Open Discussion: Junge Perspektiven auf den Tisch

Older people can learn a lot from young people, they say - you just have to let them. "Young Professionals to the Table" wants to focus on mutual perception and reinforcement and along numerous guiding questions bring young and old together - the understanders and the dreamers, the maintainers and the unsullied. What does an ideal funding landscape look like? What is the significance of the feature film for directors? What kind of people manage to study film at all, and what kind of freedoms are offered within the framework of their studies? And we should also think about this more often: what connection do filmmakers even have to European film anymore? The point of these rounds is to create a space where people can network, exchange ideas, and ask questions.

Panel: Perspectives on What We Call Cinema Spaces

Rethinking cinema always means rethinking its space. How can cinema have an impact on the urban space in the future in order to create a public sphere? How do its spaces act inwardly: both on the multitude of film images and on their recipients? For a long time, the cinema was linked to the classic cinema auditorium. In its newer forms, it is also becoming a virtual reality. So what does film need in its present and future for new spatial concepts? Does the separation between the places of film production and the places of film perception continue to make sense? Taking as a reference the design for the ‘Centre Culturel Dédié Au 7è Art’ envisioned by the global architectural firm UNStudio, this panel will discuss different perspectives and concepts that reflect on the future of cinema as a cultural venue.

Panel: Misstrauen und Verheißung

The special thing about our situation is the audience's distrust of 'own' films," director Christoph Hochhäusler wrote soberly in a recent blog entry - triggering a small debate. We want to continue this debate asking: How much trust does German film need, how much yearning? And how much distrust should the audience be given? Are people really too stupid? Or are German directors perhaps too sensitive and larmoyant?

Panel Discussion: On Film Schools in Europe

In this round, representatives of various European film schools discuss how they see themselves as educational institutions. How do they see their task, how do they deal with students, what is their orientation? How do they position themselves in the field of tension between training for the film industry and free spaces that allow students to develop their own expression? What does film art and artistic film mean for these schools? In this context, the cooperation between the schools in Europe should also be taken into consideration. What kind of cooperations take place, which ones would be desirable? What international projects and exchange opportunities connect European film schools? The discussion will also focus on the current political situation surrounding the war on Ukraine and what it means for the situation of film schools and students.

Panel: Das Andere Kino: Zur Zukunft eines Kulturortes

We live in the age of the image, and even more so: the moving image. Film has become a carrier of knowledge and a way of life. But the importance of cinema as an original place of reception for the film experience is dwindling. This has social consequences: The crisis of the cinema is also a crisis of public space. As a place of gathering and discussion, cultural-critical moderation and joint reflection, this is of great importance for a democratic (urban) society. Without social spaces of discourse and collective experiences, it is in danger of losing its foundation. Therefore, a comprehensive reinterpretation of the cultural space of cinema is needed. This panel will discuss how this reinterpretation can look like and succeed.

Panel: Let’s talk about: Klassismus in der deutschen Filmbranche

As part of the film.macht.vielfalt. series, HessenFilm und Medien invites you to a panel discussion dedicated to the topic of classism in the German film industry. The discourse on the present and future of German film is increasingly also conducted under the keyword of classism: Who creates the images that immerse us in stories? Who decides what content finds its way to the audience and who can actually afford to "make films"? If we talk about classism, we talk about power and access, about training paths, lateral entry and the reconciliation of different realities of life - from the set to the editorial offices and film-political institutions. Our guests from academia and practice look at the meaning of classism and how classist structures impact both in front of and behind the camera from diverse perspectives.

Panel Discussion: Under Pressure – Film Funding and Financing in Europe

The current financing and re-financing models of cinema film production and the financial basis for the theatrical and the distribution sector with their respective business models are coming under pressure due to the changing media and, as a consequence, the changing reception habits of the audience. In this panel representatives from various European countries will discuss strengths and weaknesses of different film funding and financing models to develop solutions to common challenges. Which funding models allow for a large creative freedom and lead to a flourishing film landscape? And how can incentives for co-production compensate for the steadily decreasing public funding?

IZK+F Closed Session: Initiative Future Cinema + Film

The Initiative Zukunft Kino + Film (IZK+F) is a federation of independent associations and networks of cinema and film professionals calling for a paradigm shift in German film culture. It sees itself as a platform for exchange, inquiry and debate. Public advocacy for common interests and goals is its intention. Openness, diversity and freedom are the principles of their togetherness. The initiative's approach is one of solidarity.

Open Discussion: Junge Perspektiven auf den Tisch

Older people can learn a lot from young people, they say - you just have to let them. "Young Professionals to the Table" wants to focus on mutual perception and reinforcement and along numerous guiding questions bring young and old together - the understanders and the dreamers, the maintainers and the unsullied. What does an ideal funding landscape look like? What is the significance of the feature film for directors? What kind of people manage to study film at all, and what kind of freedoms are offered within the framework of their studies? And we should also think about this more often: what connection do filmmakers even have to European film anymore? The point of these rounds is to create a space where people can network, exchange ideas, and ask questions.

Panel: What Film Education Does Europe Need?

Fortunately, the new generation of the MEDIA Programme (2021-2027) also makes it possible to apply for film education projects in European project groups. But what are the consequences of thinking of film education conceptually as a measure to support and promote the audiovisual industry? Where do business and education cross-fertilise, where do they interfere? Can film education anchored in film culture, in which the required diversity and quality are at home, even hold its own in such a program? In short: What kind of film education does Europe need?

Round Table Discussion: Defending Freedom – Support for Ukraine

Dramatic images and news from Ukraine reach us daily. Russia is waging war against its neighboring country, catapulting the rest of the world into a serious crisis. The cruel attack against the Ukrainian civilian population has already cost thousands of lives and plunges millions into flight and despair. For all the consternation of the West, this is a war in the distance with an abstract idea of what it means to be threatened by death on a daily basis. Culture and its actors stand in the shadow of this war. The question of how to deal with the situation must and will also be asked by a film festival in Frankfurt. In a video message at the opening of the exhibition: "This is Ukraine: Defending Freedom" at the Venice Biennale, Ukrainian President Volodymyr Selenskyj emphasized the importance of art as a medium for discourse on the war.

Panel: Neue Formationen - Neue Produzent:innen

The fact that every experiment of interest is carried out at one's own expense can be applied to artistic work just as much as to productive action. Young companies with a declared artistic orientation usually move in a field of tension between promise and risk. Their films, which are often made in collective structures or in international collaboration, distinguish themselves in the tight competition for visibility and new opportunities. Almost invisible, however, are the considerable entrepreneurial risks that young companies are taking more than ever in these unsteady times. We ask their founders: What drives you? What materials do you take on? How do you exercise producer responsibility? Where do you find allies? Does the current market change open up new spaces for you? How free are you to experiment - and what does it cost you?

Panel Discussion: Filmmakers at War

While the future of filmmaking may have much to do with the good, the bad and the ugly of the streaming era, the Russian invasion in Ukraine is bringing back into focus the unique role of filmmakers at war and their singular vision which looks far beyond recording images or propaganda – seeking truth, human connection and memory. In this panel they share their testimonies and experience of filmmaking during military conflicts.

Panel Discussion: New Formations – New Producers

The fact that every experiment of interest is carried out at one's own expense can be applied to artistic work just as much as to producing activities. Young companies with a declared artistic orientation usually move in a field of tension between promise and risk. Their films, which are often made in collective structures or in international collaboration, distinguish themselves in the tight competition for visibility and new opportunities. Almost invisible, however, are the considerable entrepreneurial risks that young companies are taking more than ever in these unsteady times. We ask their founders: What drives you? What materials do you take on? How do you exercise producer responsibility? Where do you find allies? Does the current transformation of the market open up new spaces for you? How free are you to experiment - and what does it cost you?

Panel: Neue Wege für das Kino Jenseits von Gut und Böse: Wie kann der Ort des Kinos auf seine Krise reagieren?

Even before Corona, cinema was in crisis. And it wasn't just because of the movies and creaky seats. Or because of evil streamers. On the contrary, "crisis of cinema" actually means crisis of a certain attitude practiced over generations - towards life itself, towards seeing, towards what one sees and how. How to react to the changed situation? What would be the goal? How should the nature of cinema as a place be constituted and how should it communicate in order to be appropriate to the present and have a future? Following our open reflections on a House of Film Cultures published in 2021, we want to discuss further new ideas in order to present them later.

Panel: Filmmakers at War

While the future of filmmaking may have much to do with the good, the bad and the ugly of the streaming era, the Russian invasion in Ukraine is bringing back into focus the unique role of filmmakers at war and their singular vision which looks far beyond recording images or propaganda – seeking truth, human connection and memory. In this panel they share their testimonies and experience of filmmaking during military conflicts.

Discussion: Wunschkonzert Europa - Let's find out about film funding best practices in Europe!

Four years after the paper “Frankfurt Positions” was written at the Lichter Filmfest, the deficits in film funding (in Germany) have not been remedied, but have become even worse, partly as a result of the pandemic. Many film associations are demanding that the film funding system needs to be reinvented and the FFG (Film Funding Law) has to be rewritten. Before we start to rewrite the white sheet, we discuss with filmmakers, producers, distributors and cinema curators from different European countries which aspects of their respective national film funding systems are working well. What can we learn from each other in order to create a cinephile film funding system for the future?

Panel Discussion: Repressive Policies and its Influence on Culture and Media

The starting point for the event, which had been planned for some time, was as follows: At the latest when the national conservative and right-wing populist governments in Poland and Hungary took office, it was clear that the European community was facing major challenges. These developments have led to a restructuring of the cultural landscape in these countries. It is therefore important to discuss what influence reactionary forces have on the funding and shaping of the creative sector in Europe: What happens when film funding is infiltrated by the state? How can the creative industry stand up to these developments and what is its role in this? To what extent is their work dependent on the state and the political climate?

Panel: Repressive Policies and its Influence on Culture and Media

The starting point for the event, which had been planned for some time, was as follows: At the latest when the national conservative and right-wing populist governments in Poland and Hungary took office, it was clear that the European community was facing major challenges. These developments have led to a restructuring of the cultural landscape in these countries. It is therefore important to discuss what influence reactionary forces have on the funding and shaping of the creative sector in Europe: What happens when film funding is infiltrated by the state? How can the creative industry stand up to these developments and what is its role in this? To what extent is their work dependent on the state and the political climate?

What to do with documentaries? Festivals and Cinemas – Digital Platforms and the Public (Late) Broadcasting Slots

The consequences of the Corona crisis for the film industry and the cinema have started an unprecedented thought process in Germany. The rigid structures of the past decades needed to be reconsidered within the shortest time. Many of the old thought models have been discussed for years, but the pandemic and it’s varying degrees of strain have made it possible to try out theories and concepts in practice. This is especially true for documentaries, which suffer from a lack of film offerings in public television. The hype on streaming services has started a general debate: where and how can cinema documentaries find their audience? And when set airtimes in linear television will ultimately be a thing of the past and no longer viable, will it rise from the ashes? In this panel, experts from the German-speaking sphere reflect on the circumstances of documentary film in regards to its evaluation and discuss its future models.

Panel: Wohin mit dem Dokumentarfilm? Festivals und Kinos – Digitale Plattformen und der öffentlich-rechtliche (Spät)Sendeplatz

The consequences of the Corona crisis for the film industry and cinema have set in motion an unprecedented thought process in Germany and the world. The rigid structures of the past decades had to be reconsidered within a very short time. Many of the current models of thought have been discussed for years, but the pandemic with its different phases of stress have led to theories and concepts being tested in practice.This is especially true for documentaries, which are suffering from the shortage of film offerings on television stations. The hype of streaming services has sparked a fundamental debate. debate: Where and how can cinema documentaries find an audience? find its audience? And if fixed broadcasting times on television will soon be obsolete and no longer sustainable. and no longer sustainable, will it then celebrate its resurrection from the niche? 

Coexistence or Culture War? - Film Valorization Between Cinema and Streaming

The global change of cinema culture of the past centuries was accelerated even further by the Coronavirus-pandemic and its consequences. The basis of the cinema industry and distribution, including their business models, is under constant pressure by the media transformation and the accompanying change in the audience’s reception practices. This panel aims to sound out the tensions in film exploitation between cinema and streaming. Experts from the film industry, media studies, and journalism are discussing questions such as: How can distributors, producers, festivals, and more react to changing conditions? What kind of coexistence needs to happen, what kind of confrontations need to be had? Which new realities need to be accepted, where is creative freedom? Are new frameworks needed for regulation? Or can unexpected synergies happen?

Panel: Koexistenz oder Kulturkampf? - Filmauswertung zwischen Kino und Streaming

The global transformation of cinema culture in recent decades has been accelerated by the Corona pandemic and its consequences. The basis for the cinema industry and film distribution with their (business) models are coming under increasing pressure due to the change in media and the resulting change in the audience's reception habits. This panel will explore the field of tension in film exploitation between cinema and streaming from different perspectives. Experts from the film industry, media studies and journalism will discuss questions such as: How can distributors, producers, festivals etc. react to the changed conditions? What kind and form of coexistence is necessary, what confrontations have to be conducted? Which new realities have to be accepted, where is there room for maneuver? Do new regulatory frameworks have to be created? Or do even unexpected synergies arise?

Closing Event 2nd Congress Future German Film - Forum Europe

Frankfurt's Paulskirche is a symbolic place of democracy and freedom. On May 18, 1848, the first freely elected German parliament moved into the church and in December of the same year created the most liberal, democratic and social constitution of its time. In the end, it did not succeed: the German princes regained power. Yet the Paulskirche Constitution shaped both the Weimar Constitution of 1919 and the Basic Law for the Federal Republic of Germany of 1949. Between these two democracies lies the German civilizational rupture of 1933 to 1945, the sheer opposite of what the Paulskirche National Assembly once stood for. Almost completely destroyed during the bombing of Frankfurt's old town, the Paulskirche was deliberately rebuilt in a sober manner after the war. Frankfurt's Paulskirche thus also symbolizes the fragility and vulnerability of freedom and democracy.

Panel: Filmmaking & Politics: a 21st Century Mismatch?

At a time in which Ukraine fights for its right of self-determination, we are reminded that culture is an essential part of any well-functioning democracy. Filmmakers with singular voices hold a much-needed mirror up to society, while the artistic and creative freedom they need is eroding across Europe. Yet, policy makers are approaching our sector’s recovery from Covid-19 by focusing mostly on making it greener as well as globalizing, and digitizing it further. Is that enough? How can we put artistic, creative, and cultural diversity back at the heart of political agendas across Europe?

Panel: Quo Vadis, deutscher Film? Was die neue Regierung jetzt für den Film tun muss!

"German film is not doing well" - this is the latest statement of the BKM. We agree with this diagnosis. A provocative thesis right at the beginning: German film and its funding are visionless. German film is internationally irrelevant and uncompetitive. Germany has one of the highest promotion budgets in Europe. In relation to the economic resources used, German film has the worst audience figures in cinemas and the least success at film festivals. It is time to rethink film funding and to reposition German film for the future. The overall model of German film and its previous funding must be put to the test. We ask: Quo Vadis, German Film?