The figures show a welcome upward trend not only in terms of the number of arthouse cinema tickets sold, which rose by 1 million compared to the previous year, but also in terms of the importance of arthouse cinemas in the German cinema market. In 2024, the share of arthouse cinema tickets in the overall market rose to 15 percent, and there was also an increase in the share of
With the publication of the 69th edition of the Film Statistics Yearbook by the umbrella organization of the film industry (SPIO), the analyses of the entire film distribution chain also include current data on the development of the German film festival sector. A key finding is that in 2024, the sector will return to its pre-pandemic growth trajectory, with 14 new companies being founded and only six liquidations (previous year:
While the third update of the Baden-Württemberg Film Concept in 2020 once again confirmed the growing cultural and social value of film festivals, it also came with an urgent recommendation that cultural policy decisions regarding the film festival sector should be based on empirically obtained data in the future. Against this backdrop, at the end of 2023, the Ministry of Science, Research, and the Arts of Baden-Württemberg commissioned an inventory
Activists recently received strong support for Netzwerk Quote Ost’s demand to give East German (narrative) perspectives a platform alongside those of a small privileged circle of filmmakers such as Andreas Dresen, Leander Haußmann, and Christian Schwochow through two studies: One was the study commissioned by Producers of Germany (PROG) and conducted by Goldmedia East German Perspectives In Film and Series, and the other was the expanded study conducted by Hoferichter
Under the label 100 Zeros, the media giant is now entering the co-production and co-financing business in cooperation with Range Media Partners, a talent incubator and production company. With the aim of appealing to younger target groups in particular, 100 Zeros was already involved in the marketing of the German independent horror film “Cuckoo”. This makes it clear that Google’s interest is not solely focused on in-house productions.
Job profiles and qualifications – Symposium of the DOK.forum and the AG Filmfestival on 11/12.05.2025 in MunichFor many years, the film festival sector had produced the next generation of employees from within itself. The boom of the film festival sector, its professionalization and not least the strong expansion of its service catalog have long demanded the establishment of solid training and further education measures. In a symposium as part of
Monday May 19, 2025, 10:00–11:15, Marché du Film, Main Stage (Riviera) & OnlineSince 2013, the Göteborg Film Festival’s Nostradamus initiative has provided forward-looking insights into the future of the audiovisual industry. Authored by media analyst Johanna Koljonen, the annual reports track emerging trends in business models, distribution, and audience behaviour, offering valuable guidance for industry professionals and policymakers across Europe.
After a selection process lasting almost a year, the choice for the world’s most important independent film festival has been made, the Sundance Film Festival will leave its longtime home in Park City, Utah, in 2027. It had been a tough application process, in which Boulder, CO positioned itself as the new festival location, while Park City fought to keep it and other cities such as Atlanta, Santa Fe and
While FILMFEST HAMBURG had already gradually expanded its industry program in recent years with the Explorer Conference, from this year’s edition onwards, in addition to presenting innovations and trends, it will also become one of the central networking platforms for the German and European film industry.With European Work in Progress and the International Film Distribution Summit, not only producers, distributors, world sales agents and festival curators as well as up-and-coming
The fact that representatives from East Germany are still severely underrepresented in the German media industry as a whole, as well as in the so-called new federal states, is difficult to understand 35 years after reunification. Even less acceptable, however, is the fact that audiovisual media offerings on TV and in cinemas, which are predominantly produced in the West, are still characterized by stereotypes of the East that are far