This year, the Munich Film Festival is once again being used by filmmakers as a platform for exchange and networking. The project business in particular thrives on cooperation and community. The first few days have proven that the film festival is a central anchor for the creative industry in the southern German media metropolitan region. The most important topics so far: the future of cinema, the future viability of the production location (keyword FFG), the broadcasters' commissioning policy, cost pressure in the entire value chain and, of course, the influence of AI.
A cool island of relaxation in the hot summer heat, a meeting place for shared experiences, memory markers for life events and audiovisual impulses for our inner child, the creativity in our heads. All of this and much more is cinema. What was your first film with your first love? What film was your first kiss? Which film impressed you the most? What was the first film with your parents - and what was the last? Cinema has shaped generations and thankfully the American majors have remembered this. Cinema also has its place in the new entertainment mix. Alongside the entertainment industry, film art is an important instrument as a platform for alternative perspectives, but also for documenting the spirit of the times. The Munich Film Festival also provides proof of this with enthusiastic audiences and many specialist events.
Making films, whether for cinema, television or streaming providers, costs a lot of money. Advertising-financed offers depend on the economy and public broadcasters are trying to find a balance between general social acceptance and cost reduction. This means that the air is getting thinner and thinner for service companies. The VTFF, as the mouthpiece of technical service providers, puts its finger on the sore spot using the example of post-production, but it affects everyone. The reality of production is not reflected in the budgets of commissioned productions. With high inflation and a shortage of skilled workers, the regulations are too slow for quick budget adjustments.
The triad of market money, public broadcasting slot budgets and state funding has been under pressure for years. However, the promising results of the work for a new funding policy based on various mutually supporting pillars must be supported by all those involved. A decision after the summer break would pave the way for a competitive model. German productions could then be filmed more effectively in Germany and major international projects could be brought from abroad to the local film industry. Competence, networking and added value would be the urgently needed effects.
The effects of artificially intelligent tools are foreseeable. These will probably ensure that cost pressure is reduced by smart digital alternatives - at the expense of the previous value creators. This cannot be prevented and can be a competitive advantage in the long term if we accept it. However, the transition must be accompanied and supported by the industry or by politicians. This is not yet sufficiently apparent at the moment. If we do not manage to build appropriate bridges, we will not only lose companies and creative people. The dependence on foreign technology will continue to increase and limit our self-sufficient sovereignty.
Only together can we overcome these major challenges in the face of the overall social and geopolitical conditions. Anyone who recognizes this can join an association, get involved and use their voice to contribute to the weight of our industry.
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(Image: IFP Entertainment GmbH)