With a career spanning over 29 years, Viorel Chesaru is widely recognised for his expertise in postproduction and his contributions to critically acclaimed films. He is currently Executive Director at Romania’s leading postproduction house Chainsaw Europe, he played a pivotal role in the success of many Romanian films, including Alexandru Belc’s Romanian/French Metronom, produced by Strada Film International, coproduced by Midralgar and Chainsaw Europe, Bogdan Muresanu’s Romanian/Serbian The New Year That Never Came / Anul Nou care n-a fost, produced by Kinotopia, coproduced by Chainsaw Europe, the Romanian National Television SRTV, and All Inclusive Film, as well as Radu Jude’s Kontinental ‘25, a coproduction between Romania, Brazil, Switzerland, UK, and Luxembourg, produced by Saga Film, coproduced by RT Features, Bord Cadre films, Sovereign Films, and Paul Thiltges Distributions.

Chesaru’s roles have included coproducer, supervising producer, postproduction supervisor, and supervising sound editor, showcasing his versatile skill set and commitment to excellence. His work is celebrated for its technical precision and creative innovation, solidifying his reputation as a cornerstone of modern European cinema.

FNE: What are your takeaways from the Creative Romanian Film Makers showcase in Cannes?

Viorel Chesaru: Participating in Cannes as part of the “Come Film in Romania” initiative was incredibly encouraging and rewarding. We had the opportunity to showcase 16 Romanian production companies under the Creative Romanian Film Makers banner, which really highlighted both the diversity and the growing maturity of our film industry.

There were several key takeaways from our presence there. First, there's clearly a rising interest in Romania as a filming destination, particularly thanks to the operational 30% cash rebate system. Secondly, our production companies are increasingly recognised for the high quality of services and facilities they offer. We also engaged in valuable networking with international producers who are actively seeking cost-effective yet high-quality European alternatives.

Most importantly, our participation helped reinforce Romania’s reputation as a credible regional hub for international productions. It’s genuinely motivating to see how far our industry has come in terms of professionalism, and how we are now perceived as reliable and trusted partners for major global projects.

FNE: As President of the Creative Romanian Film Makers association, and a well-known producer, how important are showcases like Cannes, Cannes Lions, NATPE etc. in attracting international talents to Romania and international productions to Romania?

Viorel Chesaru: Participating in international industry events like Cannes, NATPE Global, MIPCOM, and the American Film Market is absolutely essential for the growth and evolution of Romanian film industry. These showcases are about much more than just having a presence; they’re strategic opportunities to build long-term partnerships and elevate Romania’s profile on the global stage.

There are several reasons why these events are so important. First, they provide crucial global visibility. We use these platforms to challenge outdated perceptions and show that Romania isn’t just a low-cost option; it’s a high-quality destination with a compelling price-performance advantage.

Secondly, our consistent presence at major trade shows reinforces our professional credibility. It signals to the international community that Romania is a serious and reliable player in the film production landscape.

Thirdly, these events serve as powerful networking engines. Many of the international productions that choose Romania begin with a simple conversation at one of these markets. The connections we make there frequently translate into real, tangible projects.

Lastly, these events are a unique opportunity to educate the market. There’s still a lack of awareness about the benefits Romania offers - from financial incentives like the 30% rebate to the depth of our local talent and infrastructure. Trade shows allow us to close that knowledge gap.

We’ve seen direct results from this approach. After NATPE 2025, for instance, we entered into advanced discussions with several American studios, a clear evidence that these efforts lead to meaningful outcomes.

FNE: What is happening right now in Romania in terms of the cash rebate?

Viorel Chesaru: The current state of Romania’s cash rebate system has significantly improved compared to the challenges we faced between 2020 and 2023. In March 2024, the government officially re-launched the scheme, which now offers a more stable and clearly defined structure.

The updated parameters include a 30% cash rebate on eligible local expenditures (slightly reduced from the initial 35%), with an annual budget of up to 55 m EUR. The system also features a cap of 10 m EUR per project and requires a minimum local spend of 100,000 EUR.

While international awareness of the new system is growing, we recognise that there is still some skepticism stemming from earlier disruptions. That’s why our ongoing participation in major industry events is so critical: to rebuild trust and to reassure producers that Romania is now offering a more reliable and predictable framework.

We’re already seeing positive momentum. Romania is currently hosting several international productions, with notable recent successes including Tim Burton’s Wednesday for Netflix and Django for Sky Studios. The interest is definitely there, and our focus now is on proving the consistency and professionalism of the scheme’s administration to attract even more global projects.

FNE: Where do you see Romanian film industry in five years, not only as a cradle of talented filmmakers, but also as a nurturing space for international productions?

Viorel Chesaru: In the next five years, I see Romania transforming into a major regional hub for European and transatlantic productions.

My vision for 2030:

As a cradle of Romanian talent:

• Consolidation of Romanian New Wave directors' position on the international scene
• Diversification of genres (not just the social dramas we're known for, but also genre productions, comedies, thrillers)
• Development of a new generation of producers who think globally from the start

As a destination for international productions:

• Positioning as the premium alternative to Poland and Hungary, with services at the same level as Prague or Budapest
• Specialisation in medium-to-large budget productions (10-50 m USD) where the quality-price ratio is optimal
• Infrastructure development: new studios, more postproduction facilities
• Creating a complete ecosystem, from preproduction to distribution

Concrete objectives:

• 20-25 major international productions per year
• Direct investments of over 200 m EUR annually
• Positioning in the top 5 European film destinations

Romania has all the ingredients: diverse locations, professional crews, competitive costs and, crucially, political stability for the film industry.

FNE: How can you summarise the work of the Creative Romanian Film Makers? What are your plans for it, how do you see it in the near future?

Viorel Chesaru: Romania already has the essential ingredients: varied and cinematic locations, skilled and professional crews, highly competitive costs, and (perhaps most importantly) a growing sense of political and administrative stability that’s crucial for long-term industry confidence.

We are optimistic that through our constant work and the improved cash rebate system, Romania will truly become a major player on the European cinema map.