VISIONS du Réel, one of the leading documentary films festivals in Europe, lights up this year to celebrate its deep documentary traditions supported by a strong general financing model, a global call for joint production, and a future local audience.
The country is a major presence in VDR again this year: of 156 films chosen, there are 32 French production and common products, including 26 global shows.
VDR is a main launch platform for documentary films that Auteur drives with the festival and theatrical aspirations, and France has many of these.
“Attachment”
From the court of courtesy VDR
At Eugénie Michel Villette, founder of Boutique Doc Production Les Films du Bilboquet, four projects that have appeared via VISIONS Du Réel sections-all international joint products. “Awamocot” written by Marie Voignier and “The AffectMent” written by Mamadou Khouma Gueye competing for the High Festival Award, while “I eat with two hearts” by Natville Bonale and “Alia Jakaranda” by Hasin Wilheli in the worker’s involvement.
“The unique support system from CNC, along with the creative European media, and regional funds such as Pictanovo [which backs film production in the Hauts-de-France region] -And international posts allows us to build strong development frameworks with real flexibility-all while maintaining full freedom of liberation, “says Michelle Philit. diverse. “This balance between long -term sustainability and creative independence is what really determines our strength.”
“During development, we give movie makers time to explore them. Some projects develop over the years, with deep and single writing operations. It is time and support that makes our films stand out. By the time we move to the stage of production, we have a clear vision of the film’s narrative structure, dramatic material, and creative guidance.”
“Anoooocot”
From the court of courtesy VDR
Looking at the future, some in the French industry see the increasing demand for a strong and stable French documentary industry – especially in the United States, where political transformations can be presented to reach the narration of careful stories.
“There will be a need for an alternative content,” says one of the main industry operators diverse. “Look only to what Trump is doing to Smithsonian,” they add, referring to the American president’s batch to remove exhibitions that are “anti -America” from the museums of the Foundation. “It will be very interesting to see to what extent will go in an attempt to reshape the broadcasters – not only how they produce, but what is allowed to broadcast.”
While cultural budgets face discounts in most parts of Europe, the documentary film sector in France is still flexible, supported by a strong and multi -layer general financing system based on CNC (National Center Du Cinéma et de l’Image), regional and European funds, support of fixed broadcasters, especially from ARTE and France Télévules.
At the heart of this structure, “Culturell”, a policy designed to maintain and enhance cultural diversity, especially in the movie. CNC highlights the world’s self -financing model, and re -invests fees from cinema tickets, broadcasters and digital platforms directly in the industry.
To enhance what you call “creative documents” of the type VDR, CNC offers two main charts. The first, “FONDS d’Aide à l’inning en Documentaire de Création” (Innovation Fund for Creative Documentary Films), and supports early stage projects of French or European Union citizens, as well as foreign film makers residing in France. Open to each of the emerging and experienced film makers, it supports writing and development, and is often in front of the broadcaster or producer on board, with a focus on originality, experimentation and bold story novel. In 2024, the fund granted a total of about 3.2 million euros ($ 3.5 million) through 30 projects.
The second, which is “Aux Cinémas du Monde” (Aide Cinémas du Monde “(ACM), is a joint production box managed by CNC and the Français Institute. A total of 6 million euros ($ 6.5 million) in 2024.
Among the new beneficiaries “Youth Bing”, which is one of the rare documents to enter the official choice of Cannes, and “The Brink of Dreams” (“Les Filles du nil”) written by Nada RIYADH and Ayman El Amir, which won œil d’or in the city of 2024 and struck this French spring.
These documents driven by directors on the festival circuit are not only flourishing-but they also find a loyal audience in French cinemas, a reflection of the strong culture of the nation in the nation and the vibrant ARTHOUSE Theater Network supported by public institutions.
This virtuous course, where the success of the French cinema succeeds directly in producing new productions at every stage, makes France an attractive partner for producers all over the world looking to finance ambitious documentary projects.
VISIONS du réel extends in NYON until April 11. VDR-Endustry started on April 6 and will continue until April 9.