Fondazione La Biennale di Venezia’s Post

In post-Brexit Britain, the British film industry lags behind international competitors, placing it in the bottom half of the world’s top 10 markets. The COVID pandemic, a struggling national economy and industrial action, have all undermined the business of filmmaking. An ongoing lack of government and private investment have also contributed to a year on year decline in profitability since 2020. The British Film Institute reports the 207 films that went into production in 2023 were 13 fewer than the previous year and production budgets were 31% less. British film goers show a preference for American films or UK and US co-productions. The world’s largest and most profitable markets outside of Hollywood are in India, Nigeria, and China. In 2023, China earned a 23% share of global box office, edging out the UK which had a 22.5% share according to Statista. Image credit: IMDB

The history of film both as an art form and an industry in Kuwait has been characterized by resilience amidst turbulence. Since the groundbreaking release of “Bas Ya Bahar” (The Cruel Sea) in 1972, which catapulted Kuwaiti cinema into the limelight, the industry experienced steady growth until the brutal Iraqi invasion in 1990. However, today, emerging from the long shadow of the invasion, Kuwait’s film industry is experiencing a renaissance. Filmmakers are venturing into the field armed with the power of imagination, creativity, original content and new technology, signaling a promising era of revival.

After 3 years, this piece is finally out! Reshaping production practices: European film festivals, new Indonesian cinema, and the creative producer in New Review of Film and Television Studies  https://lnkd.in/gZ57eWzq Here I discuss how the 'creative producer' has became an important new role and figure in Indonesian filmmaking, partly through the interaction with European film festivals. Over the past 20 or so years, these festivals have changed how they engage filmmakers. With much greater emphasis on industry outcomes and accountability, festivals are beginning to demand the same from filmmakers. This means that the previous auteur model, which relied on the genuis of the director, is being complimented by creative producers who ensure accountability and viability for film projects. Creative producers work hand-in-hand with directors, and are now as prominent in events and project development, and have often become important commentators in their own right. In the piece I look at Meiske Taurisia and her contribution to Indonesian filmmaking. But there are many more like her making an imprint on Indonesian cinema, and helping to engage new funding bodies like streaming platforms.

Wow! over 500 views in just 3 days of my FIRST short film being out! 🤯 The grace and favour of God for real. https://lnkd.in/daTJiHsH I didn't know what to expect when releasing my debut but the support and the response has exceeded my expectations and I am so grateful! So many people are saying we need to make it into a series 👀👀 Since I got 500 views in 3 days I'm going to write 5 things I learnt making a film internationally. 5 Lessons I Learned from Making My Debut International Short Film in Ghana 1. Collaboration is Everything! I had no idea how collaborative filmmaking truly is until I made my first film—and I loved it! While directors shape the vision, it’s the combined efforts of everyone, from the gaffer to the cinematographer to the extras, that truly make a film great. 2. Flexibility is Key in International Productions. From unexpected scene changes to navigating local bureaucracy, I had to adapt quickly, whilst staying positive through the ups and downs of the changes, which kept the production on track and the team motivated. Problem-solving on the go sharpened my ability to manage resources efficiently. 3. The Importance of Building Strong Relationships. Trust-building with local partners opened doors and ensured smoother operations on the ground. They were also able to provide invaluable insights and resources that I couldn’t have accessed otherwise. Mutual respect in international projects is important! 4. Budgeting for the Unexpected. International shoots often come with unforeseen expenses, whether it’s for transportation, or equipment. I learned to budget with a cushion to accommodate these surprises without compromising the quality of the film. Working in Ghana taught me to be resourceful, making the most of what was available locally, which often led to cost savings and innovative solutions. 5. The Impact of Cross-Cultural Exchange. Shooting in Ghana and working with Ghanaian filmmakers broadened my understanding of global narratives and the universal themes that connect us all. This experience has made me a better storyteller, with a deeper drive to document diverse voices. The cross-cultural elements of the film have resonated with audiences beyond Ghana, demonstrating that local stories can have a global impact. I defiently want to continue to explore international storytelling further. Shooting my debut short film in Ghana was an eye-opening journey that challenged me, taught me invaluable lessons, and ultimately made me a better filmmaker. I’m excited to apply these lessons to future projects and continue exploring stories that resonate across borders!! Have you worked on an international project? I’d love to hear about your experiences and any lessons you’ve learned along the way. Let’s connect! ✨

The Cannes Market is gearing up for its 2024 edition with a key focus on the global IP market. With the spotlight shifting, we're curious - will we see a renewed focus on existing and IP assets within the Middle East? What do you think? #film #IPassets #filmindustry #cannes2024.

Six key developments in the international film industry:

African Cinema Summit 2024: 12 Critical Questions for the Second Edition As the second Africa Cinema Summit approaches (October 7-10, 2024, in Accra, Ghana), the African film community watches with interest to see how this nascent initiative will develop. Spearheaded by Ghana's National Film Authority (NFA), the summit positions itself as the continent-wide platform for dialogue and action across film sectors. Given this ambitious framing, despite being only in year two, the Summit invites closer scrutiny. So, while it may be premature to call it a "critical juncture," saying that the second edition represents an important step in efforts to address the complex challenges facing African filmmaking, should not be all that provocative. This year's theme, "The Relevance of Cinema in African Communities," follows the inaugural 2023 event, which saw representatives from 20 African countries and yielded few tangible results. For its second edition, Summit organizers plan to focus on improving the quality of local content production and "reimagining" cinema for Africa's mass market, particularly engaging the continent's youth. A key question is whether the Summit can move beyond discussion to build meaningfully on its first year and begin to address the varied realities of filmmaking across the continent in concrete ways. Its success will be measured not just by the quality of its talks or the prominence of its attendees. It ultimately will be assessed on its ability to catalyze real-world improvements that span a fragmented landscape. Akoroko Premium subscribers received an in-depth newsletter on the second edition, asking 12 critical questions that probed the summit's potential impact and areas of focus, while examining realistic expectations. To receive it, and much more, subscribe at the link: https://lnkd.in/gevT2uY7

🎥 Reflecting on the Importance of Independent Cinema 🎬 The film industry thrives on diversity, innovation, and authenticity, and much of this is owed to the realm of independent cinema. Independent filmmakers courageously explore niche topics, challenge societal norms, and offer fresh perspectives that enrich the cultural tapestry of cinema. Without independent cinema, the industry would lose its soul. However, it's imperative to recognize the challenges that hinder the quality of filmmaking, particularly in regions like India. Despite its rich cultural heritage and immense talent pool, the Indian film industry grapples with issues such as limited infrastructure, lack of access to funding and resources, and a sometimes-overbearing focus on commercial success over artistic merit. As we celebrate the art of cinema, let's also champion the role of independent filmmakers and advocate for an environment that fosters creativity, diversity, and innovation in filmmaking. Together, let's ensure that independent cinema continues to thrive and contribute to the rich tapestry of storytelling. #IndependentCinema #FilmIndustry #Creativity #Diversity #Innovation #Filmmaking #IndiaCinema #ArtisticMerit 🎬🌟

#Reunion: A film festival has launched on Réunion Island, a French department in the Indian Ocean. Réunion might be a French territory, east of Madagascar, but its population is diverse, with a strong African presence shaped by slavery and colonialism, with East African and Malagasy influences. The first edition of the Festival International du Film de l'Océan Indien (FIFOI) or Indian Ocean International Film Festival (FIFOI) is set for April 8th to 12th, 2024, in Reunion Island, which has a population of less than 1 million people. It will showcase primarily locally-produced short films and a few features - fiction, documentary, and animation - highlighting the island's film scene. More broadly, it will spotlight cinema from the entire Indian Ocean region, including areas on the east coast of Africa (Kenya, Tanzania, Mozambique, Somalia, etc), as well as South Africa, and other African island nations situated in the Indian Ocean like Seychelles and Mauritius. Also expected to launch, although in 2025, is an accompanying Film Market. For the inaugural edition, the precursor to the Market will be called The Professional Meetings, which will provide networking opportunities as a start. Supported by the local Hors Champs Réunion association and state-owned national public broadcaster France Télévisions, FIFOI is the 3rd and final festival within the France Télévisions group for France's overseas territories. It follows FIFO in Polynesia and FIFAC in the Antilles-Caribbean, both major film events in their respective regions. The same goal has been set for FIFOI in Réunion. While the festival will not be entirely competitive in its first year, the audience will be invited to vote for their favorite films. Winners will be awarded the Audience Prize on the closing night of FIFOI 2024, with financial support from France Télévisions. Future editions will include competition sections with professional juries. I will certainly be tracking... Here's a trailer for the upcoming first edition.

Important I note this achievement here, especially in view of my previous mention of possible challenges being faced by Israel's cultural world. I reference the issue as a beginner screenwriter, just two years out of film school (and clearly at the bottom of the cinematic food chain). https://lnkd.in/dpZE_Zvw