infinity War with 2,135,193 EUR / 9,983,888 RON gross. An admissions chart cannot be drawn up, because the distributor Forum Film Romania stopped reporting admissions to Cinemagia, which is the only private initiative in film statistics in Romania.

General admissions were 13,348,167 and the general box office was 55,953,522 EUR / 262,981,558 RON in 2018, according to the Romanian Film Centre. Also according to the CNC, domestic films had 389,172 admissions and 1.42 m EUR / 6,712,375 RON gross in 2018.

In 2017 general admissions were 13.8 m and box office was 57.6 m EUR, according to the CNC.Untamed Romania by Tom Barton Humphreys, credit: Transilvania Film

GRANTS AND NEW LEGISLATION

The Romanian Film Center (CNC) distributed approximately 4.3 m EUR / 20 m RON at its only session in May 2018.
Also in 2018 the CNC gave out 2.8 m EUR / 13 m RON as automatic support grants. In all, the annual state support for film industry in 2018 was 7.1 m EUR
 

Among the projects receiving production support on 11 May 2018 are new films by Radu Jude and Bogdan Mirică. CNC also allotted funding for several minority coproductions, including new projects by Tomasz Wasilewski, Ivan Ostrochovski and Stefan Orlandic Stojanovski.

For the first time the CNC supported the production of four thematic feature films on the occasion of the centennial of the modern state. Another 20 short films, 15 documentaries and seven animated films received production funds.

On 19 October 2018, at its first session for 2018 the Romanian Film Centre allotted 4,283,656 EUR / 20 m RON for production and development funding. The biggest grant went to the minority coproduction Quo vadis, Aida! by Jasmila Žbanić, coproduced by Romania’s Digital Cube. Seven of the ten feature film projects receiving production grants are international coproductions. Among other minority coproductions that received funding are Son by Ines Tanović, coproduced by Romania’s Luna Film, and Tomorrow Will Be another Day by Pedro Pinho, coproduced by deFilm production.

Radu Jude received production funding for his new feature film The Sleepwalkers / Somnambulii, as well as for the documentary Arrival of a Train at the Station / Intrarea trenului în gară, both international coproductions produced by Micro Film.

The funding was announced for the production of feature films, long and short documentaries, short fiction films, animated films and thematic films, and also for the development of feature films, documentaries and animated films.

In 2018 the Romanian Film Centre prepared a new film law draft aimed at boosting support and visibility for the film industry. The draft will introduce the possibility for a film to be funded up to 80% of its budget due to a new category that would enable every Romanian film to be considered a difficult film. The new draft also provides a separate category for minority coproductions and a regional fund for co-distribution and a category of micro-budget films (films with budgets of up to 80,000 EUR), which could be financed by the CNC up to 100%. The draft is expected to move forward during the first semester of 2019.

Romania’s cash rebate scheme approved in June 2018 was launched by the National Commission for Prognosis on 8 October 2018. The state aid scheme offers a 35% cash rebate on qualified expenditure for international productions shooting in Romania. Additionally, productions explicitly promoting Romania, with a minimum local spend of 20% of the total budget of the production, can also apply for a rebate of 10%.

One Step Behind the Seraphim by Daniel SanduThere is a total cap of 50 m EUR per year to fund the scheme. The minimum required amount of qualified expenses is 100,000 EUR. The scheme is open to feature films, medium and short fiction films, TV series, direct-to-video, internet and any other support films, documentaries and animated films. The rebate cannot exceed 10 m EUR per project (or per season, for a TV series).

The scheme works on a first come first served basis and will require international productions to have production services or a coproduction contract with a Romanian production company.

The scheme is set to run until the end of 2020. The rebate scheme's budget was 50 m EUR until the end of 2018, despite the fact that the scheme covered the last three months of the year.

A total of 41 projects applied for rebates until the end of 2018, of which seven were approved, two were rejected and the rest were still under analysis at the beginning of January 2019.

The approved projects include international and Romanian projects such as David Berman’s War by Philip Noyce and a Florence Nightingale biopic presumably starring Keira Knightley. According to the Romanian media, Scottish actor Gerard Butler and American actor Liev Schreiber are in talks for David Berman’s War aka The Devil’s Brigade, which together with Florence are serviced in Romania by Frame Film.

Another international project approved for the rebate is Dragonheart 5, serviced by Castel Film Studios. The film is a sequel to Universal’s Dragonheart 4, which was also shot in Romania.

After the death of Lucian Pintilie, the newly established Fundația9 launched the Lucian Pintilie Film Fund aiming at honouring the memory of the great Romanian director as well as encouraging art house cinema made by new directors. The first filmmakers to benefit from the Fund were Cristi Iftime, Anghel Damian and Bogdan Mureșanu, who received 20,000 EUR each for their upcoming short projects. Fundația9 is an initiative supported by BRD Groupe Société Générale and one of the members of its Directorial Council is Corina Șuteu, Minister of Culture from May 2016 to January 2017.

In November 2018 mathematician Valer-Daniel Breaz was named the new Minister of Culture in Romania, as the Social Democratic Party (PSD) changed several ministers from the Government. Valer-Daniel Breaz replaced George Ivașcu, who had been named minister of Lemonade by Ioana UricaruCulture in January 2018.

TV

Romanian public television runs several channels: TVR 1, TVR 2, TVR 3, TVR HD, TVR News, TVR and TVR Moldova, and five territorial studios.

The most popular private channels in Romania are: Pro TV (member of Media Pro trust, run by CME, Central European Media Enterprises), Antena 1 and Antena 3 (both members of Antena Group), B1 TV (owned by businessman, film producer and director Bobby Păunescu), Realitatea TV and Kanal D (run by the Turkish trust Dogan).

Doina Gradea was elected by the Romanian Parliament as general manager of the Romanian public broadcaster (SRTV) on 28 March 2018. She was appointed acting general manager in September 2017 after the rejection of the activity report on 2016 and thus the dissolution of the Council of Administration led by the former general manager Irina Radu.

Anii de sâmbătă seara, a TV series created by the popular director Nae Caranfil and directed by Dragoș Buliga, premiered on Pro TV on 29 December 2018. The flagship TV series of Pro TV, Las Fierbinți, entered its 13th season in 2018.

Hackerville by Igor Cobileanski and Anca Miruna LăzărescuIn 2018 HBO Europe and Germany’s TNT Series shot in Timișoara, Bucharest and Frankfurt the six-episode series Hackerville, directed by Igor Cobileanski and Anca Miruna Lăzărescu. The series was created by Ralph Martin and Joerg Winger for UFA Fiction, and it was produced by Cristian Mungiu and Tudor Reu through Mobra Films. The series premiered on HBO Romania in the autumn of 2018.

The third season of the successful TV series Shadows / Umbre was also shot in Romania in 2018. The six-episode HBO series was written and directed by Bogdan Mirică. The Romanian servicing company is Multi Media Est. Shadows is based on Small Time Gangster, a format created by Boilermaker Burberry, DRG Formats licensed.

Comrade Detective, a coproduction between Amazon Studios and A24, which was shot in Romania at Castel Film Studios starring Romanian actors Florin Piersic Jr. and Corneliu Ulici (dubbed by Channing Tatum and Joseph Gordon-Levitt), premiered on HBO and on HBO GO on 7 January 2018.

CONTACTS:

ROMANIAN FILM CENTRE
4-6, Dem. I. Dobrescu street, sector 1, Bucharest
Phone: +40 213 104 301
Fax: + 40 213 104 300
www.cnc.gov.ro
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THE MINISTRY OF CULTURE AND NATIONAL IDENTITY
22, Bulevardul Unirii, sector 3, Bucharest
Press office: +40 212 243 947
www.cultura.ro 
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FILMMAKERS’S UNION (UCIN)
28-30 Mendeleev, sector 1, Bucharest
Phone: +40 213 168 0 83, +40 213 168 0 84
Fax: + 40 213 111 246
www.ucin.ro 
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ROMANIAN FILM PROMOTION
52 Popa Soare street, sector 2, Bucharest
Phone: + 40 213 266 480
Fax: + 40 213 260 268
www.romfilmpromotion.ro 
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ROMANIAN CULTURAL INSTITUTE
38 Aleea Alexandru
Sector 1, 011824
Bucharest, Romania
Phone: (+4) 031 71 00 627, (+4) 031 71 00 606
Fax: (+4) 031 71 00 607
www.icr.ro 
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MEDIADESK ROMANIA
57 Barbu Delavrancea street, et. 1, sector 1, Bucharest
Phone / Fax: +40 213 166 060, +40 213 166 061
www.media-romania.eu 
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Report by Iulia Blaga (2019)
Sources: the Romanian Film Centre - CNC, cinemagia.ro


MARKET ANALYSIS 2017

Ana, mon amour by Călin Peter NetzerIn May 2017 the Chamber of Deputies rejected the Film Law which was approved by the Romanian government as an emergency ordinance on 29 November 2016 and was aiming at bringing the Romanian film law in line with European legislation. 

The Romanian Film Centre (CNC) launched only one grant contest in 2017, although the law requires two sessions per year.

The country saw a dramatic decrease in domestic admissions (from 484,739 in 2016 to an estimated 250,000 in 2017), but the number of domestic debut features increased.

Total admissions increased by 11.25 percent and total box office increased by 14 percent from 2016, according to the estimations provided by the CNC.

The most important accolades for the Romanian cinema in 2017 were the Silver Bear for Outstanding Artistic Contribution for editing received by Călin Peter Netzer’s Ana, mon amour, and Best Actor award given to Bogdan Dumitrache for Pororoca by Constantin Popescu at the 2017 San Sebastian Film Festival.

Pororoca by Constantin Popescu, credit: Scharf Film & AdvertisingPRODUCTION

Most of the films produced in 2017 were supported by the Romanian Film Centre. Important filmmakers were in production with new projects in 2017. Radu Jude shot his new feature filmIs This What You Were Born For? with his regular producer Ada Solomon from Hi Film Productions in summer-fall 2017. The film is a Romanian/Czech/French/Bulgarian coproduction between by Hi Film Productions, endorfilm, Les Films d’Ici and Klas Film. Beta Cinema is handling the sales and Micro Film will release it in Romania in 2018.

Radu Muntean shot his new feature film Alice T. in August 2017. This psychological drama is a Romanian/Swedish/French coproduction between Multi Media Est, Chimney and  Les Films de L'Apres Midi.

Stere Gulea shot a sequel to Moromeții, 30 years after his first adaptation of the novel by Marin Preda in one of the most acclaimed Romanian movies of all times. Moromeții 2 is produced by Tudor Giurgiu through Libra Film Productions and will be domestically released by Transilvania Film on 9 November 2018.

In 2017 Tudor Giurgiu shot his fourth film as a director and his first film as a director abroad. Based on a Romanian bestseller, Above Man, the Woman Soars / Apropierea / Sin Aliento is a Romanian/Spanish/Czech coproduction between Libra Film, Clint Movies and Evolution Films.

Lemonade by Ioana UricaruIn 2017 Anca Damian started the production of the long animated filmThe Extraordinary Voyage of Marona / Extraordinara calatorie a Maronei, a coproduction between Romania’s  Aparte Film, France’s Sacrebleu and Belgium’s Mind Meets.

In spring 2017 Paul Negoescu shot his first international coproduction, Never Let It Go, produced by him through Papillon Film & N-Graphix in coproduction with Poli Angelova through Bulgaria's Screening Emotions. Negoescu’s previous film Two Lottery Tickets / Două lozuri, an independent comedy produced by Actoriedefilm.ro on a budget of approximately 30,000 EUR, became the domestic film with the best box office (540,000 EUR / 2,403,355 RON) in 2016.

Several expected debut features were shot in 2017. Ioana Uricaru’s Lemonade was shot in Montreal and Bucharest in June-August 2017. The film is a Romanian/Canadian/German/Swedish coproduction produced by Cristian Mungiu through Romania’s Mobra films in coproduction with Canada’s Peripheria, Germany’s 42 Film and Sweden’s Filmgate Films. It is the first Romanian film made with Canadian support since 1989.

Writers/directors Gabi Virginia Șarga and Cătălin Rotaru, who were selected with their very first short film 4:15 p.m. The End of the World for Cannes short film competition in 2016, filmed their debut feature in autumn of 2017. Thou Shalt Not Kill / Să nu ucizi aka Primum Non Nocere is a 100% Romanian production produced by Adina Sădeanu through Axis Media Production in coproduction with Gabi Virginia Șarga and Cătălin Rotaru through Green Cat Film.

Hadrian Marcu shot his debut feature Shadow and Dream (working title) in 2017. The film is a Romanian/Polish coproduction produced by Anamaria Antoci and Adrian Silișteanu through Romania's 4 Proof Film in coproduction with Klaudia Smieja and Beata Rzezniczek through Poland's Madants. The film was shot in the spring of 2017.

Shadow and Dream by Hadrian Marcu shooting, credit: Andrei DascalescuRomania continued to host international coproductions despite the fact that a tax incentive scheme is long awaited. In 2017 Cristian Mungiu got involved in a big international project with his company Mobra Films. Palm d'or winner Jacques Audiard shot The Sisters Brothers, starring Joaquin Phoenix, John C. Reilly and Jake Gyllenhaal, in Romania in August-September 2017. This western set in Oregon in 1851 is a French/American/Romanian coproduction between Why Not Productions, Annapurna Pictures and Mobra Films.

The Nun, directed by Corin Hardy, was the first New Line Cinema/Warner Bros. production to be shot at Castel Film Studios in 2017. The spin-off to the 2016 The Conjuring 2 was shot entirely in Romania from May to June 2017 as a medium budget production by New Line Cinema, Atomic Monster and The Safran Company.

Castel Film Studios also serviced for the Hallmark film Family Royal directed by and starring James Brolin in 2017.

The romantic drama See You Soon starring Liam McIntyre, Jenia Tanaeva and Harvey Keitel was shot in Romania in July 2017. Romania's Alien Film serviced it not only in Romania, but also in Greece and Russia.

Ana, mon amour by Călin Peter NetzerDISTRIBUTION

The day-and-date release is in its early stages in Romania. Romanian distributors usually release their international films on VOD four to six months after their theatrical release. Antoine Bagnaninchi, who runs Independenta Film  and distributes art house titles, says that VOD has become routine for most of his films.

Independenta Film joined the VOD platform Seenow in mid-April 2015. Seenow is operated by Direct One and is the first Romanian provider of live TV and VOD available on all screens.

However, Matei Truța, Distribution Manager with the Romanian company Transilvania Film (distributing art house films) told FNE in its Distributor of the Month section in April 2017, that “the specifics of the Romanian market are such that both VOD and Home Video are rather underdeveloped” .

In May 2016, Matei Truța also told FNE: “Presently VOD constitutes less than 5% of our annual revenues. This in the context of the Romanian VOD market, in general, being underdeveloped and struggling with piracy.”

Questioned as to where he saw VOD in Romania five years from now, Truța answered: “VOD will definitely have a strong voice in how the future of the Romanian film market is shaped, but I don’t know if the next five years will be enough to see it done. Ultimately, it will come down to correctly addressing a series of problems before the VOD market can grow: piracy and adapting the distributors' offer to the consumers' need.”

Pororoca by Constantin Popescu, credit: Scharf Film & AdvertisingCINEPUB, an online and free of charge platform for Romanian films, was launched on YouTube by GAV on 26 February 2015. Cinepub in partnership with Google Romania shows domestic feature films, short films and documentaries. Mubi was also launched in Romania in 2015 and has several Romanian films in its portfolio. Netflix was launched in Romania in 2016.

A new Romanian film distributor Bad Unicorn made its debut on the Romanian market by releasing Ildikó Enyedi's On Body and Soul on 30 June 2017. The film had 15,781 admissions until the end of 2017.

In 2017 more domestic films were released in Romania by major distributors such as Vertical Entertainment and Ro Image 2000.

Festival exposure continued to help Romanian films to be sold abroad. Călin Peter Netzer’s psychological drama Ana, mon amour was sold by Beta Cinema to 12 territories. This Romanian/German/French coproduction between Parada Film, augenschein Filmproduktion and Sophie Dulac Productions was sold to: Benelux, Poland, Portugal, Spain, Greece, Turkey, ex-Yugoslavia, China, Taiwan, Germany, France and Mexico. The film was released in Romania by Vertical Entertainment on 3 March 2017 and had 25,146 admissions until the end of the year.

Wide Management sold the psychological drama Pororoca by Constantin Popescu to China, Croatia, Slovenia, Bosnia-Herzegovina, Serbia, Montenegro, Macedonia, Kosovo, Albania, Argentina, Chile, Paraguay, Uruguay, Spain and France, following its premiere in the main competition of the San Sebastian FF. The film was produced by Romania’s Scharf Film & Advertising in coproduction with France’s Irreverence Films.

Soldiers. A Story from Ferentari, the debut feature of Serbian director Ivana Mladenovic, was acquired by the German sales agent Beta Cinema before its world premiere at the San Sebastian FF. The film was also selected for Toronto Festival’s Discovery section and is set for release in Romania by Micro Film on 2 February 2018. The film is a coproduction between Romania’s HiFilm Productions, Serbia’s Film House Bas Celik and Belgium’s FRAKAS Productions.

Fixer by Adrian SitaruAndrei Crețulescu's debut feature Charleston aka Charlton Heston was picked up by Paris-based sales agent Versatile. This Romanian/French coproduction between Icon Production and Les films du tambour and in association with Romania’s Kinosseur, was selected for the International Competition of Locarno 2017 and is set for domestic release in 2018.

Adrian Sitaru’s Fixer / Fixeur, which was chosen as Romania’s official candidate for the Academy of Motion Pictures Arts and Sciences nomination in the Best Foreign Language Film category in 2018, has been sold by MPM Film to Italy, Norway and Denmark. The film was produced by Romania’s 4Proof Film in coproduction with France’s Petit Film, and was already released in Romania and France in 2017.

 

EXHIBITION AND BOX OFFICE

Since 2008, RomâniaFilm, the former cinema network inherited from the communist era, has re-assigned more than 100 cinemas to local councils, but less than 10% are still screening films. Romania is currently the country with the fewest cinema theaters per population in Europe. Seventy eight percent of Romanian towns don’t have any cinemas in use.

The first state cinema opened in Romania after 1990, Cinema Ateneu, was opened in Iași in October 2017. Local authorities invested approximately 100,000 EUR in its renovation and 3D equipment.

Octav by Serge Ioan CelebidachiThe plan to build an art house cinema network in Romania was the core of a meeting of local exhibitors, distributors and filmmakers, and also representatives of Europa Cinemas and the European Commission. The meeting was held during the 20th Europa Cinemas Network Conference in Bucharest (24-26 November 2017). The idea of a network including local art house cinemas was part of the Film Law elaborated by the Romanian Ministry of Culture under the minister Corina Șuteu and rejected by the Parliament in May 2017. Nico Simon, the President of Europa Cinemas, and Lucia Recalde, head of the MEDIA unit, said that their institutions might start helping the network when it is in place.

Cinema Elvire Popesco from Bucharest was among the winners of the Europa Cinemas Awards 2017 announced at the 20th Europa Cinemas Network Conference in Bucharest on 24 November 2017. Boglarka Nagy, the programmer of Cinema Elvire Popesco, Bucharest, Romania received  the Best Programming Award.

Cinema City opened its 25th multiplex in Romania in Galați at the end of November 2017. The biggest cinema operator in the country, which celebrated its 10th year in Romania in 2017, opened its fourth Romanian 4DX cinema in Brăila Mall in August 2017. New multiplexes helped increase admissions, which were as low as almost 3 m in 2007, to more than 13 m in 2016. Now Cinema City dominates more than half of the market with 25 multiplexes in 18 towns, totalling 231 screens and over 41,400 seats.

The first 12 D cinema in Romania opened in the Museum of National Science in Galați on 19 July 2017. The nine-seat hall was equipped with the support of a private investor.

Ninety two cinemas were operating in Romania in 2016. Of the 393 screens, 371 were digitalised, according to the Romanian Film Centre. No statistics or estimations for 2017 were available until the wrap of this report.

A total of 19 domestic films (including one minority coproduction) were released in 2017 and had 250,000 admissions (according to the CNC’s estimations), while 20 domestic films sold 484,739 tickets in 2016.

6.9 on the Richter Scale by Nae CaranfilThe 2017 crop of films has not produced a popular youth film such as #Selfie 69 by Cristina Iacob (with 150,384 admissions in 2016), a comedy like Two Lottery Tickets by Paul Negoescu (133,788 admissions in 2016) or a festival darling such as Cristian Mungiu’s Graduation (55,533 admissions in 2016).

The most successful domestic films in 2017 were the nostalgic melodrama Octav, the debut feature by Serge Ioan Celebidachi with 57,068 admissions and 185,138 EUR / 858,237 RON gross (distributor Oblique Media), Ghinionistul by Iura Luncasu  with 50,727 admissions and 208,077 EUR / 964,570 RON gross (distributor Vertical Entertainment), 6.9 on the Richter Scale / 6,9 pe scara Richter by Nae Caranfil with 32,996 admissions and 100,157 EUR / 464,296 RON gross (distributor Voodoo Films), A Step Behind the Seraphim / Un pas in urma serafimilor, the debut feature by Daniel Sandu, with 31,550 admissions and 81,587 EUR / 378,209 RON gross (distributor Micro Film) and Hawaii aka Uruguay by Jesus Del Cerro with 25,946 admissions and 108,549 EUR / 503,198 RON gross (distributor Ro Image 2000).

The 19 films released in 2017 include six debut features and three long documentaries, while another four debut features are ready to be released in 2018. Only three debut features and two documentaries were theatrically released in 2016.

The admissions chart 2017 is topped by Fast & Furious with 683,826 admissions and 13,315,379 RON gross. The film is followed in the box office by Pirates of the Caribbean: Dead Men Tell No Tales, Thor: Ragnarok, Fifty Shades Darker and Star Wars: The Last Jedi. An admissions chart cannot be drawn up because distributor Forum Film Romania stopped reporting admissions to Cinemagia, which is the only private initiative in film statistics in Romania. As a result, total admissions cannot be estimated until the Romanian Film Centre releases its 2017 statistics in the spring of 2018.

Total admissions increased by 11.25 percent from 13,033,687 in 2016 to an estimated 14,500,000 in 2017, according to the Romanian Film Centre (CNC). Box office increased by 14 percent from 53,684,981EUR / 241,582,416 RON in 2016 to an estimated 61,222,222 EUR / 275,500,000 RON. CNC also estimates that admissions for domestic films were 250,000 in 2017.

One Step Behind the Seraphim by Daniel SanduGRANTS AND NEW LEGISLATION

There was one grant session launched by the Romanian Film Center (CNC) in 2017. In November 2017 the CNC announced it would give 10,750,000 EUR / 50 m RON for feature film production (5,267,500 EUR / 24.5 m RON), debut feature production (1,612,500 EUR / 7.5 m RON), documentary production (1,075,000 EUR / 5 m RON), animated film production (1,075,000 EUR / 5 m RON), short fiction film production (537,500 EUR / 2.5 m RON) and development (107,500 EUR / 0.5 m RON). The results will be announced in 2018.

In the same session, CNC launched for the first time production grants for short and long thematical films. The theme of this session was the celebration of 100 years since the Great Union of 1918, which led to the modern state. The amount for this section was 1,075,000 EUR / 5 m RON.

According to the law, there should be two grants sessions per year, but in 2017 things went slowly due to a new Minister of Culture, Lucian Romaşcanu, who was expected to issue a paper regarding the grant contest regulations, with the Parliament's approval of the Emergency Ordinance regarding the thematical film grants.

In January 2017 the Ministry of Culture changed its name to the Ministry of Culture and National Identity, as one of its main goals in 2017 was to prepare the centennial of the union of 1918.

Lemonade by Ioana UricaruIn May 2017 the Chamber of Deputies rejected the Film Law approved by the Romanian government as an emergency ordinance on 29 November 2016. The new law proposed by the Ministry of Culture, was aimed at bringing the Romanian film law in line with the European legislation and was approved by the Government in December 2016, shortly before the parliamentary elections won by the Social-Democratic Party.

Lucian Romaşcanu was named the new Minister of Culture, announced by the Romanian Prime Minister Mihai Tudose on 28 June 2017, following Ionuţ Vulpescu, who had been re-appointed Minister of Culture in January 2017, after the Social Democratic Party (PSD) won the parliamentary elections in November 2016.

Romania doesn’t have a tax incentives scheme yet. The former Minister of Culture Corina Șuteu announced her intention to launch such a scheme in Cannes in 2016, but Șuteu’s intentions aiming at a multi-levelled reform in the film industry were blocked when the PSD won the elections in November 2016 and rejected the new Film Law in spring 2017. A petition pointing out to the need of having a tax incentives scheme in Romania has been signed by more than 3,500 professionals since 28 November 2017.

TV

The Government eliminated the radio-TV tax starting 1 January 2017 and started to allot similar funding to the Romanian public broadcaster and the public service.

In September 2017 Doina Gradea was confirmed by the Romanian Parliament as acting general manager of the Romanian public broadcaster (SRTV) after the rejection of the activity report on 2016 and thus the dissolution of the Council of Administration led by the former general manager Irina Radu.

Shadows series, photo: Adi Marineci for HBOIrina Radu, who had been acting general manager since September 2015, said that 2016 was a though year, when the institution was confronted with approximately 150 m EUR in debt. Romanian public television runs several channels: TVR 1, TVR 2, TVR 3, TVR HD, TVR News, TVR i, TVR Moldova and five territorial studios.

The most popular private channels in Romania are: Pro TV (member of Media Pro trust, which is run by CME, Central European Media Enterprises), Antena 1 and Antena 3 (both members of Antena Group), B1 TV (owned by businessman, film producer and director Bobby Păunescu), Realitatea TV and Kanal D (run by the Turkish trust Dogan).

Cinemaraton, the first channel to broadcast only domestic films in Romania, started airing on 30 March 2017. The channel is distributed free of charge to the subscribers of AKTA. AKTA is the brand under which the telecom company Digital Cable Systems SA provides TV channels, internet and telephony to more than 3,000 localities in 35 counties.

In 2017 Pro TV continued to produce and broadcast its popular sitcom Las Fierbinți. Launched in 2012, the series created by Mimi Brănescu and directed by Dragoș Buliga and Constantin Popescu, reached seasons 11 and 12. Both seasons were broadcast in 2017.

Also in 2017 Antena 1 started the production of the series The Forbidden Fruit / Fructul oprit, produced and directed by Ruxandra Ion. Shooting started in November 2017 and it is set to take place in Romania and also in Turkey, since the series is based on a Turkish novel.

The second season of the most popular series produced by HBO Europe in Romania, Shadows / Umbre written and directed by Bogdan Mirică, opened simultaneously on 12 November 2017 in all 19 European countries where HBO operates: Romania, Poland, Bulgaria, Hungary, Croatia, the Czech Republic, Montenegro, Macedonia, Serbia, Slovenia, Slovakia, Bosnia and Herzegovina, Moldova, Kosovo, Denmark, Sweden, Norway, Finland and Spain. Of the six episodes two are directed by Igor Cobileanski.

CASTiNG series, photo: Bogdan NituHBO Romania reconsidered its dubbing policy after more than 5,000 subscribers signed a petition asking the channel to stop dubbing films in August 2017. The reaction came after HBO Romania broadcast a dubbed version of Rogue One: A Star Wars Story. HBO Romania’s representatives told FNE that that the channel will respect the wishes of its subscribers and will make sure that from now on Rogue One: A Star Wars Story has its original audio and Romanian subtitles. HBO Romania might also stop dubbing other titles.

CASTiNG, one of the few Romanian online original series to date, started broadcasting on YouTube on 14 December 2017. Its first episode has had 22,000 views to date. CASTiNG’s premiere came shortly after the launch on YouTube of another domestic series, Lara directed by Ciprian Iacob and produced by Mixton Movie, which has had 2.1 m viewers for its first episode from September 2017 to date.

Unlike Lara, a children and youth series played by non-professional actors, CASTiNG is a professional enterprise made with a budget of 30,000 EUR and a crew of 40 people. The production company Diud is already planning the second season and more online shows. The eight episodes are directed by young directors Millo Simulov, Andrei Gheorghe, Florin Babei, Iliana Dumitrache, Roxana Andrei and Andrei Ion.

CONTACTS:

ROMANIAN FILM CENTRE
4-6, Dem. I. Dobrescu street, sector 1, Bucharest
Phone: +40 213 104 301
Fax: + 40 213 104 300
www.cnc.gov.ro
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THE MINISTRY OF CULTURE AND NATIONAL IDENTITY
22, Bulevardul Unirii, sector 3, Bucharest
Press office: +40 212 243 947
www.cultura.ro 
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Charleston aka Charlton Heston by Andrei Crețulescu, credit: Adi MarineciFILMMAKERS’S UNION (UCIN)
28-30 Mendeleev, sector 1, Bucharest
Phone: +40 213 168 0 83, +40 213 168 0 84
Fax: + 40 213 111 246
www.ucin.ro 
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ROMANIAN FILM PROMOTION
52 Popa Soare street, sector 2, Bucharest
Phone: + 40 213 266 480
Fax: + 40 213 260 268
www.romfilmpromotion.ro 
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ROMANIAN CULTURAL INSTITUTE
38 Aleea Alexandru
Sector 1, 011824
Bucharest, Romania
Phone: (+4) 031 71 00 627, (+4) 031 71 00 606
Fax: (+4) 031 71 00 607
www.icr.ro 
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MEDIADESK ROMANIA
57 Barbu Delavrancea street, et. 1, sector 1, Bucharest
Phone / Fax: +40 213 166 060, +40 213 166 061
www.media-romania.eu 
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Report by Iulia Blaga
Sources: the Romanian Film Center - CNC, cinemagia.ro

 

Slovakia

The Rift by Peter Bebjak, source: TV JOJMARKET ANALYSIS 2019

BRATISLAVA: The year 2019 was more successful for Slovak cinema compared to 2018 in terms of admissions and also a large number of domestic titles released in cinemas.

A total of 30 projects registered for the 20% cash rebate at the Slovak Audiovisual Fund in 2019, compared to 30 in 2018 and 12 in 2017.

In September 2019, new amendments to the Audiovisual Law were approved and the rebate increases from 20% to 33% starting 1 January 2020.

PRODUCTIONCensor by Peter Kerekes

A total of 26 feature films (including 14 minority coproductions), 16 documentaries (including six minority coproductions) and two animated features were completed in 2019.

Multiple high-profile projects were in production in 2019, and some of them are expected to premiere in 2020.

Martin Šulík finished shooting his new feature film Man with Hare Ears / Muž so zajačími ušami in June 2019. The film produced by Šulík´s company TITANIC s.r.o. and Rudolf Bierman´s IN Film Praha in coproduction with RTVS and the Czech Television is to be released in 2020.

The award winning director Peter Bebjak started shooting his WWII drama The Report / Správa at the beginning of 2019. The film is a coproduction between Slovakia, the Czech Republic, Poland and Germany, produced by Bebjak’s company D.N.A. in coproduction with Agresywna Banda, Evolution Films, Ostlicht Filmproduktion, RTVS, the Czech Television and TVP.

Aclaimed documentary director Peter Kerekes finished the production of his first feature film Censor / Cenzorka, produced by Punkchart films in coproduction with the Czech company endorfilm, Arthouse Traffic from the Ukraine, RTVS and Slovakia´s E-S Production.

Mátyás Prikler started shooting his new feature film Power / Moc at the end of 2019. The film is produced by MPhilms and coproduced by Proton Cinema from Hungary, Czech company Negativ and RTVS .

Mariana Čengel Solčanská and Rudolf Biermann directed and produced the thriller Scumbag / Sviňa as a coproduction between Slovak CinemArt SK, Magic Seven Slovakia and Czech IN Film Praha. The film was released in February 2020.

Zdeněk Jiráský shot his drama Kryštof, produced by Slovakia‘s ALEF FILM & MEDIA and the Czech company Fulfilm, in the first half of 2019. The project is coproduced by the Czech Television, Slovakia’s RTVSUN FILM and FULLHOUSE Production Group, as well as Barrandov Studios. The premiere is set for the autumn of 2020.

Kryštof by Zdeněk JiráskýTwo big animated projects were in production in 2019, White Plastic Sky / Umelohmotné nebo, a scifi drama directed by Tibor Bánóczki and Sarolta Szabó, and produced by Slovakia‘s Artichoke and Hungary’s Salto Film, as well as the big budget animated debut by Peter Budinský, Heart of a Tower / Srdce veže produced by BFILM and coproduced by Slovak company Plutoon, Belgian Stacka, Czech BFILM.cz and Slovak RTVS .

A total of 30 projects registered for the 20% cash rebate at the Slovak Audiovisual Fund in 2019, compared to 30 in 2018 and 12 in 2017.

Among the projects that registered for incentives in 2019 are the Slovak majority coproductions: Servants / Služobníci aka Disciple directed by Ivan Ostrochovský and produced by Punkchart films in coproduction with the Slovak RTVS, Romania’s Point Film, Negativ from the Czech Republic, Ireland’s Film & Music Entertainment, Slovak LEV Design and sentimentalfilm; The Nightsiren / Svetlonoc directed by Tereza Nvotová and produced by BFILM in coproduction with Czech moloko film; Power / Moc directed by Mátyás Prikler, produced by MPhilms and coproduced by Hungarian Proton Cinema, Czech Negativ and RTVS; Piargy / Fašiangy directed by Ivo Trajkov, produced by ARINA and coproduced by Czech i/o post, Macedonian Story Scope Production and
RTVS; Little Kingdom / Malá ríša directed by Peter Magát, produced by FilmFrame, coproduced by RTVS, Iceland´s Loki Films production and Czech UP&UP; Chambermaid / Slúžka directed by Mariana Čengel Solčanská, produced by Bright Sight Pictures and coproduced by RTVS and CINEART TV Prague.

The historical drama Il Boemo directed by Petr Václav and coproduced by Czech Mimesis film, Slovakia´s sentimentalfilm, France´s Les Films D´ici and Italy´s Dugong, also applied for cash rebates.

White Plastic Sky by Tibor Bánóczki and Sarolta SzabóDISTRIBUTION

A total of 43 domestic films (27 feature films, 14 documentaries and two animated films) were released in Slovakia in 2019, of which 13 were 100% Slovak productions, 11 majority coproductions and 19 minority coproductions.

Continental Film, a big distributor of mostly Hollywood productions, was the leader in distributing domestic titles in 2019 with three 100% Slovak productions: The Rift / Trhlina directed by Peter Bebjak, produced by D.N.A. Production in coproduction with TV JOJ; Casino.$k directed by Ján Sabol and produced by Art4fun in coproduction with Home Media Production and Rebuy stars; and The New Year´s Kiss / Šťastný nový rok directed by Jakub Kroner and produced by INOUT Studio.

Continental Film also released the Slovak majority coproductions: By a Sharp Knife / Ostrým nožom directed by Teodor Kuhn, produced by nutprodukcia in coproduction with RTVS and Czech nutprodukce; Amnesty / Amnestie directed by Jonáš Karásek, produced by Hečko’s AZYL Production and coproduced by Slovak HomeMedia Production, RTVS and Czech endorfilm; and The Good Death / Dobrá smrť directed by Tomáš Krupa, produced by Hailstone, in coproduction with Czech MasterFilm, Austrian Golden Girls Film, RTVS, French ARTE G.E.I.E. and the Czech Television. In 2019 Continental Film also released five minority coproductions.

The Association of Slovak Film Clubs (ASFK) released the following 100% Slovak productions: Calling / Volanie directed by Erik Praus and produced by Filmpark production in coproduction with RTVS and Filmworx Studios; Svetozár Stračina directed by Pavol Barabáš and produced by K2 studio in coproduction with RTVS and the Slovak Film Institute; The Lonely Runners: Moving On! / Osamelí bežci: Ideme ďalej! directed by Martin Repka and produced by Punkchart films in coproduction with RTVS and the Slovak Film Institute.

Let There Be Light by Marko Skop, credit: www.aic.skASFK also released majority coproductions: Punk Never Ends / Punk je hned! directed by Juraj Šlauka and produced by Punkchart films in coproduction with i/o post, FTF VŠMU, Filmpark production, Admiral Films and kaleidoscope; and Let There Be Light / Nech je svetlo directed by Marko Škop and produced by Artileria in coproduction with Negativ , RTVS and the Czech Television. ASFK also released two Slovak minority coproductions.

Small but progressive-thinking distributor Filmtopia released five Slovak films, including three minority coproductions, as well as the 100% Slovak production Lost Home / Stratený domov directed by Juraj Mravec Jr. and produced by All4films in coproduction with Punkchart films and RTVS, and the Slovak majority production Silent Days / Hluché dni directed by Pavol Pekarčík and produced by partizanfilm in coproduction with RTVS, kaleidoscope and Czech školfilm.

Other distribution companies that also released domestic titles in 2019 are Magic Box Slovakia, Forum Film, Virus film, CinemArt SK, Garfield film, Cinetype, Bontonfilm, Itafilm, Filmpark production and MEDIA FILM.

Some of the Slovak films that premiered internationally are scheduled to be released in domestic distribution in the early months of 2020. The list includes FREM directed by Viera Čákanyová and produced by Hypermarket Film in coproduction with Punkchart films and the Czech Television; Paradise on Earth / Raj na zemi directed by Jaro Vojtek and produced by MPhilms and coproduced by RTVS; Cook, F**k, Kill / Žaby bez jazyka directed by Mira Fornay and produced by CINEART TV Prague in coproduction with RTVS, the Czech Television, Synergia film and MIRAFOX; Pardon / Ułaskawienie by Polish director Jan Jakub Kolski, a coproduction between Poland’s Wytwórnia Doświadczalna, Centrala, Czech Mimesis Film, Slovak sentimentalfilm and Polish Telewizja PolskaOdra Film, Podkarpacki Fundusz Regionalny, EC1 Łódź – Miasto Kultury, Centrum Technologii Audiowizualnych (Wrocław), Wojewódzki Dom Kultury (Rzeszów); as well as Old-Timers / Staříci directed by Martin Dušek and Ondřej Provazník, and produced by endorfilm in coproduction with sentimentalfilm and the Czech Television.

Heart of a Tower by Peter BudinskyEXHIBITION AND BOX OFFICE

By the end of 2019, Slovakia had 170 cinemas with 271 screens, of which 197 screens were already digitalised. They include four multiplexes, 21 miniplexes, 26 open air cinemas (six of them digitalised), 1 travelling theatre, 1 drive-in and 17 alternative spaces with 18 screens.

Compared to 2018, the number of cinemas increased from 153 to 170 and the number of digitalised screens increased from 196 to 197. Slovakia also has one IMAX cinema, which was opened in 2015.

Several small art house cinemas operate in Bratislava. Kino Lumière has been operated by the Slovak Film Institute on the site of the former Charlie’s Centrum since September 2011. MladosťNostalgia and Film Europe Cinema also add to the diversity of Bratislava's art house landscape, together with Kino Klap, located in the Academy of Performing ArtsFoajé and Kino inak, a screening room hosted by the alternative cultural centre A4 – Space for Contemporary Culture.

In 2019 the Slovak Audiovisual Fund supported 25 cinemas with a total amount of 157,150 EUR through a programme focused on support of 1 EUR for each admission to a Slovak film, including minority coproductions (0.50 EUR for a film of more than 100,000 total admissions). The programme was launched in 2016. Every cinema has the right to apply.

The New Years Kiss by Jakub KronerTotal admissions were 6,529,320 in 2019, an increase of 9.46%. Total gross increased by 12.76% compared to 2018, according to official statistics.

In 2019, admissions to Slovak films were 1,075,129.

GRANTS AND NEW LEGISLATION

The Slovak Audiovisual Fund has been the main tool of public support for cinema in the Slovak Republic since 2010. The budget of the AVF is subsidised with at least 6 m EUR annually from the country’s budget and by the contributions of other subjects, like TV channels, cinemas and distributors.

In 2019, the Slovak Audiovisual Fund registered 534 applications for audiovisual culture support, of which 345 (64.6%) were supported with a total amount of 10.7 m EUR.

Little Kingdom by Peter MagátSlovakia’s 20% incentive scheme established in 2015 eased its requirements starting August 2017. In 2019 the Fund supported 12 projects with a total amount of 970,457 EUR. The minimum sum of expenses is at least 300,000 EUR for feature TV series and 150,000 EUR for feature films, documentaries, animated series.

The cash rebate support of audiovisual industry has a separate budget according to presumable expenses of registered projects (there is no maximum limit of the budget for audiovisual industry support). The budget estimate for this support for 2020 is 7.5 m EUR.

In 2019 the Fund registered 30 projects with an estimated production spending of 27.5 m EUR during 2019, 2020 and 2021.

In September 2019, new amendments to the Audiovisual Law were approved, so film incentives in Slovakia increased from 20% to 33% starting 1 January 2020.

In accord with the Slovak Audiovisual Fund (AVF) Act’s amendment of 2017, the Slovak Film Commission was established as a unit of the AVF. The Commission’s aim is to promote the Slovak film industry, to mediate creative business opportunities for Slovak audiovisual professionals and to present related services and individual regions of Slovakia. On 1 June 2018, Zuzana Bieliková was appointed manager of the SFC.

In structures of audiovisual film support for 2020, the maximum amount of support for one project, comparing to 2019, increased for projects in development from 30,000 EUR to 50,000 EUR, and decreased for festival support from 300,000 down to 250,000 EUR. For minority productions the support decreased from 300,000 EUR to 200,000 EUR.

The primary sources of information on films are the Slovak Film Institute through its specialised office – the Audiovisual Information Centre.

Amnesty by Jonáš KarásekTV

Slovakia is unique in the CEE as the home of the only channel devoted exclusively to European films. Film Europe Channel was developed by Film Europe Media Company, which operates two more channels: Československo HD, dedicated to Czech and Slovak cinema, and Be2Can HD, which was called Festival HD till November 2018, for films from A-list festivals.

The channel operates in Slovakia along with the public broadcaster RTVS and commercial broadcasters Slovenská produkčná (with channels: TV JOJPLUSWAUJOJ CinemaJojko, JOJ Family), Markiza Slovakia (with channels: TV Markíza, TV Doma, Dajto), the news channel TA3 (by C.E.N.), children channel ducktv (by Mega Max Media) and religious channel TV Lux.

The public broadcaster RTVS opened its third channel 3 in December 2019.

The epic historical TV series Slavs / Slovania, a big Slovak/Ukrainian TV project directed by Peter Bebjak, Michal Blaško, Serhii Sanin and Oleg Stakhursky, finished production in October 2019. This coproduction between Wanda Hrycová´s Wandal Production and Andrey Yermak´s European Partnership Media Group is expected to start broadcasting in September 2020.

CONTACTS:

SLOVAK AUDIOVISUAL FUND
Director: Martin Šmatlák
Grösslingová 53
SK-811 09, Bratislava
Phone: +421 5923 4545
Fax: +421 5923 4461
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www.avf.sk

The Good Death by Tomáš KrupaSLOVAK FILM COMISSION
Manager: Zuzana Bieliková
Grösslingová 53
SK-811 09, Bratislava
Phone: +421 905 360 033
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SLOVAK FILM INSTITUTE
General Director: Peter Dubecký
Phone: +421 2 5710 1503
Fax: +421 2 5296 3461
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www.sfu.sk

Audiovisual Information Center
Miroslav Ulman
Lea Pagáčová
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www.aic.sk

NATIONAL CINEMATOGRAPHIC CENTRE
Director: Rastislav Steranka
Phone: +421 2 5710 1526
Scumbag by Mariana Čengel Solčanská and Rudolf BiermannPhone/fax: +421 2 5273 3214
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RADIO AND TELEVISION OF SLOVAKIA
Mlynská dolina
845 45 Bratislava
Phone: +421 2 6061 1103
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www.rtvs.sk

Report by Zuzana Točíková Vojteková (2020)
Sources: the Slovak Film Institute, the Slovak Audiovisual Fund, the Union of Film Distributors of the Slovak Republic


MARKET ANALYSIS 2018

Let there Be Light by Marko Skop, credit: www.aic.skYear 2018 proved not to be as successful for the Slovak cinema as the extraordinary year of 2017, as it saw a decline in general box office as well as the box office for domestic films.

However, the expectations are high for 2019 as multiple high-profile productions are expected to be released.

Thirty projects registered for the 20% cash rebate at the Slovak Audiovisual Fund in 2018, compared to 12 in 2017 and 4 in 2016.

In 2018, the Slovak Film Commission headed by Zuzana Bieliková started to operate.

PRODUCTION

A total of 18 feature films (including 11 minority coproductions), 15 documentaries (including three minority coproductions) and two animated films were completed in 2018.

Multiple high-profile projects were in production in 2018, and some of them are expected to premiere in 2019.

FIPRESCI award-winner from the Toronto IFF, Marko Škop shot his new feature film Let There Be Light / Nech je svetlo in 2018. The film is a Slovak/Czech coproduction from Artileria and Negativ.

Power by Mátyás PriklerIvan Ostrochovský’s new feature film The Disciple / Posol was in postproduction at the beginning of 2019. The film is produced by Punkchart films in coproduction with the Slovak RTVS, Romania’s Point Film, Negativ from the Czech Republic and Ireland’s Fame & Music Entertainment.

Mira Fornay’s follow-up to her Tiger Award winner My Dog Killer / Môj pes Killer, entitled Cook, Fuck, Kill / Žaby bez jazyka is expected to be completed in 2019. The film is produced by CINEART TV Prague and coproduced by MIRAFOX, RTVS and the Czech Television.

The award winning director Peter Bebjak was shooting the WWII drama The Report / Správa, a coproduction between Slovakia, the Czech Republic and Poland, at the beginning of 2019. The film is produced by Bebjak’s company D.N.A. and coproduced by Evolution Films, RTVS, Agresywna Banda and German Ostlicht Produktion.

Mátyás Prikler was shooting his sophomore feature Power / Moc at the beginning of 2019. Slovakia‘s MPhilms is producing in coproduction with Negativ from the Czech Republic and Hungary's Proton Cinema.

The successful documentary director/producer Peter Kerekes was also shooting his first feature Censor / Cenzorka, produced by Punkchart films and coproduced by endorfilm, Peter Kerekes and Ukrainian Arthouse Traffic, at the beginning of 2019.

Robert Kirchhoff is expected to finish his Alexander Dubček doc All Men Become Brothers / Všetci ľudia budú bratia by the end of 2019. All Men Become Brothers is produced by Kirchhoff’s atelier.doc and coproduced by Czech endorfilm, RTVS and the Czech Television.

To coincide with the 100th anniversary of the death of Milan Rastislav Štefánik, a general and important politician of the early 20th century, RTVS is coproducing three films on Štefánik, including the big budget production General / Generál, directed by Jerôme Cornau, produced by JMB Film & TV Production and also coproduced by the Czech Television.

The other two projects coproduced by RTVS are the animated docudrama The Impossible Voyage / Cesta do nemožna by Noro Držiak produced by MEDIA FILM and KABOS Film & Media and coproduced by TOBOGANG and the Czech Television, and the adventure TV series Monument / Mohyla by Andrej Kolenčík produced by Cinetype.

Twenty-eight projects registered for the 20% cash rebate at the Slovak Audiovisual Fund in 2018, compared to 12 in 2017 and 4 in 2016.

All Men Become Brothers by Robert KirchhoffSlovakia’s 20% incentive scheme established in 2015 eased its requirements in August 2017. The minimum expenditure level was cut from 2 m EUR to 150,000 EUR for a single feature, documentary or animated film (minimum length of 70 minutes), and to 300,000 EUR for a project involving at least two such films or a television series (maximum 13 episodes of minimum 40 minutes in case of fiction and minimum of 50 minutes in case documentaries and animation).

Among the projects that registered for incentives in 2018 there are Slovak majority coproductions Muž so zajačími ušami directed by Martin Šulík and produced by Titanic production in coproduction with IN Film Praha,, Peter Bebjak’s projects The Report / Správa and the three-part mini-series-turned-feature The Rift / Trhlina, produced by D.N.A. Production and TV JOJ..

Flickering Ghosts of Love Gone by / Láska z celuloidu by French director André Bonzel and coproduced by Slovakia’s Artichoke, France’s Les artistes associaux, Les Films du Poisson, HBO Central Europe and the Slovak Film Institute, also applied for incentives in 2018.

Among the minority coproductions that applied for rebates in 2018 there are the long animated film Even Mice Belong in Heaven / Myši patří do nebe directed by Denisa Grimmová and Jan Bubeníček and coproduced by Czech Fresh Films, France’s Les Films du Cygne, Poland’s Animoon, Slovakia’s CinemArt SK and Belgium’s Panache Productions, and also Pardon / Ułaskawienie by Polish director Jan Jakub Kolski, a coproduction between Poland’s Wytwórnia Doświadczalna, Centrala, Czech Mimesis Film, Slovakia‘s sentimentalfilm and Poland‘s Telewizja Polska, Odra Film, Podkarpacki Fundusz Regionalny, EC1 Łódź – Miasto Kultury, Centrum Technologii Audiowizualnych (Wrocław), Wojewódzki Dom Kultury (Rzeszów).

DISTRIBUTION

A total of 32 long and mid-length Slovak films entered domestic distribution in 2018, plus two short animated films. Of the 32 films, 13 were feature films (including eight minority coproductions), 16 were documentaries (including three minority coproductions) and three were animated films.

The leader in the distribution of Slovak films is the Association of Slovak Film Clubs (ASFK), which released seven majority coproductions in 2018, all of them documentaries: Patrik Lančarič’s Válek produced by BEETLE and coproduced by Punkchart films, the Slovak Film Institute and RTVS; Marek Kuboš’s The Last Self-Portrait / Posledný autoportrét produced by his PSYCHÉ Film and coproduced by RTVS; Spirit of Jaguar / Tieň jaguára by Pavol Barabáš, produced by his K2 studio in coproduction with RTVS; ELSEWHERE / INDE by Juraj Nvota and Marian Urban, produced by ALEF FILM & MEDIA and coproduced by RTVS, Ateliéry Bonton Zlín, UN FILM, Filmpark production, Czech Fulfilm and the Slovak Film Institute; Adam Hanuljak’s Crazy Against the Nation / Prípad Kalmus produced by Mandala Pictures and coproduced by DogDocs and RTVS;  Dežo Ursiny 70 by Maroš Šlapeta and Matej Beneš, produced by Punkchart films and coproduced by RTVS, the minority coproduction Freedom / Freiheit by German director Jan Speckenbach, produced by German ONE TWO FILMS and coproduced by Slovak BFILM and German ZAK Film Production, and also a documentary series Female First / Prvá by various directors, produced by HITCHHIKER Cinema in coproduction with RTVS and the Slovak Film Institute. The series of 10 mid-length documentaries was considered as one title by the Union of Film Distributors of the Slovak Republic.

The Cellar by Igor VoloshinSmall and progressive-thinking Filmtopia released five Slovak films, including two majority coproductions - Peter Kerekes’ omnibus project Occupation 1968 / Okupácia 1968 produced by Peter Kerekes and coproduced by Czech Hypermarket Film, Bulgaria’s Agitprop, Poland’s Silver Frame and Hungary’s ELF Pictures, and An Extra Something / Niečo naviac by Palo Kadlečík and Martin Šenc, produced by KADMEDIA and OZ UP-Down syndrome.

Filmtopia also released three minority coproductions: a Rotterdam-entry The Flower Shop / La fleurière by Ruben Desiere, produced by Belgian Accatone Films and coproduced by Slovak Mandala Pictures, Belgian Beursschouwburg and Popiul and Slovak RTVS; My Unknown Soldier / Můj neznámý vojín by Anna Kryvenko, produced by Czech Analog Vision and coproduced by Latvian Baltic Pine Films and Slovak Wandal Production, and also Circus Rwanda / Cirkus Rwanda by Michal Varga, a coproduction between Czech Xova Film, the Czech Television, Slovak nutprodukcia and RTVS.

Other notable films in distribution were The Cellar / Pivnica directed by Russian Igor Voloshin, starring Jean-Marc Barr and distributed by Itafilm; Martin Šulík’s The Interpreter / Tlmočník, starring Peter Simonischek and Jiří Menzel and distributed by Garfield Film, and Jan Švankmajer’s last film Insects / Hmyz, distributed by Slovak coproducer PubRes.

Some of the Slovak films that premiered internationally are scheduled to be released in domestic distribution in the early months of 2019. The list includes Karlovy Vary awarded Winter Flies / Všechno bude by Olmo Omerzu, Talks With TGM / Hovory s TGM by Jakub Červenka, a coproduction between Bedna Films and Slovak FANTOMAS PRODUCTION, which was awarded a Special Mention at IDFF Ji.hlava, and also a IDFF Ji.hlava entry THE GOOD DEATH / DOBRÁ SMRŤ by Tomáš Krupa, a coproduction between Slovakia’s Hailstone, Czech MasterFilm, France’s ARTE G.E.I.E., Austria’s Golden Girls Film, Slovakia’s RTVS and the Czech Television.

EXHIBITION AND BOX OFFICE

By the end of 2018, Slovakia had 153 cinemas with 254 screens, of which 196 screens were already digitalised. They include four multiplexes, 21 mini-plexes, 22 open air cinemas (five of them digitalised) and nine alternative spaces.

Compared to 2017, the number of cinemas increased from 149 to 153 and the number of digitalised screens increased from 189 to 195. Slovakia also has one IMAX cinema, which was opened in 2015.

The Interpreter by Martin SulikSeveral small art house cinemas operate in Bratislava. Kino Lumière, operated by the Slovak Film Institute, opened on the site of the former Charlie’s Centrum in September 2011. Mladosť, Nostalgia and Film Europe Cinema also add to the diversity of Bratislava's art house landscape, together with Kino Klap, located in the Academy of Performing Arts, Foajé and Kino inak, a screening room hosted by the alternative cultural centre A4 – Space for contemporary culture.

A new programme of support for Slovak films in domestic cinemas was launched in 2016. Every cinema has the right to apply and receive one euro per each ticket sold for a domestic title. In 2016 the AVF allotted 217,488 EUR for 2015 and in 2017 it allotted 188,048 EUR for 2016. Due to the rapid increase of admissions in 2017, AVF had to change the regulations for 2018 and ended up allotting 538,478 EUR.

Total admissions through November 2018 were 5,471,091 compared to 6,692,871 in 2017. Total gross was 30,318,033 EUR compared to 34,513,049 EUR in 2017.

GRANTS AND NEW LEGISLATION

The Slovak Audiovisual Fund has been the main tool of public support for cinema in the Slovak Republic since 2010. The budget of the AVF is subsidised with at least 6 m EUR annually from the country’s budget and by contributions of other subjects like the TV, cinemas and distributors. A total of 8 m EUR were allocated for the support in 2018 and the same amount is expected in 2019.

Slovakia’s 20% incentive scheme established in 2015 eased its requirements starting August 2017. The minimum expenditure level was cut from 2 m EUR to 150,000 EUR for a single feature, documentary or animated film (minimum length of 70 minutes) and to 300,000 EUR for a project involving at least two such films or a television series (maximum 13 episodes of minimum 40 minutes in case of fiction and minimum of 50 minutes in case documentaries and animation). This scheme has a separate budget according to presumable expenses of registered projects (there is no maximum limit on the budget for audiovisual industry support). In 2018, the AVF registered 30 projects for audiovisual industry support. For 2019 the budget estimate for this support is 4.7 m EUR.By a Sharp Knife by Teodor Kuhn, photo: Simon Luptak

In accord with the Slovak Audiovisual Fund Act’s amendment of 2017, the Slovak Film Commission was established as a unit of the AVF. The Commission’s aim is to promote Slovak film industry, to mediate creative business opportunities for Slovak audiovisual professionals and to present related services and individual regions of Slovakia. On 1 June 2018, Zuzana Bieliková was appointed manager of the SFC.

In September 2018 minor changes in AVF’s regulations came into action. The beneficiaries can use up to 7% for overhead costs now and sanctions for mishandling the support were also amended.

A funding scheme of the Bratislava Self-Governing Region was launched in 2015 to support the culture in the region. However, 2018 was the last year when projects related to cinema were eligible. In 2018 the scheme supported the development, production and postproduction of nine films and two documentary series including, The Disciple / Posol by Ivan Ostrochovský, Peter Kerekes’ omnibus project Occupation 1968 / Okupácia 1968, produced by Peter Kerekes and coproduced by Czech Hypermarket Film, Bulgarian Agitprop, Polish Silver Frame and Hungarian ELF Pictures, By a Sharp Knife / Ostrým nožom by Teodor Kuhn, Reborn directed by Iveta Grófová and produced by Hulapa film, and Konšpirácia ticha directed by Robert Kirchhoff and produced by atelier.doc..

The primary sources of information on films are the Slovak Film Institute, which celebrated its 55th anniversary in 2018, and the National Cinematographic Centre, through its specialised office – the Audiovisual Information Centre.

Insects by Jan Svankmajer, still: www.indiegogo.comTV

Slovakia is unique in the CEE as the home of the only channel devoted exclusively to European films. Film Europe Channel was developed by Film Europe Media Company, which operates two more channels: Československo HD, dedicated to Czech and Slovak cinema, and Be2Can HD, which was called Festival HD till November 2018, for films from A-list festivals.

The channel operates in Slovakia along with the public broadcaster RTVS and commercial broadcasters Slovenská produkčná (with channels: TV JOJ, PLUS, WAU, JOJ Cinema, RiK, Ťuki TV, JOJ Family), Markiza Slovakia (with channels: TV Markíza, TV Doma, Dajto), the news channel TA3 (by C.E.N.), children channel ducktv (by Mega Max Media) and religious channel TV Lux.

CONTACTS:

SLOVAK AUDIOVISUAL FUND
Director: Martin Šmatlák
Grösslingová 53
SK-811 09, Bratislava
Phone: +421 5923 4545
Fax: +421 5923 4461
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www.avf.sk

Censor by Peter KerekesSLOVAK FILM COMISSION
Manager: Zuzana Bieliková
Grösslingová 53
SK-811 09, Bratislava
Phone: +421 905 360 033
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SLOVAK FILM INSTITUTE
General Director: Peter Dubecký
Phone: +421 2 5710 1503
Fax: +421 2 5296 3461

Audiovisual Information Center: Miroslav Ulman
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www.sfu.sk

NATIONAL CINEMATOGRAPHIC CENTRE
Director: Rastislav Steranka
Contact person: Lea Pagáčová
Phone: +421 2 5710 1526
Tel/fax: +421 2 5273 3214
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.aic.sk

RADIO AND TELEVISION OF SLOVAKIA
Mlynská dolina
845 45 Bratislava
Phone: +421 2 6061 1103
This email address is being protected from spambots. You need JavaScript enabled to view it. 
www.rtvs.sk

Report by Tomáš Hudák (2019)
Sources: the Slovak Film Institute, the Slovak Audiovisual Fund, the Union of Film Distributors of the Slovak Republic


MARKET ANALYSIS 2017

The Line by Peter BebjakSlovak films set box office records in domestic cinemas in 2017. The attendance of nearly 1.5 m admissions was the strongest in the history of independent Slovakia, since 1993.

One of the most successful films in 2017 was the crime-thriller The Line / Čiara, directed by Peter Bebjak, which together with the romantic comedy All or Nothing / Všetko alebo nič directed by Marta Ferencová,  topped the 300,000 admission mark.

The political thriller Kidnapping / Únos, directed by Mariana Čengel Solčanská, had almost 300,000 admissions.

Ten projects registered for the 20% cash rebate at the Slovak Audiovisual Fund in 2017, including the fourth season of the Netflix 13-episode series Outlander. The eased requierements implemented in 2017 attracted more international projects than in 2016, when four projects applied for incentives.

The Slovak Audovisual Fund together with the Ministry of Culture of the Slovak Republic decided to make major cuts to the requirements for minimum expenditure for international productions applying to the incentive scheme and launched a National Film Agency in August 2017 to work with incoming foreign productions.

The Outlander series by Julian HolmesPRODUCTION

A total of 27 feature length films were shot in Slovakia in 2017: 21 feature films (including 14 minority coproductions) and six documentaries (including two minority coproductions).  No long animated film was produced in 2017.

The 100% Slovak productions include the political thriller and box office hit Kidnapping / Únos, directed by Mariana Čengel Solčanská and produced by JMB Film & TV Production in coproduction with RTVS and Studio 727; the comedy Cuky Luky Film, directed by Karel Janák and produced by noemo; DOGG, directed by Jonáš Karásek, Enrik Bistika, Slavomír Zrebný and Vilo Csino, and  produced by Azyl Production and HomeMedia Production; the documentary Ťažká duša / Heavy Heart, directed by Marek Šulík and produced by Žudro, the Slovak Academy of Sciences and RTVS; the family musical comedy Spievankovo a kráľovná Harmónia / Spievankovo and Queen Harmony, directed by Diana Novotná and produced by Tonada and RTVS, and the documentary Vábenie výšok / Addicted to Altitude, directed by Pavol Barabáš and produced by K2 Studio in coproduction with RTVS.

After a long break since 2011, the acclaimed Slovak director Martin Šulík shot his new feature The Interpreter / Tlmočník, a Slovak/Czech/Austrian coproduction between Titanic production, In Film, coop99RTVS and the Czech Television. The film will have its world premiere at the Berlinale and will be released in March 2018.

Censor by Peter KerekesOther important coproductions shot in 2017 are: Cellar / Pivnica, directed by Igor Voloshin and produced by Slovakia’s Furia Film in coproduction with the Czech company 8heads production, Russia’s Gate LCC and RTVS; Power / Moc, directed by Mátyás Prikler and produced by MPhilms in coproduction with Czech Negativ and Hungary's Proton Cinema and Belgian Les Films du Carré; the Slovak/Czech coproduction Censor / Cenzorka, directed by Peter Kerekes and produced by Punkchart films, Hypermarket Film and Peter Kerekes, and also Juraj Jakubisko’s fairytale Seven Legged Lucas / Sedmonohý Lukáš, produced by the Czech and Slovak branches of J&J Jakubisko Film Europe in coproduction with TV JOJ.

Katarína Kerekesová, the director of the children animated series Mimi and Lisa / Mimi a Líza (Fool Moon), introduced a new animated series in 2017. The Websters / Websterovci is the first Slovak animated series in 3D and is a coproduction between Fool Moon, RTVS and Polish Studio Miniatur Filmowych. This Slovak/Polish coproduction was broadcast on RTVS during the 2017 Christmas holidays. 

In 2016 four projects applied for cash rebates and two of them stepped into production in 2017. The TV mini-series Mária Terézia / Maria Theresia, a Slovak/Czech/Austrian/Hungarian coproduction directed by Robert Dornhelm and produced by Beta Film (Germany), MR Film (Austria) and Maya Production (CZ) in coproduction with the Slovak RTVS, the Czech TV, the Austrian ORF and the Hungarian MTVA, was released during the Christmas holidays.

The 13-part TV miniseries Inšpektor Max / Inspector Max, directed by Jaroslav Brabec and produced by Slovakia’s Trigon Production in coproduction with the Slovak RTVS and the Czech Television, was shot and finished in 2017, with the release set for January 2018.

The Websters by Katarina KerekesovaAccording to Martin Šmatlák, the Director of AVF, three times more projects applied for the 20% cash rebate in 2017 compared to 2016. They will be shot throughout 2018. The fourth season of the 13-episode series Outlander, directed by the British Julian Holmes and produced by Netflix, will be shot in Slovakia for 30 days, as well as the US/Czech/Slovak coproduction Alleraya – The Falcon Princess, directed by Slovak Palo Janík Jr. (with  Filmpark production applying for rebates), InOut Studio’s 12-episode series Mistresses / Zamilované directed by Jakub Kroner, The Magic Quill  / Čertovské pero, directed by Marek Najbrt and produced by Czech Punk Film in coproduction with Trigon ProductionRTVS, the Czech Television, Magic Lab, Michal Bauer and Barrandov Studios, and the three-episode miniseries directed by Peter Krištúfek and produced by PubRes in coproduction with Czech Evolution Films and T.H.A.

Also benefitting from the rebates are Villa Lucia, directed by Michal Kollár and produced by KFS Production, RTVS and Czech Fog‘n’Desire FilmsDubček, directed by Laco Halama and produced by Filmpark production in coproduction with RTVS and the Czech Television; The General / Generál, a film and a three-episode miniseries directed by Mariana Čengel Solčanská and produced by JMB Film & TV Productions in coproduction with Prague Film Production, and Šťastné zviera, directed by Jozef Slovák, produced by Tatra Star and starring Ivan Trojan.

Slovakia’s 20% incentive scheme established in 2015 eased its requirements in August 2017. The minimum expenditure level was cut from 2 m EUR to 150,000 EUR for a single feature, documentary or animated film (with a minimum length of 70 minutes), and to 300,000 EUR for a project involving at least two such films or a television series (maximum 13 episodes of minimum 40 minutes).

All or Nothing by Marta FerencováDISTRIBUTION

A total of 31 domestic long films had their premiere in 2017, including 14 minority coproductions as well as nine long documentaries (including three minority coproductions), two middle-length documentaries, one long animated film produced as Slovak minority coproduction and two animated short films.

The leader in the distribution of Slovak films is the Association of Slovak Film Clubs (ASFK), which released three domestic majority coproductions: Out, directed by Gyorgy Kristóf and produced by sentimentalfilm in coproduction with Mirage Film StudioFilm Angels Studioendorfilm, KMH Film, Punkchart FilmsRTVSFAMUFilm Angels Prods; Diera v hlave / A Hole in the Head, directed by Robert Kirchhoff  and produced by HITCHHIKER Cinema in coproduction with the Czech TelevisionRTVS, atelier.doc and Addicted to Altitude directed by Pavol Barabáš, as well as four minority coproductions: Ice Mother  / Baba z Ledu, directed by Bohdan Sláma and produced by  Negativ, in coproduction with the French Why Not Productions, Slovak ARTILERIA , the Czech television RTVSBarrandov Studiosi/o post; Spoor / Pokot, directed by Agnieszka Holland and Kasia Adamik, and produced by TOR Film Production in coproduction with Heimatfilm GmbH, Chimney Group, Nutprodukce, nutprodukcia; Little Crusader / Křižáček, directed by Václav Kadrnka and produced by Sirius Films in coproduction with ARTILERIA , the Czech TelevisionBarrandov Studioi/o post, and Wolf from the Royal Vineyard Street / Vlk z Kráľovských Vinohrad, directed by Jan Němec and produced by MasterFilm in coproduction with the Czech TelevisionMedia Film, UPP and French Bocalupo Films.

Continental Film, a big distributor mostly of Hollywood productions, is also an important player in distributing domestic titles. In 2017 it released All or Nothing / Všetko alebo nič, directed by Marta Ferencová and produced by NUNEZ NFE s.r.o. in coproduction with Evita Film Production s.r.o. and MOJO Film s.r.o., Kidnapping directed by Mariana Čengel Solčanská, DOGG directed by Jonáš Karásek, Enrik Bistika, Slavomír Zrebný and Vilo Csino and The Third Wish / Tri želania, directed by Vít Karas and produced by the Czech Television in coproduction with Slovak TV Markíza and Promea Communication.

Kidnapping by Mariana Čengel SolčanskáForum Film released Oddsockeaters / Lichožrúti, directed by Galina Miklinova and produced by Total HelpArt - T.H.A. in coproduction with the Czech TelevisionPubResAlkay Animation PragueFilmosaurus Rex; Filthy / Špina, directed by Tereza Nvotová and produced by Moloko Film and BFILM) , Barefoot / Po strništi bos, directed by Jan Svěrák and produced by Biograf Jan Svěrák in coproduction with the Czech Televisioninnogy, Phoenix Film, NovinskiRTVS; Garden Store: The Family Friend  / Záhradníctvo: Rodinný priateľ,  directed by Jan Hřebejk and produced by Fog'n'Desire Films in coproduction with the Czech Television, MD4, Sokol Kollár, KFS Production, RTVSBarrandov Studiosinnogy, HN film, Magic Lab, ROZVID, EUROPE Visual Consulting, Chimney Group; Garden Store: Deserter / Záhradníctvo: Dezertér, directed by by Jan Hřebejk  and produced by Fog'n'Desire Films in coproduction with the Czech Television, MD4, Sokol Kollar, KFS Production, and Garden Store: Suitor  / Záhradníctvo: Nápadník, directed by Jan Hřebejk and produced by Fog'n'Desire Films in coproduction with the Czech Television, MD4, Sokol Kollar, KFS Production and CinemArt.

Itafilm released two titles in 2017: Cuky Luky Film by Karel Janák and Spievankovo and Queen Harmony directed by Diana Novotná.

PubRes released two documentaries: The Lust for Power / Mečiar, directed by Tereza Nvotová and produced by PubRes in coproduction with HBO Europe and Negativ, and Červená, directed by Olga Sommerová and produced by Czech Evolution Films in coproduction with MuMo, PubRes and the Czech Television.

The young platform Filmtopia, which was launched in 2012, began distributing domestic films also on the web portal DAFilms. In 2017 Filmtopia distributed the documentaries Heavy Heart directed by Marek Šulík, Hotel Sunrise / Hotel Úsvit, directed by Mária Rumanová and produced by Punkchart Films in coproduction with RTVS, FTF VŠMU and kaleidoscope, and Varga, directed by Soňa Maletzová and produced by Punkchart Films, RTVS, the Czech Television and FAMU.

Film Europe Media Company released Nina, directed by Juraj Lehotský and produced by Punkchart Films in coproduction with Lehotsky Film, sentimentalfilm, RTVS, Czech Television and endorfilm.

Wolf from the Royal Vineyard Street by Jan NemecCinemArt released Little Harbour /  Piata loď, directed by Iveta Grófová and produced by Hulapa film, Ltd. in coproduction with endorfilm,  Katapult Film, Silverart and RTVS, Garfield Film released A Prominent Patient / Masaryk by Julius Ševčík and produced by IN Film Praha in coproduction with the Czech Television, ZDF/ARTE, RTVS, and Bontonfilm released The White World According to Daliborek / Svet podľa Daliborka, directed by Vít Klusák and produced by Hypermarket Film in coproduction with Peter Kerekes, the Czech Television and BRITDOC Foundation.

There is little Slovak participation in VOD platforms, although a lot of documentaries can be found on DAFilms. The main platform for Slovak films is Kinocola, while ASFK VOD, a VOD platform launched by the Association of Slovak Distributors in 2015, is handling international and domestic titles. Private Slovak television Markíza also releases its domestic series on Voyo.

According to Martin Šmatlák, 2017 was unique also in terms of participation in A-listed festivals. Slovak majority productions winning prizes in 2017 are: Little Harbour by Iveta Grófová - Generation KPlus prize at the Berlinale, The Line / Čiara, directed by Peter Bebjak and produced by Wandal Production in coproduction with Ukraine‘s Garnet International Media Group, RTVSHomeMedia Production and Martin Kohút - best director at the Karlovy Vary IFF, Nina by Juraj Lehotský - Bronze Pyramid  at the Cairo IFF.

Also, the Slovak/Czech/Hungarian coproduction Out by Gyorgy Kristóf  had its premiere in Cannes’ Un Certain Regard, Filthy by Tereza Nvotová had its world premiere at Rotterdam’s Bright Future and the German/Slovak coproduction Freedom / Sloboda directed by Jan Speckenbach (produced by German ONE TWO FILMS, ZAK Film Production and Slovakia‘s BFILM) had its world premiere at the Locarno IFF.

EXHIBITION AND BOX OFFICE

By the end of 2017, Slovakia had 149 cinemas with 246 screens, of which 189 screens were already digitalised. They also include five alternative spaces for film screenings and 21 open-air theatres. Compared to 2016, the number of cinemas increased from 138 to 149 and the number of digitalised screens increased from 185 to 189. Slovakia also has one IMAX cinema, which was opened in 2015.

Little Harbor by Iveta GrofovaSeveral small art house cinemas operate in Bratislava. Kino Lumière, operated by the Slovak Film Institute, opened on the site of the former Charlie’s Centrum in September 2011. MladosťNostalgia and Film Europe Cinema also add to the diversity of Bratislava's art house landscape, together with Kino Klap (located in the Academy of Performing Arts), Foajé and Kino Inak (a screening room hosted by the alternative cultural centre A4).

A new programme of support for Slovak films in domestic cinemas was launched in 2016. Every cinema has the right to apply and receive one euro per each ticket sold for a domestic title. In 2016 the AVF alloted 217,488 EUR for 2015 and in 2017 it allotted 188,048 EUR for 2016. Due to the rapid increase of admissions in 2017, AVF had to change the regulations for 2018.

Total admissions in 2017 were 6,692,871 representing a 18.10 percent increase compared to 2016. Total gross was 34,513,049 EUR, which is 18.91 percent higher than in 2016.

Total admissions to Slovak films and coproduction titles released in 2017 were 1,430,504 and total gross was 7,201,048 EUR. Admissions to Slovak productions represents 21.37% of all released titles. In 2016 domestic titles had only 6.6% attendance from among all the released titles.

According to the Union of Film Distributors of the Slovak Republic (UFD ), the romantic comedy All or Nothing by Marta Ferencová was the most popular film in 2017 with 340,535 admissions, followed by The Line by Peter Bebjak with 329,349 admissions. In 2016 the most popular domestic title was the Czech/Slovak/Polish coproduction The Red Captain / Červený kapitán, directed by Michal Kollár and  produced by Fog´n Desire Films, in coproduction with Sokol Kollár, MD4, RTVS, Czech Television, Barrandov Studio, S Pro Alfa, Krakow Festival Office, and Kino 64 U hradeb, with 86,000 admissions.

All or Nothing is followed in the admissions top ten for domestic films by Kidnapping directed by Mariana Čengel Solčanská with 278,763 admissions, Cuky Luky Film directed by Karel Janák with 116,139 admissions, Spievankovo and Queen Harmony directed by Diana Novotná with 86,555 admissions, A Prominent Patient directed by Július Ševčík with 55,183 admissions, Filthy directed by Tereza Nvotová with 50,564 admissions, Barefoot directed by Jan Svěrák with 41,203 admissions, the animated film Oddsockeaters directed by Galina Miklínová with 20,214 admissions and the documentary The Lust for Power directed by Tereza Nvotová with 15,621 admissions.

A Prominent Patient by Július ŠevčíkGRANTS AND NEW LEGISLATION

The Slovak Audiovisual Fund has been the main tool of public support for cinematography in the Slovak Republic since 2010. Its budget was 6.9 m EUR in 2010, but fell to 5.5 m EUR in 2013 and increased again to 6.6 m EUR in 2014. The fund had a budget of 7 m EUR in 2017.  

The budget of AVF is provided in part by TV advertising revenues. In 2017, AVF registered ten projects for audiovisual industry support.

Slovakia’s 20% incentive scheme established in 2015 eased its requirements starting August 2017. The minimum expenditure level was cut from 2 m EUR to 150,000 EUR for a single feature, documentary or animated film (with a minimum length of 70 minutes) and to 300,000 EUR for a project involving at least two such films or a television series (maximum 13 episodes of minimum 40 minutes).

The Slovak Audovisual Fund together with the Ministry of Culture of the Slovak Republic launched a National Film Agency in August 2017, aiming to work with incoming foreign productions.

In January 2017 the development grants increased from 3,000 EUR to a maximum of 5,000 EUR. Maximum grant for festivals increased from 200,000 EUR to 300,000 EUR per festival. Films and TV projects are now judged separately.

With a new legislation, animated films are included in the production grants contest for Slovak minority coproductions, and TV animated projects are preferred. Slovak majority productions can apply for development and production support, which have a cap of 50,000 EUR for development and 1.2 m EUR for production. The significant new element of allotting funding to minority TV productions with minority Slovak coproduction was successfully lobbied for by the Slovak Association of Animated Film Producers (APAF). 

The Interpreter by Martin SulikAnother novelty is that one project cannot receive more than three grants from the Slovak Audiovisual Fund. However, minority coproductions and student films can receive only one grant from the AVF.

A new funding scheme of the Bratislava Self-Governing Region was launched in 2015 for supporting the culture in the region. In 2017 the scheme supported the distribution of Nina by Juraj Lehotský, The Line by Peter Bebjak, Little Harbour by Iveta Grófová and Filthy by Tereza Nvotová.

The primary sources of information on film are the Slovak Film Institute, which will celebrate its 55th anniversary in 2018, and the National Cinematographic Centre, through the specialised office of the Audiovisual Information Centre.

The Magic Quill by Marek Najbrt, photo: Punk Film / Marek NovotnýTV

Slovakia is unique in the CEE as home of the only channel devoted exclusively to European films. Film Europe Channel was developed by Film Europe Media Company, which launched two more channels, Československo HD and Festival Channel HD in November 2016, in addition to Film Europe Channel HD.

The channel operates in Slovakia along with the public broadcaster RTVS and commercial broadcasters MAC TV - Slovenská produkčná since January 2017 (with channels: TV JOJPLUSWAUJOJ CinemaRiKŤuki TV, JOJ Family) and Markiza Slovakia (with channels: TV MarkízaTV DomaDajto).

CONTACTS:

SLOVAK AUDIOVISUAL FUND
Director: Martin Šmatlák
Grösslingová 53
SK-811 09, Bratislava
Phone: +421 5923 4545
Fax: +421 5923 4461
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.avf.sk

The Cellar by Igor VoloshinSLOVAK FILM INSTITUTE
General Director: Peter Dubecký
Phone: +421 2 5710 1503
Fax: +421 2 5296 3461

Audiovisual Information Center: Miroslav Ulman
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.sfu.sk

NATIONAL CINEMATOGRAPHIC CENTRE
Director: Rastislav Steranka
Contact person: Lea Pagáčová
Phone: +421 2 5710 1526
Tel/fax: +421 2 5273 3214
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.aic.sk

RADIO AND TELEVISION OF SLOVAKIA
Mlynská dolina
845 45 Bratislava
Phone: +421 2 6061 1103
This email address is being protected from spambots. You need JavaScript enabled to view it. 
www.rtvs.sk

Report by Alexandra Gabrižová (2018)
Sources: the Slovak Film Institute, the Slovak Audiovisual Fund, the Union of Film Distributors of the Slovak Republic

 

Slovenia

Stories from the Chestnut Woods by Gregor BožičMARKET ANALYSIS 2019

LJUBLJANA: Slovenian film production is stable and getting even stronger since a significant increase in film funding was achieved in 2019. The number of completed films was lower than in 2018, but more titles are expected to be completed in 2020.

Several foreign productions are being shot due to the 25% cash rebate scheme.

The Slovenian Film Centre (SFC) announced a new strategy for the next four years in November 2019. The implementation of a transparent and modern system, which will ensure a sustainable, functional and stable film environment, is the main strategic goal of the SFC.

In 2019 the SFC received 5.585 m EUR for film funding and other activities, which is 13 percent more compared to the 4.859 m EUR for 2018. Since the beginning of November 2018, the annual budget for film production has been gradually increased and it is expected to reach 11 m EUR by 2022.

Zoran Poznič was appointed new Minister of Culture of Slovenia on 8 March 2019.

According to estimations, cinema admissions dropped by around 10 percent in 2019, while the box office dropped by approximately 3 percent because of a more expensive ticket price.

PRODUCTIONI Am Frank by Metod Pevec, photo: Vertigo

Slovenian producers usually produce around 15 feature films and long documentaries per year. They are more and more focused on coproductions, especially with other ex-Yugoslavian countries. Foreign producers’ share in the investments in Slovenian majority projects has come close to a relatively high number of 30%.

In 2019 ten feature films, two documentaries and four Slovenian minority coproductions were completed. In 2020 fifteen films (nine feature films and six long documentaries) are expected to be completed. Five feature films (including one debut) and two documentaries are expected to start shooting in 2020.

The feature films completed in 2019 (excluding minority coproductions) are: Man with the Shadow / Človek s senco directed by Ema Kugler and produced by Zavod ZANK in coproduction with NuFrame, MB Grip, Zvokarna, VPK Studios and Big Heart Studio; I Am Frenk / Jaz sem Frenk directed by Metod Pevec and produced by Vertigo in coproduction with RTV Slovenija, Backroom Production (Serbia), Interfilm (Croatia) and Small Moves Films (North Macedonia); Stories from the Chestnut Woods / Zgodbe iz kostanjevih gozdov directed by Gregor Božič and produced by Nosorogi in coproduction with Transmedia Production (Italy), Deutsche Film Und Fensehakademie Berlin (Germany) and RTV Slovenija; Oroslan directed by Matjaž Ivanišin and produced by Staragara in coproduction with I/O Post (Czech Republic), Film factory and SPOK; Corporation / Korporacija directed by Matej Nahtigal and produced by Lignit film in coproduction with Jaako Dobra Produkcija (Croatia), MB Grip, Zvokarna and RTV Slovenija; Half-Sister / Polsestra directed by Damjan Kozole and produced by Vertigo in coproduction with RTV Slovenia, Sisters and Brother Mitevski (North Macedonia) and Baš Čelik (Serbia); All Against All / Vsi proti vsem directed by Andrej Košak and produced by Blade production in coproduction with MIND Production, Igralsko društvo Daiga, MOTION, RTV Slovenija and Studio Ritem; Don’t Forget to Breathe / Ne pozabi dihati directed by Martin Turk and produced by Bela film in coproduction with Quasar Multimedia (Italy), Studio Dim (Croatia), RAI Cinema (Italy) and RTV Slovenija; Let Him Be a Basketball Player 2 / Košarkar naj bo 2 directed by Boris Bezić and produced by Gustav Film in coproduction with RTV Slovenija, MB Grip, Studio Ritem, Unicasting and Art Rebel 9; and The Curse of Valburga / Prekletstvo Valburge directed by Tomaž Gorkič and produced by Strup Produkcija in coproduction with NuFrame, Sonolab, Supermarket production, MB Grip and Lepa žoga.

The long documentaries completed in 2019 (excluding minority coproductions) are: Daughter of Camorra / Hči Camorre directed by Siniša Gačić and produced by Studio Maj in coproduction with B/arts and Zavod Zuhr, and Pumpkin on the Hot Roof of the World / Buča na vroči strehi sveta directed by Nejc Saje and Jeffrey Young, and produced by Strup in coproduction with Pigeon Point and RTV Slovenija.

The following feature films (excluding minority coproductions) are expected to be completed in 2020: Orchestra / Orkester directed by Matevž Luzar and produced by Gustav Film; Once Were Humans / Nekoč so bili ljudje directed by Goran Vojnović and produced by Arsmedia in coproduction with 100, NuFrame, MB Grip and Apapaja (Italy); and Deadlock / Zastoj directed by Vinko Möderndorfer and produced by Forum Ljubljana in coproduction with Delirium (Serbia) and Sektor Film (North Macedonia); Sanremo directed by Miroslav Mandić and produced by Filmostovje in coproduction with RTV Slovenija and Quasar Multimedia (Italy); Riders / Jezdeca directed by Dominik Mencej and produced by Staragara in coproduction with Antitalent (Croatia), Novi Film Daughter of Camorra by Siniša Gačić(Bosnia & Herzegovina), SENSE Production (Serbia) and Transmedia (Italy); Inventory / Inventura directed by Darko Sinko and produced by December in coproduction with RTV Slovenija; Birdbreeder / Ptičar directed by Robert Črnelč and produced by Tramal films; Cent´anni directed by Maja Prelog and produced by Cvinger film in coproduction with Agresywna Banda (Poland), Zena film (Italy) and Zwinger film (Austria); and Man Without a Guilt / Mož brez krivde directed by Ivan Gergoet and produced by Staragara in coproduction with Transmedia (Italy).

The following long documentaries (excluding minority coproductions) are expected to be completed in 2020: Antigona - How Dare We! / Antigona – Kako si drznemo! directed by Jani Sever and produced by Sever & Sever in coproduction with RTV Slovenija; The Business of Revenge / Krvno maščevanje directed by Marija Zidar and produced by Vertigo in coproduction with RTV Slovenija and Dera Film (Republic of Kosovo); Behind the Digital Curtain / Izza bitne zavese directed by Jurij Gruden and produced by Bela film in coproduction with RTV Slovenija and AVI film; Afganistanke na smučeh directed by Haidy Kancler and produced by Studio Virc in coproduction with Flair Film (Austria) and Kinocompany (Finland); and Farewell / Odpotovanje directed by Petra Seliškar and produced by Petra Pan Film in coproduction with Jana Cisar Filmproducktion (Germany).

The following feature films (excluding minority coproductions) are expected to start shooting in 2020: Skriti ljudje directed by Miha Hočevar and produced by Vertigo; Vesolje med nami directed by Rahela Jagrič Pirc and produced by Arsmedia in coproduction with MB Grip, Zvokarna and NuFrame; Grandpa Goes South / Dedek gre na jug directed by Vinci Vogue Anžlovar and produced by A Atalanta in coproduction with Sektor Film (North Macedonia); Zbudi me directed by Marko Šantić and produced by Vertigo; Vesna directed by Sara Kern and produced by Cvinger film in coproduction with Sweetshop & Green (Australia); and The Beanie / Kapa directed by Slobodan Maksimović and produced by Bela film in coproduction with Way Creative Films (Sweden), Studio Dim (Croatia), Bind (Netherlands) and This & That Productions (Serbia).

The following long documentaries (excluding minority coproductions) are expected to start shooting in 2020: Ganja Will Set You Free / Konoplja osvobaja directed by Miha Čelar and produced by Astral film in coporoduction with Wolfgang&Dolly (Croatia), Platforma (Serbia) and AWARD Film & Video (North Macedonia); and The Body / Telo directed by Petra Seliškar and produced by Petra Pan Film in coproduction with  Serbia and North Macedonia.

Oroslan by Matjaž IvanišinThe 25% cash rebate scheme shows the interest of foreign productions in Slovenia. In the last three years (2017-2019), since its implementation, foreign projects got total support of 1.2 m EUR, which means that 4.8 m EUR of revenues were generated by foreign production companies in Slovenia. One of the projects which benefited from the scheme in 2019 is the UK internet/TV fantasy series The Wheel of Time / Kolo časa directed by Uta Briesewitz and serviced by Pakt Media.

DISTRIBUTION

Twenty-one domestic films, including minority coproductions, were released in 2019, compared to 18 in 2018.

Eleven domestic films (seven feature films, four long documentaries) and eight Slovenian minority coproductions were screened at the annual showcase of Slovenian film, the 22nd Festival of Slovenian Film, which ran in Portorož from 17 to 22 September 2019.

Gregor Božič’s debut feature Stories from the Chestnut Woods won 11 Vesna awards and also the IRIDIUM award for first feature. The film won the Vesna Award for best film and it was also awarded for directing, acting (best actor), cinematography, music, editing, production design, costume design, make-up and sound. The film also won the Vesna Audience Award.

Siniša Gačič's Daughter of Cammora won the Vesna Award for best documentary, while the Macedonian/Belgian/Slovenian/French coproduction God Exists, Her Name Is Petrunija by Teona Strugar Mitevska won the Vesna Award for best minority coproduction and also the Slovenian Art Cinema Association Award. The film was produced by Sisters and Brother Mitevski (Macedonia) in coproduction with Spiritus movens (Croatia), Entre Chien et Loup (Belgium), Vertigo (Slovenia), Deuxième Ligne Films (France) and EZ Films (France).

The year 2019 was again very successful for the international recognition of Slovenian films. Oroslan directed by Matjaž Ivanišin was screened in the section Filmmakers of the Present (Concorso cineasti del Presente) at the Locarno FF, Half-Sister directed by Damjan Kozole was selected for the main competition programme at the 59th Karlovy Vary IFF, Stories from the Chestnut Woods was selected for the Discovery section at the Toronto IFF, as well as the Tallinn IFF, where it won best film in the First Feature Half-Sister by Damjan Kozole, photo: Ursa PremikCompetition.

Matej Zemljič won the best actor award at the International Film Festival FEST Serbia for Darko Štante’s Consequences, produced by Filmsko društvo Temporama in coproduction with NuFrame, Zwinger Film and 100; and Miha Mazzini won the best script award at the Raindance International Film festival for Erased directed by Miha Mazzini and produced by Gustav Film in coproduction with Kinorama (Croatia), Delirium (Serbia) and Pakt Media.

The leading position among distributors in 2019 was held by Blitz Film & Video Distribution with 29% box office share, followed by Karantanija Cinemas with 27%, 2i Film with 23% and Con Film with 10%. All of them distribute mostly commercial films from major Hollywood studios such as Warner Bros, 20th Century Fox, Universal and Paramount. Two of them, Con Film and 2iFilm manage distribution from Croatia, while Blitz Film & Video Distribution is also strongly connected to its mother company in Croatia.

The smaller Slovenian distribution companies, which distribute independent, domestic and European films, are Fivia, Cinemania Group and Demiurg, which altogether represent approximately 10% of box office share.

EXHIBITION AND BOX OFFICE

Slovenian cinema admissions are usually around 2.5 m and generate around 12 m EUR per year. There are 50 operating cinemas with 111 digital screens, and the average ticket price is around 5.6 EUR.

Most of the Slovenian attendance is generated by multiplexes in bigger cities, owned by two major multiplex chains: Kolosej Kinematografi and Cineplexx. While Cineplexx operates six multiplexes in Maribor, Celje, Kranj, Koper, Murska Sobota and Novo mesto, Kolosej Kinematografi runs the biggest multiplex (plus the one screen cinema theatre Komuna) in the capital city of Ljubljana and a smaller one in Kranj. Maribor, the second largest Slovenian city, has two multiplexes, Maribox (operated by Projektor) and Cineplexx.

Other cinema theatres try to balance commercial and art house films. Most of them are members of the Slovenian Art Cinema Asociation, which currently has 28 active members. 

Corporation by Matej NahtigalThe leading art house cinema is Kinodvor. Metka Dariš was appointed as its director in April 2019, replacing Nina Peče Grilc. The cinema had more than 121,000 admissions and over 2,000 screenings in 2019 (compared to 119,611 admissions and 2,071 screenings in 2018).

The main art event in Slovenia is LIFFe, the Ljubljana IFF, organised by Cankarjev dom. The festival generated around 46,000 admissions at its 30th edition. A total of 96 long and 25 short films were screened in Ljubljana at Cankarjev dom, Kinoteka, Kinodvor, Komuna and Kino Bežigrad from 13 to 24 November 2019, and simultaneously in Maribor, Celje and Novo mesto. In 2019 LIFFe also saw its one-millionth visitor in the festival’s 30-year history.

The estimated results show that Slovenian cinema admissions in 2019 dropped by approximately 10 percent to 2.31 m (compared to 2.549 m in 2018), while the total box office dropped by less than 3 percent to 12,476 m EUR (from 12,795,794 EUR in 2018), due to a higher ticket price.

In 2019 just two titles had over 100,000 admissions (compared to three in 2018): The Lion King with approximately 131,111 admissions and 734,472 EUR gross, and Frozen 2 with 104,322 admissions and 570,898 EUR gross. The next spots are taken by Joker with 98,214 admissions, Avengers: Endgame with 82,621 admissions and How to Train Your Dragon 2 with 79,966 admissions.

The results are better for Slovenian releases, where the top domestic title Let Him Be a Basketball Player 2 directed by Boris Bezić ranks 6th with 76,824 admissions and 357,393 EUR gross. For comparison, Gaja’s World directed by Peter Bratuša and produced by Felina Films in coproduction with RTV Slovenija, was the top domestic title in 2018 with 62,040 admissions and 221,373 EUR gross. The film gathered additional 14,533 admissions and 43,865 EUR gross in 2019.

Let Him Be a Basketball Player 2 by Boris BezićOther successful domestic films released in 2019 are Preboj directed by Dejan Babošek and produced by Narajan, with 17,004 admissions and 80,091 EUR gross, My Last Year as a Loser directed by Urša Menart and produced by Vertigo in coproduction with RTV Slovenija, NuFrame and 100, with approximately 11,840 admissions and 40,892 EUR gross, and Stories from the Chestnut Woods directed by Gregor Božić with 6,199 admissions and 26,928 EUR gross.

Slovenian films had well over 160,000 admissions, which is an increase of over 20 percent (compared to 133,173 in 2018) and represents around 7% share of the total box office (compared to 5% share in 2018).

The Slovenian film with the most admissions since 1991 is still At Hostar / Pr’ Hostar directed by Luka Marčetić (and produced by Kerlc Film in coproduction with Iridum Film), with 211,604 admissions (179,667 admissions in 2016 and 31,937 admissions in 2017), followed by Going Our Way / Gremo mi po svoje (2010) directed by Miha Hočevar and produced by Vertigo/Emotionfilm in coproduction with RTV Slovenija, with 205,439 admissions.

GRANTS AND NEW LEGISLATION

The main film institution in Slovenia is the Slovenian Film Centre (SFC), a public agency established in 2011 replacing the Slovenian Film Fund. Its goal is to encourage creativity by providing suitable conditions for audiovisual activities.

The SFC supports national film production, postproduction, distribution and film festivals. In theory, its funding sources should come from the state budget, the agency’s own income, collaboration with international organisations, donations and sponsorships. In practice, the majority of its funding is in the form of a subsidy from the Ministry of Culture, with the amount depending on the annual budget of the country.Preboj by Dejan Babošek

Since its launch, the SFC has been deeply involved in the production of domestic films. Other sources of support originate from the national television RTV Slovenija, coproductions, services backed by the state and provided by FS Viba film studio in the form of technical assistance, from international film funds and institutions.

In 2019 the SFC was involved in the production of 74% of domestic films with an average funding support of over 37% per project.

In 2019 the Slovenian Film Centre received 5.585 m EUR for film funding and other activities, which is 13 percent more compared to 4.859 m EUR for 2018. Since the beginning of November 2018, the annual budget for film production has been gradually increasing in order to reach 11 m EUR by 2022.

The managing director of the SFC is Nataša Bučar, appointed in December 2016. She and her team announced a new strategy for the next four years on 25 November 2019, in spite of the fact that the national programme for Culture is still pending. The vision of the SFC and its general strategic goals in the coming period from 2020 to 2024 entails the implementation of a transparent and modern system to ensure a sustainable, functional and stable film environment.

In 2019 the Slovenian Film Centre announced 13 public tenders and awarded grants totalling 4.15 m EUR (compared to 4.12 m EUR in 2018).

A total of 4,066,726 EUR went to film production (feature films, documentaries, animated films) and 244,765 EUR to script and project development. A total of 455,000 EUR was allocated to film culture in Slovenia (festivals, film education and professional education).

All Against All by Andrej Kosak, photo: Blade ProductionAmong other activities, the SFC successfully continues the project Our Films at Home, aiming at promoting domestic films among the Slovenian audience. Six film premieres were organised in 2019 and the project also celebrated the 100th anniversary of the Slovenian film director and screenwriter France Štiglic's birth.

The restoration of Slovenian classics continued in 2019 and France Štiglic’s That Beautiful Day / Tistega lepega dne (1962, Viba Film) and Don't Cry Peter / Ne joči, Peter (1964, Viba Film) were restored and will be released on Blu-ray in 2020.

Zoran Poznič was appointed new Minister of Culture of Slovenia by the National Assembly on 8 March 2019. Among his priorities he stated the adoption of the so-called Law on Cultural Euro, the preparation and adoption of new media legislation and the adoption of the National Programme for Culture (NPK) for the period from 2020 to 2026.

TV

In the last few years, according to the Law on the Slovenian Film Centre, the public broadcaster RTV Slovenija has been obliged to invest in independent projects.

The national television RTV Slovenija still plays a key role in the domestic production, making up to five feature and documentary films per year, and acting as a regular coproducer. In 2019 it successfully launched its own crime series The Lake / Jezero directed by Matevž Luzar and Klemen Dvornik, based on the well-known novel by Tadej Golob. The strongest commercial television Pro plus produced a new drama series Bridges of Us / Najini mostovi directed by Jaka Šuligoj, which will be launched in the spring of 2020.

The leading commercial TV Pro plus with its five channels - POP TV, KANAL A, KINO, BRIO and OTO, made its leading position even stronger with news, reality shows, local TV series, sporting events and foreign programming. It is followed by the national Dont Forget To Breathe by Martin Turk, photo: Bela Filmtelevision RTV Slovenija with its three national channels, and another commercial television, Planet Group, with its three channels. Other significant players are foreign cable TV channels Fox Group, Cas Media, HBO Europe; TV3 medias and several ex-Yugoslavian TV channels.

Prime time in Slovenian television is generally held by news (24 ur, Dnevnik, Planet Danes), reality and entertainment shows (Your Voice Sounds Familiar, Dancing with the Stars, Masterchef, Farm, Biggest Looser, Milijonar, Pri črnem Petru, Joker) and domestic fiction (River of Love / Reka ljubezni directed by Nejc Levstik and Jaka Šuligoj, Scene de Menages / Takle mamo directed by Niko Vodošek).

The interest in Turkish series continued in 2019 and at the end of the year RTV Slovenija successfully launched the crime series The Lake directed by Matevž Luzar and Klemen Dvornik.

In 2019 the leading position of Pro plus remained untouched. Pro plus had a 49.9% prime time share, RTV Slovenija 13.9%, Planet Group 7.4%, TV3 Medias 0.7% and other TV channels 28.1%.

CONTACTS:

SLOVENIAN FILM CENTRE
Miklošičeva 38
SI - 1000 Ljubljana
Phone: +386 (0)1 23 43 200
Fax: +386 (0)1 23 43 219
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.sfc.si

SLOVENIA FILM COMMISSION
Miklošičeva 38
SI - 1000 Ljubljana
Phone: +386 (0)3 23 43 200
Fax: +386 (0)1 23 43 219
Mojca Planšak, email: This email address is being protected from spambots. You need JavaScript enabled to view it.
 

MINISTRY OF CULTURE OF REPUBLIC OF SLOVENIA
Maistrova ulica 10
Jurij Drevenšek in The Cruse of Valburga by Tomaz GorkicSI - 1000 Ljubljana
Phone: +386 (0)1 369 59 00
Fax: +386 (0)1 369 59 01
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.mk.gov.si

FS VIBA
Stegne 5
SI - 1000 Ljubljana
Phone: + 386 (0)1 5132 402
Fax: + 386 (0)1 5132 550
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.vibafilm.si

Report by Damijan Vinter (2020)
Sources: the Slovenian Film Centre, the Ministry of Culture, Fivia/Cenex


MARKET ANALYSIS 2018

My Last Year as a Loser by Urša MenartSlovenian cinema admissions in 2018 increased by 8% and the total box office increased by almost 10%. Admissions for domestic films decreased by almost 20%, although more titles were released, and the box office dropped by more than 31%.

Slovenian film production is stable, while more foreign productions are being shot due to the 25% cash rebate scheme.

In 2018 the Slovenian Film Centre received 4,859,000 EUR for film funding and other activities and a higher amount is expected for 2019. Since the beginning of November 2018 the annual budget for film production has been gradually increasing, to reach 11 m EUR by 2022.

Dejan Prešiček was appointed new Minister of Culture of Slovenia on 15 September 2018 and resigned after only four months. Zoran Poznič was appointed new Minister of Culture on 8 March 2019.

PRODUCTION

Erased by Miha MazziniSlovenian producers usually produce around 15 feature films and documentaries per year, and they are more and more focused on coproductions, especially with other ex-Yugoslavian countries. Foreign producers’ share in the investments in Slovenian majority projects has come close to a relatively high number of 30%.

The national television RTV Slovenija still plays a key role in the domestic production, making up to five feature and documentary films per year and acting as a regular coproducer.

In 2018 fifteen domestic feature films were completed, approximately half of which were documentaries. Together with international coproductions 21 films were completed in 2018.
In 2019 nine feature films, three documentaries and one experimental film are expected to be completed. Eight feature films (including four debuts) and two documentaries are expected to start shooting in 2019.

The feature films completed in 2018 are: Erased / Izbrisana directed by Miha Mazzini and produced by Gustav Film; My Last Year as a Loser / Ne bom več luzerka directed by Urša Menart and produced by Vertigo;  History of Love / Zgodovina ljubezni directed by Sonja Prosenc and produced by MonoO; Consequences / Posledice directed by Darko Štante and produced by Temporama; I Act, I Am directed by Miroslav Mandić and produced by Filmostovje; Gaja’s World / Gajin svet directed by Peter Bratuša and produced by Felina, and Together / Skupaj directed by Marko Šantić and produced by RTV Slovenija.

The long documentaries completed in 2018 are: A Man from the Border directed by Boris Jurjaševič and produced by Fabula; My Way 50 directed by Maja Weiss and produced by Zavod Maja Weiss; Cankar directed by Amir Muratović and produced by Cebram; A Thousand Hours of Bitterness for a Single Hour of Joy, directed by Dušan Moravec and produced by Friendly Production; iIsland directed by Miha Čelar and produced by Astral film; Growing Up / Odraščanje directed by Siniša Gačić and Dominik Mencej and produced by Zavod Zuhr; Pero Lovsin – You Can directed by Jani Sever, and Much Do You Love Yourself? directed by Nina Blažin, both produced by Sever & Sever.

History of Love by Sonja ProsencThe following feature films are expected to be completed in 2019: Stories from Chestnut Woods / Zgodbe iz kostanjevih gozdov directed by Gregor Božič and produced by Nosorogi; Don’t Forget to Breathe / Ne pozabi dihati directed by Martin Turk and produced by Bela film; All Against All / Vsi proti vsem directed by Andrej Košak and produced by Blade production; Everything is Different / Vse je drugače (aka I Am Frank) by Metod Pevec and produced by Vertigo; Oroslan (aka Wake) directed by Matjaž Ivanišin and produced by Staragara; Half-Sister / Polsestra directed by Damjan Kozole and produced by Vertigo; Corporation / Korporacija directed by Matej Nahtigal and produced by Lignit film; Let Him Be a Basketball Player 2 / Košarkar naj bo 2 directed by Boris Bezić and produced by Gustav Film; and Ptičar directed by Robert Černelč and produced by Tamal Films.

The following long documentaries are expected to be completed in 2019: The Business of Revenge / Krvno maščevanje directed by Marija Zidar and produced by Vertigo; Hči Camorre directed by Siniša Gačić and produced by Studio Maj; and Antigona directed by Jani Sever and produced by Sever & Sever.

The following feature films are expected to start shooting in 2019: Two Riders / Jezdeca directed by Dominik Mencej and produced by Staragara; Sanremo directed by Miroslav Mandić and produced by Filmostovje; Night Quartet / Nočni kvartet directed by Vinko Möderndorfer and produced by Forum Ljubljana; Once Were Humans / Nekoč so bili ljudje directed by Goran Vojnović and produced by Arsmedia; Inventory / Inventura directed by Darko Sinko and produced by December; Orchestra / Orkester directed by Matevž Luzar and produced by Gustav Film; Grandpa Goes South / Dedek gre na jug directed by Vinči Anžlovar and produced by A Atalanta; Eva directed by Tijana Zinajić and produced by December.

Petra SeliskarThe following long documentaries are expected to be completed in 2019: Telo directed by Petra Seliškar and produced by Petra Pan Film and Ganja Will Set You Free / Konoplja osvobaja directed by Miha Čelar and produced by Astral film.

The 25% cash rebate scheme introduced in autumn of 2016 increased the interest of foreign productions in Slovenia and in 2018 eight foreign projects from six production companies got a total support of 0.8 m EUR (compared to 0.65 m EUR in 2017).

The projects which benefited from the scheme in 2018 are: Italy’s Strangers in Paradise directed by Gabriele Slavatores and Croatian Murina directed by Antoaneta Alamat Kursjanović (both serviced by Staragara), Philippines’ Motel Acacia directed by Bradley Liew (serviced by Studio Virc); Serbian TV series Shadows Over Balkan directed by Dragan Bjelogrlić (serviced by Perfo), South Korea’s Memories of the Alhambra directed by Ahn Gil-ho (serviced by Nora Production), Italy’s I Just Wanted to Be a Rock Star II directed by Matteo Oleotto (serviced by Staragara), US documentary Satori directed by Gabrielle Tana and UK documentary Who the Fuck you Think You Are Slavoj Žižek? directed by James Morton Haworth. These projects were partly shot in Slovenia, which shows that Slovenia has become a popular film location.

Consequences by Darko StanteDISTRIBUTION

Eighteen domestic films (six feature films and 12 documentaries), including minority coproductions  were released in 2018, compared to 12 in 2017. Most of them were screened at the annual showcase of Slovenian film, the Festival of Slovenian Film in Portorož, and were theatrically released afterwards. One of the films, the documentary Cankar by Amir Muratović was also already broadcast on the national television RTV Slovenija.

Gaja’s World directed by Peter Bratuša and produced by Felina took the eighth place among Top 10 releases in Slovenian cinemas in 2019.

In 2018 Urša Menart’s My Last Year as a Loser won three Vesna awards (best film, script, supporting actress), the same as Darko Štante’s Consequences (director, leading actor, supporting actor); Miha Mazzini's Erased won four awards (leading actress, original music, production design, costume design); Sonja Prosenc's History of Love won two awards (DoP, special original achievement); Peter Bratuša’s Gaja’s World won two awards (best make-up, special achievements), the same as Nina Blažin’s documentary How Much Do You Love Yourself? (best documentary, editing), while the Czech/Slovenian/Slovak/French/Polish coproduction Winter Flies by Olmo Omerzu won the Vesna Award for Best Minority Coproduction.

The year 2018 was again very successful for the international recognition of Slovenian films. The most significant international awards are: the Special Jury Mention at the 53 Karlovy Vary International Film Festival for Sonja Prosenc's History of Love; Best Director and the Ecumenical Prize at the 53 Karlovy Vary International Film Festival for Olmo Omerzu’s Winter Flies; a successful selection at the Toronto Film Festival for Darko Štante’s Consequences, as well as17 awards (including best actor at the FAJJR IFF in Teheran and at the Orenburg IFF in Russia) for Hanna Slak’s The Miner, 10 awards (including the Artistic Vision Award at the DocAviv in Tel Aviv and the Special Jury Mention at ZagrebDox) for Matjaž Ivanišin’s Playing Men produced by Nosorogi, and Best Film Award at Let’s CEE in Vienna for Janez Burger’s Ivan.

The Box by Dušan KastelicAmong short films, The Box directed by Dušan Kastelic and produced by RTV Slovenija, and Nighthawk directed by Špela Čadež and produced by Finta, were the most awarded Slovenian films internationally in 2018.

The leading position among distributors in 2018 is held by Blitz Film & Video Distribution with 42% box office share, followed by Karantanija Cinemas with 31%, Continental Film and 2i Film with 10% each. All of them distribute mostly commercial films from major Hollywood studios such as Warner Bros, 20th Century Fox, Universal and Paramount. Two of them, Continental Film and 2iFilm manage distribution from Croatia, while Blitz Film & Video Distribution is also strongly connected to its mother company in Croatia.

The smaller Slovenian distribution companies, which distribute independent, domestic and European films, are Fivia (with 4% box office share in 2018), Cinemania Group and Demiurg (with 1% each).

I Act I Am by Miroslav MandićEXHIBITION AND BOX OFFICE

Slovenian cinema admissions are usually around 2.5 m and generate around 12 m EUR per year. There are 50 operating cinemas with 98 digital screens, and the average ticket price is just above 5 EUR.

Most of the Slovenian attendance is generated by multiplexes in bigger cities, owned by two major multiplex chains: Kolosej Kinematografi and Cineplexx. While Cineplexx operates six multiplexes in Maribor, Celje, Kranj, Koper, Murska Sobota and Novo mesto, Kolosej Kinematografi runs the biggest multiplex (plus the one screen cinema theatre Komuna) in the capital city of Ljubljana and a smaller one in Kranj.

One of the two multiplexes in Maribor, previously operated by Kolosej kinematografi, now operates under the name Maribox, and is owned by the company Projektor d.o.o.

Other cinema theatres try to balance commercial and art house films. Most of them are members of the Slovenian Art Cinema Asociation, which currently has 27 active members. 

The leading art house cinema is Kinodvor, which celebrated its 10th anniversary in February 2018. Since its opening approximately 2,200 feature films have had more than 17,600 screenings and generated over 2 m admissions.

Gajas World by Peter Bratuša, photo: Katja GoljatThe main art film event in Slovenia is the Ljubljana International Film Festival LIFFe, organised by Cankarjev dom. In its 29th edition LIFFe generated 43,000 admissions for 291 screenings. A total of 97 long and 15 short films from 52 countries were screened in Ljubljana at Cankarjev dom, Kinoteka, Kinodvor and Komuna; and simultaneously in Maribor, Celje and Novo mesto, from 7 to 18 November 2018.

Slovenian cinema admissions in 2018 increased by 8% to 2.449 m (compared to 2,354,734 in 2017) and the total box office increased by 8% to 12.8 m EUR (11,637,025 EUR in 2017).

Three titles crossed the line of 100,000 admissions: Bohemian Rhapsody with 144,160 admissions and 841,894 EUR gross, Mamma Mia! Here We Go Again with 114,519 admissions and 594,090 EUR gross and Hotel Transylvania 3: Summer Vacation with 113,151 admissions and 605,721 EUR gross.

In 2018 admissions for domestic films decreased by almost 20%, although more titles were released, and the box office dropped by almost 31% to 427,236 EUR compared to 617,456 EUR in 2017. Domestic films represent around 5% share in total admissions and 3.3% share in total box office.

Gaja’s World directed by Peter Bratuša and produced by Felina Films was the most popular domestic title in 2018 with 62,040 admissions and 221,483 EUR gross, ranking 14th in the general chart. The rest of the domestic top five includes documentaries The Family directed by Rok Biček and produced by Cvinger film, and The Last Ice Hunters directed by Jure Breceljnik and Rožle Bregar and produced by FilmIT; feature films Let Him Be a Basketball Player directed by Boris Petkovič and produced by Gustav Film, and Consequences directed by Darko Štante and produced by Filmsko društvo Temporama.

Everything is Different by Metod PevecThe Slovenian film with the most admissions since 1991 is still At Hostar / Pr’ Hostar by Luka Marčetić with 211,604 admissions (179,667 admissions in 2016 and 31,937 admissions in 2017), followed by Going Our Way / Gremo mi po svoje directed by Miha Hočevar and produced by Vertigo/Emotionfilm (2010), with 205,439 admissions.

GRANTS AND NEW LEGISLATION

The main film institution in Slovenia is the Slovenian Film Centre (SFC), a public agency established in 2011 replacing the Slovenian Film Fund. Its goal is to encourage creativity by providing suitable conditions for audiovisual activities.

The SFC supports national film production, development, postproduction, distribution as well as film education and film festivals. The majority of its funding is in the form of a subsidy from the Ministry of Culture, with the amount depending on the annual budget of the country.

Since its launch, the SFC has been involved in the production of 80% of domestic films with an average funding support of over 50% per project. Other sources of support in Slovenia originate from the national television RTV Slovenija, coproductions, services backed by the state and provided by FS Viba film studio in the form of technical services, from foreign film funds and institutions.

In 2018 SFC received 4,859,000 EUR for film funding and other activities and a higher amount is expected for 2019. Moreover, based on the unanimous vote by the Slovenian parliamentary Culture Committee in November 2018 the annual budget for film production will gradually increase to reach 11 m EUR by 2022.

The Family by Rok BicekThe managing director of the SFC is Nataša Bučar, appointed in December 2016. She and her team have to prepare a new strategy for the next four years, in spite of the fact that the national programme for Culture is still pending.

In 2018 the Slovenian Film Centre announced 12 public tenders and awarded grants totalling 4.12 m EUR (3,836,300 EUR in 2017). The results of five of them (two additional script and project developments, investment stimulation for AV production, minority coproductions, student films) were not yet announced at the beginning of 2019.

In 2018, a total of 2,687,935 EUR went to film production (production, debut features, short feature and animated films), 595,382 EUR went to audiovisual projects, and 40,000 EUR to script and project development. A total of 221,200 EUR was allotted to festivals, 132,000 EUR for film education and 20,440 EUR for professional education.

Among other activities, the SFC successfully continues the project Our Films At Home, aiming at promoting domestic films among the Slovenian audience – eight film premieres were organised in 2018.

The restoration of Slovenian classics continued in 2018 and Jože Bevc’s Real Pests! (1977, Viba Film) and France Štiglic’s On Our Land (1948, Triglav film) were restored and released on Blu-ray.

In March 2018 the SFC organised a panel discussion about the research on gender inequality in the film sector, which showed that 90% of Slovenian films had been directed by men in past two decades. According to the statistics at the end of the year the situation improved, as the share of women directors who received financial support for their feature films in 2018 increased up to 22%, while their share in the field of short films was 43%.

Dejan Prešiček was appointed the new Minister of Culture for Slovenia on 15 September 2018. He plans to prepare a new national cultural programme and to pass the legislation that would ensure additional funding for culture. He also promised to strive for further development of Slovene film production and also that he would encourage foreign film production in Slovenia.

Half Sister by Damjan Kozole: Urša Menart and Liza Marija Grašič as Half Sisters, Copyright: Urša PremikTV

In the last few years, according to the Law on the Slovenian Film Centre, the public broadcaster RTV Slovenija has been obliged to invest in independent projects.

The leading commercial TV Pro plus with its five channels, POP TV, KANAL A, KINO, BRIO and OTO, made its leading position even stronger with news, foreign programming, reality shows, local TV series and sporting events. It is followed by the national television RTV Slovenija with its three national channels, and another commercial television Planet TV. Other significant players are foreign cable TV channels Fox Group, Cas Media, HBO Europe; TV3 medias and several ex-Yugoslavian TV channels.

Prime time in Slovenian television is generally held by news (Dnevnik, 24 ur, Planet Danes), reality and entertainment shows (Slovenia Got Talent, Your Voice Sounds Familiar, Dancing with the Stars, Masterchef, Gostilna išče šefa, Farm, Biggest Looser, Vse je mogoče) and domestic fiction (Reka ljubezni, Dragi sosedje), most of them produced by Pro plus. In 2018 a significant interest in Turkish series was revealed.

In 2018 Pro plus had a 49.6% prime time share, RTV Slovenija 15.9%, Planet TV 6.8%, TV3 Medias 0.8% and other TV channels 26.9%.

Central European Media Enterprises Ltd. (CME) announced in January 2019 the termination of the agreement to sell its operations in Slovenia and retains full ownership of Pro plus, the leading television network group in the country.

CONTACTS:

SLOVENIAN FILM CENTRE
Miklošiceva 38
SI - 1000 Ljubljana
Phone: +386 (0)1 23 43 200
Fax: +386 (0)1 23 43 219
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.film-center.si

SLOVENIA FILM COMMISSION
Miklošičeva 38
SI - 1000 Ljubljana
Phone: +386 (0)3 23 43 200
Fax: +386 (0)1 23 43 219
Let Him Be a Basketball Player by Boris PetkovičMojca Planšak, email: This email address is being protected from spambots. You need JavaScript enabled to view it.
 

MINISTRY OF CULTURE OF REPUBLIC OF SLOVENIA
Maistrova ulica 10
SI - 1000 Ljubljana
Phone: +386 (0)1 369 59 00
Fax: +386 (0)1 369 59 01
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.mk.gov.si

FS VIBA
Stegne 5
SI - 1000 Ljubljana
Phone: + 386 (0)1 5132 402
Fax: + 386 (0)1 5132 550
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.vibafilm.si

Report by Damijan Vinter (2019)
Sources: Fivia/Cenex, the Slovenian Film Centre, the Ministry of Culture


 MARKET ANALYSIS 2017

Let Him Be a Basketball Player by Boris PetkovičThere were no major changes in 2017 in terms of general admissions in Slovenian cinemas, as well as film production and grants awarded by the Slovenian Film Centre.

More Slovenian titles were released, but the audience’s interest in domestic films decreased by approximately five percent, which is still above the last five years’ average.

The new cash rebate scheme for foreign productions has shown its first results, while the new film law is still pending.

PRODUCTION

The list of feature films which started production or preproduction in 2017 includes: Zadušnica, directed by Matjaž Ivanišin and produced by Staragara; Polsestra, directed by Damjan Kozole and produced by Vertigo; Ne pozabi dihati, directed by Martin Turk and produced by Bela film; Vsi proti vsem, directed by Andrej Košak and produced by Blade production; Night Quartet / Nočni kvartet, directed by Vinko Möderndorfer and produced by Forum Ljubljana; Once Were Humans / Nekoč so bili ljudje, directed by Goran Vojnović and produced by Arsmedia; Corporation / Korporacija, directed by Matej Nahtigal and produced by Lignit film; Two Riders / Jezdeca, directed by Dominik Mencej and produced by Staragara; Inventory / Inventura, directed by Darko Sinko and produced by December.History of Love by Sonja Prosenc

The following feature films are expected to be completed in 2018: History of Love / Zgodovina ljubezni, directed by Sonja Prosenc and produced by MonoO; My Last Year as a Loser / Ne bom več luzerka by Urša Menart and I Am Frank / Jaz sem Frenk by Metod Pevec, both produced by Vertigo; Consequences / Posledice, directed by Darko Štante and produced by Temporama; Gaja’s World / Gajin svet, directed by Peter Bratuša and produced by Felina; Stories from Chestnut Woods / Zgodbe iz kostanjevih gozdov, directed by Gregor Božič and produced by Nosorogi.

The following long documentaries will be completed in 2018: This Work is Public Property / To delo je v javni lasti, directed by Amir Muratović and produced by Cebram; Krvno maščevanje, directed by Marija Zidar and produced by Vertigo; Nikita, directed by Siniša Gačić and produced by Studio Maj and Ballandi Arts; Vlado, directed by Miran Zupanič and produced by Arsmedia, and iOtok, directed by Miha Čelar and produced by Astral.

Eva Jesenovec and Urša Menart - My Last Year as a Loser by Ursa Menart; credit: Vertigo; photo by Zeljko StevanicThe introduction of a 25% cash rebate scheme in autumn of 2016, expected to increase the interest of foreign productions in Slovenia, has shown its first results. Three foreign projects which benefited from the scheme, getting a total support of 650,000 EUR, are filmed in Slovenia: the UK/German/Belgian trilogy Intrigo (serviced by Pakt Media d.o.o.), the Korean Black Knight (serviced by Nora Production) and the Irish Belly of the Whale (serviced by Slovenian branches of Nukleus film). All of them were shot in 2017.

Slovenia has also become popular with Indian filmmakers, as feature films Spyder / Sambhavami, directed by A. R. Murugadoss and starring well-known Indian actor Mahesh Babu, and Vivegam / Thala 57, directed by the Siruthai Siva and starring Ajith Kumar and Kajal Aggarwal, were partly shot in Slovenia in spring and summer of 2017, with Azaleja Global servicing for both of them.

The Miner by Hanna SlakDISTRIBUTION

Due to the fact that many projects from the previous year(s) were delayed, more domestic films were released in 2017. Slovenian producers usually produce around 10 feature films and documentaries per year, and are more and more focused on coproductions, especially with other ex-Yugoslavian producers. Foreign producers’ share in the investments in Slovenian majority projects has come close to a relatively high number of 30 percent.

The national television RTV Slovenija still plays a key role in the domestic production, making up to five feature and documentary films per year and acting as a regular coproducer.

In 2017 eighteen Slovenian films were completed, including 12 feature films and six documentaries. Most of them were screened at the annual showcase of Slovenian film, the Slovenian Film Festival in Portorož, and were already domestically released by the end of 2017. The rest of them will be released in 2018.

Ksana by Dejan BabosekThe feature films completed in 2017 are: Let Him Be a Basketball Player / Košarkar naj bo, directed by Boris Petkovič and produced by Gustav Film; Ksana / Ksana, directed by Dejan Babosek and produced by Narayan Production; A Dream / Privid, directed by Boštjan Slatenšek and produced by FilRouge; Slovenia, Australia and Tomorrow the World / Slovenija, Avstralija in jutri ves svet, directed by Marko Naberšnik and produced by Perfo Production; Ivan / Ivan, directed by Janez Burger and produced by Staragara; The Basics of Killing / Družinica, directed by Jan Cvitkovič and produced by Perfo Production; The Miner / Rudar, directed by Hanna Slak and produced by Nukleus Film; Sly Foxes / Stekle lisice, directed by Boris Jurjaševič and produced by RTV Slovenija; Perseverance / Vztrajanje, directed by Miha Knific and produced by Nukleus Film; Erased / Izbrisana, directed  by Miha Mazzini and produced by Gustav Film; Mesto svetlobe, directed by Marko Kumer Murč and produced by EnaBanda; and Igram, sem, directed by Mirsolav Mandić and produced by Filmostovje.

The documentaries completed in 2017 are: The Family / Družina, directed by Rok Biček and produced by Cvinger film; Codelli / Codelli, directed by Miha Čelar and produced by Astral film; The Last Ice Hunters / Zadnji ledeni lovci, directed by Jure Breceljnik and Rožle Bregar, and produced by FilmIT; Charlatan Magnifique, directed by Maja Pavlin and produced by RTV Slovenija; They Were Tito's Towns / Bila so Titova mesta, directed by Amir Muratović and produced by RTV Slovenija; Every Good Story Is a Love Story / Vsaka dobra zgodba je ljubezenska zgodba, directed by Matjaž Ivanišin and Rajko Grlić and produced by Vertigo.

Codelli by Miha CelarThe most significant awards for Slovenian films in 2017 are: the Vesna Award for best film at the 20th Slovenian Film Festival and the Critics Week Award at the Locarno Film Festival 2017 for Biček's The Family; six Vesna Awards (best feature film, best actress, script, cinematography, music, make-up) for Burger's Ivan; four Vesna Awards (DoP, music, costume design, sound) and best actress award at the Montreal Film Festival for Cvitković’s The Basics of Killing; three Vesna Awards (supporting actor, supporting actress, best original AV work) for Knific’s Perseverance; three Vesna Awards (best director, best actor, best editing) and the special jury mention at the 33rd Warsaw Film Festival for Hanna Slak's The Miner.

Špela Čadež won several international prizes, including the grand prix awards at the Netherland Animation Film Festival, at the Bucheon International Animation Festival and at the 27th Animafest Zagreb, for her short animated film Nighthawk / Nočna ptica produced by Fint.

Nighthawk by Spela CadezMatjaž Ivanišin won the Georges de Beauregard award at the International Film Festival Marseille for his medium-length documentary Playing Man produced by Restart.

A total of 178 films were distributed in Slovenian cinemas in 2017, of which around 55% were US productions, 38% European and from other countries, while the domestic productions and coproductions represented approximately 7%.

In 2017 the leading distribution company was Karantanija Cinemas d.o.o., followed by Blitz Film & Video Distribution. Both distribute mostly commercial films from major Hollywood studios such as Warner Bros, 20th Century Fox, Universal and Paramount. The official representatives of two major US distribution companies are from Croatia: Walt Disney’s distribution in Slovenia is represented by 2i Film and Sony Columbia’s by Croatian Continental Film.

The Last Ice Hunters by Jure Breceljnik and Rožle BregarSome smaller distribution companies, such as Cinemania Group d.o.o., Cenex d.o.o., Demiurg and Fivia, distribute independent, domestic and European films.

EXHIBITION AND BOX OFFICE

Slovenian cinema admissions are usually around 2 m per year. There are 50 operating cinemas with 111 screens, of which 95 are digitalised, according to official statistics from 2016.

Most of the Slovenian attendance is generated by multiplexes in bigger cities, owned by two major multiplex chains: Kolosej Kinematografi and Cineplexx. While Cineplexx operates six multiplexes in Maribor, Celje, Kranj, Koper, Murska Sobota and Novo mesto, Kolosej Kinematografi runs the biggest multiplex in the capital city of Ljubljana and a smaller one in Kranj.

Perseverance by Miha KnificOne of the two multiplexes in Maribor, previously operated by Kolosej kinematografi, now operates under the name Maribox, and is owned by the company Projektor d.o.o. Other cinema theatres try to balance commercial and art house films.

Slovenian admissions in 2017 dropped to approximately 2.306 m (compared to 2.34 m in 2016), while total box office was approximately 11.6 m EUR (compared to 11.9 m EUR in 2016).

In 2017 just one title crossed the line of 100,000 admissions (there were two in 2016), the animated feature Despicable Me 3, followed by Fifty Shades Darker, The Fate of the Furious, the domestic teen comedy Let Him Be a Basketball Player and the US animated feature The Boss Baby. The rest of the top ten includes: Pirates of the Caribbean: Dead Men Tell No Tales, Smurfs: The Lost Village , Star Wars: The Last Jedi, Baywatch and La La Land.

Charlatan Magnifique by Maja PavlinFifteen Slovenian films, ten of them supported by the Slovenian Film Centre (SFC), were released in cinemas in 2017. Total domestic admissions were 163,774 (compared to 230,851 in 2016) and box office was 617,452 EUR, representing approximately eight percent of the total admissions (it was 10% in 2016 and just 2% in 2015) and little less than six percent of the total annual box office.

Top five domestic titles in 2017 are: Let Him Be a Basketball Player, directed by Boris Petkovič and produced by Gustav Film, with 78,041 admissions, At Hostar by Luka Marčetić (produced by Kerlc Film in coproduction with Iridum Film) with 31,937 admissions, Militia 2 by Sašo Đukić, produced by Franci Kek and Tadej Klapš, with 11,259 admissions, Come Along, directed by Igor Šterk and produced by A.A.C. Productions, with 9,554 admissions, and Awakenings, directed by Peter Bratuša and produced by Felina, with 8,239 admissions.

Come Along by Igor ŠterkThe Slovenian film with the most admissions since 1991 is At Hostar / Pr’ Hostar by Luka Marčetić with 211,604 admissions (179.667 admissions in 2016 and 31,937 admissions in 2017), followed by Going Our Way / Gremo mi po svoje (directed by Miha Hočevar and produced by Vertigo/Emotionfilm, 2010) with 205,439 admissions.

The 28th edition of the Ljubljana International Film Festival LIFFe, organised by Cankarjev dom, generated 43,000 admissions and screened 97 long and 17 short films from 43 countries from 8 to 19 November 2017.

 

They Were Titos Towns by Amir MuratovićGRANTS AND NEW LEGISLATION

The main film institution in Slovenia is the Slovenian Film Centre (SFC), a public agency established in 2011 and replacing the Slovenian Film Fund. Its goal is to encourage creativity by providing suitable conditions for audiovisual activities.

The SFC supports national film production, postproduction, distribution and film festivals. In theory, its funding sources should come from the state budget, the agency’s own income, collaboration with international organisations, donations and sponsorships. In practice, the majority of its funding is in the form of a subsidy from the Ministry of Culture, with the amount depending on the annual budget of the country.

The Basics of Killing by Ian CvitkovičSince its launch, the SFC has been involved in the production of 80% of domestic films with an average funding support of over 50% per project. The SFC provided 4.434 m EUR for film production in 2017 and approximately the same amount is secured for 2018.

The managing director of the SFC is Nataša Bučar, appointed in December 2016.

The new film law is still pending, however in September 2016 some changes to the legislation governing the funding of the SFC were made and a new 25% cash rebate scheme for foreign production was introduced.

In 2017 the Slovenian Film Centre announced 13 public tenders and awarded grants totalling 3,836,300 EUR (3.95 m EUR in 2016). The results of three of them (minority coproductions, development, investment stimulation for AV production) have not yet been announced at the beginning of 2018.

A total of 2.603 m EUR went to film production (production, debut features, coproductions), 574,000 EUR went to audiovisual projects, 100,000 EUR to student films and 40,000 EUR to script and project development.

Sly Foxes by Boris JurjaševićA total of 73,900 EUR was allotted to festivals, 155,400 EUR for film education and 30,000 EUR for professional education.

In 2017 the SFC also started the project Our Films At Home, aiming at promoting domestic films among the Slovenian audience.

Other sources of support originate from coproductions, services backed by the state and provided by FS Viba film studio in the form of technical assistance, international film funds and institutions.

Slovenia Australia and Tomorrow the World by Marko NabersnikTV

In the last few years, according to the Law on the Slovenian Film Centre, the public broadcaster RTV Slovenia has been obliged to invest in independent projects.

In 2017, the leading commercial TV Pro plus with its five channels (POP TV, KANAL A, KINO, BRIO and OTO) kept its leading position with news, foreign programming, reality shows, local TV series and sporting events, followed by the national television RTV Slovenija with its three national channels, and the commercial television Planet TV.

Every Good Story Is a Love Story by Matjaž Ivanišin and Rajko GrlićOther significant players are foreign cable TV channels Fox Group, Cas Media, HBO Europe and several ex-Yugoslavian TV channels.

Prime time on Slovenian television is generally held by news (Dnevnik, 24 ur, Planet Danes), reality and entertainment shows (Slovenia Got Talent, Your Voice Sounds Familiar, Dancing with the Stars, Masterchef, Gostilna išče šefa, Farm, Biggest Looser, Vse je mogoče) and domestic fiction (Ena žlahnta štorija, Usodno vino, Reka ljubezni), most of them produced by Pro plus and Planet TV.

In 2017 a few non-English language fiction programmes, like the German TV series Mountain Medic / The Bergdoktor and a Turkish TV series, also had a significant share.

While Planet TV launched the last, sixth season of the TV series Ena žlahtna štorija, directed by Aleš Žemlja, Boris Petkovič, Jaka Šuligoj and Marko Cafnik, Pro plus successfully finished the fourth season of Usodno vino and has started a new domestic TV series Reka ljubezni directed by Nejc Levstik and Jaka Šuligoj, produced by Perfo Production, in Autumn.

CONTACTS:

SLOVENIAN FILM CENTRE
Miklošiceva 38
SI - 1000 Ljubljana
Phone: +386 (0)1 23 43 200
Fax: +386 (0)1 23 43 219
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.film-center.si

SLOVENIA FILM COMMISSION
Miklošičeva 38
SI - 1000 Ljubljana
Phone: +386 (0)3 23 43 200
Fax: +386 (0)1 23 43 219
Mojca Planšak, email: This email address is being protected from spambots. You need JavaScript enabled to view it.
www.film-center.siA Dream by Boštjan Slatenšek

MINISTRY OF CULTURE OF REPUBLIC OF SLOVENIA
Maistrova ulica 10
SI - 1000 Ljubljana
Phone: +386 (0)1 369 59 00
Fax: +386 (0)1 369 59 01
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.mk.gov.si

FS VIBA
Stegne 5
SI - 1000 Ljubljana
Phone: + 386 (0)1 5132 402
Fax: + 386 (0)1 5132 550
This email address is being protected from spambots. You need JavaScript enabled to view it.
www.vibafilm.si

Report by Damijan Vinter (2018)
Sources:the  Slovenian Film Centre, the Ministry of Culture