– CANNES 2022: The controversy organized by CNC highlighted the willingness of business professionals to proceed the dialogue to adapt to the rising adjustments within the filmmaking enterprise.

(lr) SACAD CEO Pascal Rogard, MEP Salima Yenbou, Netflix Authorized Affairs Director Damien Burnett, Rosalie Varda (Cine Tamaris/MK2), Arkham Counselor Jean François Marie, Wild Bunch Manufacturing Head Florence Gastaud, MG Group Secretary Common Karine Bloet Christophe Tardius, Secretary Common of Et France Tv

Yearly, CNC hosts a serious debate on the Cannes Movie Pageant the place TV networks and movie professionals come face-to-face. Platform bosses had been beforehand absent from these conferences, however on Saturday 21 Might this yr, a Netflix consultant attended the roundtable, and it is because in February, a number of agreements had been signed associated to the financing of the unbiased French movie . creation, and a brand new media chronology developed. So why argue if all goes easily? It is because this new framework is designed to accommodate change, and regulatory change is shifting way more slowly than the financial adjustments affecting the French audiovisual panorama, particularly TF1 and The following merger between the M6, the launch of the Salto platform by France Tv, the top of TV licenses, and the elevated competitors introduced by American platforms on French soil.

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In that sense, the talks aren’t over: As the one streamer to signal a cope with movie professionals and approve new media chronologies, Netflix France now has some calls for of its personal. Its 200 million euro funding in unbiased French manufacturing – 40 million of which is able to go to movie – and its contribution to the CNC’s funds via tax doesn’t come at no cost. Director of Authorized Affairs of Netflix France Damien Byrne outlined a few of these prices: “First, our producers want entry to the automated audiovisual help fund, which we had been promised to spring. For the collection, the audiovisual tax credit score in France However the restrict makes the nation a lot much less economically engaging for our massive funds chain than different European techniques.” Moreover, when it comes to funding obligations, Netflix makes a bigger contribution to French manufacturing than Amazon: in actual fact, Amazon Prime Video’s turnover — which the streamer makes use of to calculate its obligations — is extremely unclear. Lastly, in particular movie phrases, a film co-produced by Netflix is ​​aired 15 months after a cinema launch, a window the platform desires to scale back to 12 months (for the document, Canal+ has a 6-month window). ). “France is the one nation on the planet the place Netflix has to attend so lengthy for a film to air, and this delay encourages piracy.”

Based on the Wild Bunch Producer Florence Gastaud: “We speak about obligations, however that is not the best phrase: For platforms, movie is a vector that permits them to widen their pool of shoppers. I consider in complementarity of screens :film Theaters are struggling because of this, proper now, however it is just short-term.” he gave an instance Jane Campion‘s canine energy [+see also:
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It achieved higher Netflix viewers ends in nations the place it additionally loved a cinema launch than its poorer end in France, the place it was not launched in film theaters. “My foremost concern is admittedly the editorialization of the movie”, she insisted, “a matter on which platforms, networks and film theaters ought to all be targeted.”

For the media chronology window, the panelists agreed on the necessity for additional dialogue: “The early precept of media chronology in France” The extra we spend money on a piece, the quicker we will broadcast it. At this time, long-standing networks are investing an excessive amount of however broadcasting too late”, complained Christophe Tardieu, backed by M6 Group’s common secretary. carine bloat: “We aired a co-produced French movie 22 months after its theatrical launch; our window safety is in danger and the profitability of our funding in French movie is deteriorating.”

Florence Gastaud first skilled the preliminary dialog, ten years in the past, when she was Director Common of ARP (Affiliation of Authors, Administrators and Producers): “They occurred at a time when the rarity of movies made them helpful. Now , we reside in an age of urgency: to make sure the rarity of a mass-appeal movie is to make sure its piracy; within the case of arthouse movies, it ensures their oblivion. We’ve got chronographed the media to guard our broadcasters Have ready the window. And the financier, however we forgot what was most necessary: individuals watch the movie.”

as briefly Pascal Rogard who was conducting the talk: “All can be properly if the movie depended solely on regulation. But it surely additionally is determined by the general public, who haven’t discovered a approach again to theatres.”

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(translated from french)



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