European cinema is experiencing a renaissance, with critically acclaimed films like Jacques Audiard’s transgender crime musical Emilia Pérez, Edward Berger’s Vatican thriller Conclave, and Luca Guadagnino’s adaptation of William S. Burroughs’ Queer generating significant buzz. These films, along with Coralie Fargeat’s body-horror comedy The Substance and Mohammad Rasoulof’s Iranian drama The Seed of the Sacred Fig, are among the nominees for the prestigious 37th European Film Awards (EFAs).
However, despite this creative surge, European films are facing a box office slump. While European box office revenue in 2023 reached $7 billion, a 22 percent increase from the previous year, it still falls short of pre-pandemic levels. Alarmingly, American films dominated the European market, capturing a record 70.1 percent of ticket sales, leaving only 26 percent for homegrown cinema.
Matthijs Wouter Knol, CEO of the European Film Academy, which presents the EFAs, believes a shift in promotional strategies is crucial to reverse this trend. He argues that the current fragmented approach, where films are released over several months across different European countries with localized marketing campaigns, is hindering their reach.
“Why is there such a gap between the quality of European cinema and the awareness of it among European cinemagoers?”
“At core, it is indeed the difference between the way european films are being promoted, which is done in a very fragmented way.You have an approach in France, in Germany, in Benelux [Belgium, Netherlands, Luxembourg], in scandinavia. Whereas with U.S. titles, you see advertisements everywhere. Here in Berlin,if I read a review of Gladiator II on my phone,I look up and I can see the billboard on the street,the ads in the subway on my way to work. If we want European film to be seen by audiences in Europe, we need to copy some of the American elements in their promotion.We can’t promote our movies over the course of 12 months at different times in different ways in different territories and languages.”
To address this, the EFA is championing pan-European releases, exemplified by the “Month of European Cinema” initiative. Launched in 2021 with 14 cinemas in Germany, the program now spans 100 cities across Europe, attracting approximately 70,000 viewers. Knol sees this as a promising start and envisions further expansion in the coming years.
“Is there an online hurdle here? Except for Mubi, there are no pan-national streaming services focusing on European films.”
The global film industry is facing a pivotal moment as streaming platforms reshape the landscape of movie distribution. While the rise of streaming offers unprecedented access to content, it also presents challenges for European cinema, particularly in reaching wider audiences.
One key issue is the fragmented nature of the European market. As noted by a prominent industry expert, “The reality is that rights holders and distributors prefer selling to multiple streaming platforms in different territories. If you can sell a film to 30 different streaming platforms, that brings in more money than selling to one European platform. It’s a catch-22 situation where the revenue benefits from market fragmentation.”
This approach,while financially beneficial in the short term,can hinder the visibility and impact of European films. A coordinated, cross-border release strategy is crucial for maximizing reach and fostering a stronger European film identity.
The question of how receptive European distributors are to this cross-border approach is paramount.As the expert emphasizes, “That’s the crucial question in Europe. The answer to that question is going to define what will happen to European cinema in the next five to 10 years.”
success stories are needed to demonstrate the viability of this new model. Films like “Triangle of Sadness” and “Anatomy of a Fall,” which achieved international acclaim thru coordinated releases, serve as powerful examples. These case studies can convince distributors to break away from traditional practices and embrace a more unified approach.
“We need case studies of coordinated releases that worked,” the expert stresses. “Films like Triangle of Sadness, like Anatomy of a Fall, to convince distributors to break with their old habits. Because the world around us is changing, the media and promotion tools, the expectations and habits of the audience are changing very fast.”
Despite the challenges,European cinema boasts a wealth of originality and artistic vision. “But if you look at what European film has to offer, I think you can see we have some of the most original and appealing cinema in the world at the moment, made by filmmakers who are still allowed to say whatever they think and choose stories they really want to tell,” the expert concludes.
The future of European cinema hinges on its ability to adapt to the evolving landscape of film distribution. By embracing a cross-border approach and showcasing its unique strengths, european cinema can continue to captivate audiences worldwide.
## European Cinema: A Renaissance on Screen, a Challenge at the Box Office
**World Today News Exclusive Interview with Matthijs Wouter Knol, CEO of the European Film Academy**
European cinema is buzzing with creativity: critically acclaimed films like Jacques Audiard’s *Emilia Pérez,* Edward Berger’s *conclave,* and Luca Guadagnino’s *Queer* are garnering praise and nominations for the prestigious 37th European Film Awards (EFAs).Yet, this artistic flourishing is juxtaposed with a harsh reality: European films are struggling to find their audience, falling behind American blockbusters at the box office.
We sat down with Matthijs Wouter Knol,CEO of the European Film Academy,to discuss this puzzling paradox and explore potential solutions.
**World Today News:** Mr. Knol, despite the undeniable quality of European cinema today, there’s a critically important discrepancy between the artistic acclaim and commercial success. How do you explain this gap?
**Matthijs wouter Knol:** At its core, the difference lies in the way European films are promoted. We adopt a highly fragmented approach, with localized marketing campaigns rolled out over several months across different European countries. Contrast this with the saturation marketing employed by American studios – billboards, TV ads, online banners – ensuring their films are omnipresent. If you want European cinema to resonate with its audience, we need to borrow a leaf from this playbook.
**WTN:** You’ve championed the “Month of European Cinema” initiative, promoting pan-European releases. how successful has this been, and what are your future aspirations for the program?
**MWK:** Launched in 2021, the “Month of European Cinema” has grown substantially. It started with 14 cinemas in Germany and now spans over 100 cities across Europe, attracting approximately 70,000 viewers.This is a promising beginning, and we envision expanding it further in the coming years, fostering a pan-European cinematic experience.
**WTN:** What about the online landscape? Excluding platforms like Mubi, there’s a lack of pan-national streaming services dedicated to European films. Does this pose a hurdle in reaching a wider audience?
**MWK:** Absolutely. The absence of a dominant European streaming platform presents a significant challenge. It limits accessibility and reduces the visibility of European cinema online.While smaller platforms like Mubi are making strides, a larger-scale service could truly revolutionize how audiences discover and engage with European films.
**WTN:** The global film industry is at a crossroads, facing significant technological and cultural shifts. What are your hopes and anxieties for the future of European cinema?
**MWK:** I’m optimistic about the artistic vibrancy of European cinema – the stories we are telling, the unique perspectives we offer. Though, I remain concerned about the struggle for visibility and funding. We need to find innovative ways to connect with audiences, embrace new technologies, and strengthen collaborations across borders. Only then can we ensure that European cinema continues to thrive in this ever-evolving landscape.
This interview highlights the exciting creative flourishing in European cinema while urging a crucial conversation about its accessibility and visibility. The fragmented promotional strategies and lack of a pan-European streaming platform present significant hurdles, but initiatives like the “Month of European Cinema” and the growing recognition of the need for change offer hope for the future.
The future of European cinema hinges on finding innovative solutions to connect
with audiences at home and abroad.
