Lors de la 77ème édition de la Biennale de Venise, qui s’est tenue du 2 au 12 septembre, nous avons eu l’occasion de discuter avec Pascal Diot, le directeur du Venice Production Brigde. Cet espace dédié au développement et à la production de projets cinématographiques joue un rôle important, puisqu’il permet, au travers des meetings qu’il propose, la création d’un réseau entre les professionnels de l’audiovisuel et les projets présentés.
During the 77th Venice International Film Festival, which took place from 2 to 12 September, we had the opportunity to chat with Pascal Diot, head of the Venice Production Bridge. This area plays an important part in the development and production of film projects, as it allows, through the meetings and workshops it offers, the creation of a network between audiovisual professionals and the presented projects.
The Venice Production Bridge is subdivided into several markets, including the Final cut, which focuses on productions from Africa and the Middle East, the Venice Gap-Financing Market, which presents fiction films, documentaries, and VR projects seeking financial support from European and international producers, the Book Adaptation Rights Market, which offers book publishers the opportunity to promote the development and production of projects through the audiovisual industry, and the VOD Market Day, which, as its name suggests, allows VOD platforms to offer their services to international distributors. The pandemic has, inevitably, had an impact on the market’s different workshops. However, positive things also came out of this strange situation, as Pascal Diot explains.
The 77th Venice Film Festival drew to an end on Saturday night. Learn more about the winners and the major events of this year’s edition.
Changes at All Levels
This year was undoubtedly a year of change for the film festival, not only because of the Covid-19 situation but also because Alberto Barbera, Venice International Film Festival’s director, made a point of including more films directed by women in the competition. In this way, 8 out of the 18 films presented in the competition were directed by women. Moreover, this year's selection also witnessed an increase in the number of films which were not American productions.
Moonday is a 4-in-1 tool that allows cinema and audiovisual professionals to be more productive in their daily work, by finding all the relevant information centralised on a single platform. At Moonday, we aim at making the cinema and audiovisual industry more digital, through a user-friendly collaborative software.
From now on, you will have a free access to Moonday and all the different useful features that will be upgraded over time (listed in the table below)!
As someone from the East (East Germany and Eastern Europe), Simone Baumann is used to cope with important changes and doesn´t have real fears. German Films’ managing director shared her expectations for the future of the cinema industry.
We had the opportunity to talk to José Luis Rebordinos, director of Spanish San Sebastián Film Festival.
We spoke to Stig Bech who has been in the audiovisual business since 1992 and is today CEO of Filminvest.
As the coronavirus pandemic continues to threaten the cinema and audiovisual industry, festivals are announcing hybrid events featuring physical and online activity. With the Cannes Marché du Film behind us, we took a stock with a few sellers and distributors on how they were handling the online markets situation.