Berlin

 
copyright: Christian Lima Dehne

On Wednesday, 17th February 2016 the European Film Market and Bridging the Dragon in cooperation with Movie View successfully wrapped the first Sino-European Production Seminar for selected European producers who are developing feature film projects with China.

Among the 42 participants from Austria, China, Denmark, France, Germany, Finland, Iceland, Ireland, Italy, Netherlands, Norway, Poland, Spain, UK were Ulf Israel (Senator Film Produktion), Segolene Zimmern (Studiocanal), Lene Borglum (Space Rocket Nation), Robin Gutch (Warp Films), Synnove Horsdal (Maipo Film), Leontine Petit (Lemming Film), Michael Auret (Spier Films), Marc Baschet (ASAP Films), Christian Beetz (Gebrüder Beetz Filmproduktion), Bart Van Langendonck (Savage Film), together with many other seasoned industry professionals looking to forge closer ties between both continents and lay the groundwork for a mutually beneficial rapport.

Kirsten Niehuus, head of the Medienboard Berlin-Brandenburg opened the seminar, which started off with a session by Sisi Wu of Jetavana Entertainment (the pioneering company behind the first official Sino-Danish co-production ‘My Best Friend Andersen’), who introduced the major players of the Chinese film industry and key contacts when approaching its film market.

The session was followed by Ben Erwei Ji of Reach Glory Media & Entertainment Group and 2015’s Person of the Year by China Communications Leaders Forum,  who discussed the most recent developments in the Chinese market. He encouraged foreign producers to keep in mind the two main groups of film consumers in China, i.e. post-80s and post 90s generations, who shape local as well as foreign content entering the Chinese market. When speaking of the genres that are deemed most successful among the Chinese audiences, he said that fantasy/sci-fi, action/adventure are a growing trend, that animation has a lot of potential for co-production since it easily travels, while comedy and romance are still favourite genres although they might be complicated for co-pros due to the largely disparate cultural tastes and local habits of film consumption. Historical drama and kungfu are instead a genre in crisis.

Bringing to the fore a string of case studies on European-Chinese co-productions (where the French are still prevalent), Natacha Devillers of China Blue Films discussed the benefits of assisted shooting versus co-productions when producing a European indie film shot in China.

When speaking of the import and release of foreign films in China, the CEO of Thunder Communications International Charles Lei noted that co-productions are given a national treatment and thus bypass the national quota imposed by the SARFT of 34 overseas revenue-sharing films (of which 14 are “specialty” films) and ~ 50 flat fee films. Lei who is also an advisor to China Film and TV Capital, the only Chinese film fund responsible to the SARFT, then provided a thorough overview of the Chinese standards, aspects of regulation, and key challenges that foreign products have to overcome in accessing the market and gaining consumer acceptance.

Following, veteran producer Fang Li from Laurel Films cast light on the potential of  co-productions with China.

“Any film has a chance to be released in China, whether artistic or commercial” said Laurel Film’s Fang Li. “It may not be easy but there are so many stories and relations between China and Europe, more than with the US.” He encouraged European producers to go to China and collaborate with Chinese partners. “We really need co-productions. The Chinese audience is growing and needs diversity. And as the number of screens grows dramatically there will soon be a chain devoted to quality pictures. That’s why there are many Chinese funds looking for projects to invest. We lack good projects, good scripts. Any experienced producer, writer or director has a chance. There is a big opportunity for the people in this room. This is a historical chance for all European producers.” he said.

In the afternoon, the seminar explored the incredible development of creative e-marketing and on line support to film releases. Ben Zhang, studio executive from Alibaba Pictures, the entertainment arm of the global conglomerate, spoke of the importance of going beyond the traditional off-line strategies in China, where 70% of tickets sales are now purchased online. Alibaba is developing a model that includes merchandising, online promotion, crow funding, till travel and restaurant apps for a global entertainment experience.

Zhang’s standpoint was aligned with the one of Luke Xiang, VP of Weying, company leader in e-ticketing, who discussed with Movieview chief editor A Lang the particularities of the Chinese audience today and how social networks not only is changing the way it consumes cinema but could very soon support the growth of a more art house product.

Closing the event the co-founder of Bridging the dragon and host of the event Cristiano Bortone reminded to the participants the deadline for submitting projects to the upcoming project before Beijing (April) and Venice Film Festivals.

During the seminar the participants had time to mingle and exchange contacts and business opportunities.

Matthijs Wouter Knol, director of the European Film Market, closed a seminar that contributed once more to the creation of a community of film professionals aiming at this new frontier.

The European Film Market (www.efm-berlinale.de), a film trade fair held simultaneously to the Berlinale, is a major industry meeting for the international film circuit. 

Bridging the Dragon (www.bridgingthedragon.com) is an association connecting European and Chinese film professionals by organising events at major international film festivals, providing networking opportunities and offering consultancy to its members about producing between Europe and China.

Movie View is one of the major film magazines in China and in 2015 established Movie View International to provide Chinese film professionals with first-rate service of international marketing, distribution and film festival PR.