The Rise and Challenges of European Cinema: A Booming Industry Struggles for Audience Engagement
European film is experiencing a significant resurgence. Despite the disruptions caused by the pandemic, film production on the continent has surged by over 50% in the last decade. This prolific output is set to be showcased at major film festivals such as the Berlin Film Festival, Cannes, and Venice throughout the year. Even films not selected for these prestigious events can still gain attention from the numerous European film festivals, with FilmFreeway logging over 600 festivals for the current year alone.
A Shadow of Growth
While the industry’s production numbers are impressive, there’s a darker side to this golden decade. Since 2011, the rise in film productions hasn’t been mirrored by an increase in moviegoers. In essence, more films are being produced, but fewer people are watching them. This phenomenon defies the economic logic that increased choices and product differentiation should drive higher demand. For example, Jacques Audiard’s Emilia Pérez, despite winning a jury prize at Cannes and receiving critical acclaim, faced lukewarm reception from audiences.
The Quest for Audience Engagement
Several factors could explain this disconnect. The market could be saturated, or blockbusters might be overwhelming the smaller films. It’s also possible that the film industry’s winner-takes-all nature, where a few films dominate the audience and prize charts, is a contributing factor. Another potential issue stems from the industry’s concentration of resources and power, which may lead to a lack of focus on audience satisfaction.
The EU’s Role in European Cinema
Despite these challenges, the European Union plays a crucial role in supporting European cinema. The Creative Europe Media programme, part of the EU’s budget for 2021-27, allocates €1.4 billion to bolster various aspects of film-making, from training and promotion to production and distribution. This initiative is behind 14 featured films at this year’s Berlin Film Festival and supports key industry platforms like the European Film Market and Berlinale Talents. The programme aims to foster cultural diversity, artistic value, and global competitiveness.
The Concentration of Resources
However, this concentration of resources and power can be problematic. Major festivals like the Berlin Film Festival command significant funds and media attention but are inaccessible to smaller events. Despite FilmFreeway registering over 600 festivals annually, estimates suggest that more than two-thirds will not survive the duration of the Creative Europe Media programme. Small festivals, lacking industry presence or the means to scout, often recycle movies deemed secondary by larger festivals, creating a cycle where only a few films gain mainstream traction.
The Vicious Cycle
This cycle further marginalizes smaller venues, which rely on premieres to build an identity outside the festival sphere. As a result, these events often become dumping grounds for less successful films, leading to a focus on industry members rather than the wider public. The concentration of power among a few organizations also limits opportunities for emerging talent and diverse voices.
The European Film Club Initiative
The launch of Media’s European Film Club is a case in point. While the initiative aims to provide a platform for young people to engage with European films, its partners include national film centers, film schools, and established festivals. This raises questions about whether these institutions truly qualify as film clubs and whether they can effectively attract a broader audience.
The Dilemma of Cultural Diversity
At the heart of the Creative Europe Media programme lies a trilemma: achieving films that resonate with European audiences, are made by European filmmakers, and explore European themes. Consistently meeting all three goals is challenging and may lead to a monoculture controlled by those closest to the funding. This concentration of power can suppress diversity and drive out artists who don’t align with the dominant narrative.
The Future of European Cinema
Historical precedents show that top-down cultural policies can stifle diversity and artistic expression. The Creative Europe Media programme, with its vast resources, may inadvertently perpetuate a monoculture, benefiting the industry at the expense of the audience. For European cinema to flourish, there must be a shift towards more inclusive and equitable resource allocation.
If the EU is to achieve its goal of creating films for Europeans, by Europeans, about Europe, it needs to address the challenges of concentration, access, and diversity. Only then can the industry ensure that its growth benefits a wider audience.
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