Conversation with the CNC

As is the case every year, the MIFC is the venue for a meeting between the CNC and representatives of the various heritage cinema trades, for a free-flowing discussion on the issues facing the sector. The round table, moderated by Film Français journalist Florian Krieg, brought together Laurent Cormier (Director of the Film Heritage Department, Centre National du Cinéma et de l’image animée [CNC]), Pauline Augrain (Digital Director, Centre National du Cinéma et de l’image animée [CNC]), Sabrina Joutard (President, Syndicat des Catalogues de Films de Patrimoine [SCFP]), Hugues Peysson (Treasurer, Association L’Appel des 85), Mathias Hautefort (Chairman, Syndicat des éditeurs de vidéo à la demande [SEVAD]).

As usual, this conversation begins with a review, presented by Cécile Lacoue (Director of Studies, Statistics and Forecasting, Centre national du cinéma et de l’image animée [CNC]), of the past year for the heritage sector. Among the key points to note is a real revival of interest in theaters for films over 20 years old, which drew some 2.95 million spectators - a pre-pandemic level. Heritage cinema is still very well represented in the physical video sector, and its presence in the VOD sector is also on the rise, even if this increase is tending to slow down. Lastly, while French heritage is struggling to be represented on platforms, it's doing very well on television. 

To discover the complete study, click here. 

Restoration and digitization aid needs to be rethought

Secondly, Sabrina Joutard, President of the Syndicat des Catalogues de Films de Patrimoine, took the floor to call for an increase, or even a redefinition, of the fund for the restoration and digitization of heritage works. One of the key issues? The cost of conservation, which "strangles independents", she illustrates. She also suggested that the 5-year storage contract, mandatory to obtain approval, was insufficient, and that the forthcoming arrival of the CPP standard, which takes into account the preservation of works and related equipment, should also be included in the approval. In response, Laurent Cormier, Director of the CNC's Cinematographic Heritage Department, pointed out that the original aid was due, in part, to a tax surplus, and that the envelope had now been emptied and the aid transferred to the support account. In his opinion, if solutions are to be found to conservation concerns, the CNC will not really be able to go any further in terms of aid. 

In terms of material available for restoration, Sabrina Joutard added that it was sometimes difficult to get hold of it, in addition to the difficulty of renewing rights, but that one solution for the future might be, for co-productions, to have a set of source elements preserved in European territory with a view to a strong European cultural ambition. 

Specific support for physical video 

Hugues Peysson, treasurer of the L'Appel des 85 association, reiterated that the physical medium is the place for cinematic diversity, and pleaded the publishers' cause on two main fronts. First and foremost? Manufacturing costs: at a time when the price of raw materials is skyrocketing and publishers are taking on three formats (DVD, Blu-Ray and UHD), manufacturing costs are exploding. The second? Specialist stores. Whether Potemkine, Malavida or others, some publishers have specialized boutiques, solid-state and/or online. And while platforms and theatres are being supported, Hugues Peysson is calling for the same to be done for these boutiques. 

The opening up of automatic support is very welcome, but not enough

After Sabrina Joutard reminded us that it was sometimes difficult to make certain catalog titles available for technical or rights reasons, Mathias Hautefort, President of the Syndicat des éditeurs de vidéo à la demande, pointed out that heritage represented 5,000 films on French platforms, and that 400 films a year were mathematically added, which only improved the presence of this cinema within VOD. He also praised the contribution made, particularly in terms of marketing to promote these heritage works, by the reform of automatic support for video-on-demand distribution, which, since January 2023, has been "extended to all CNC-approved French heritage works". However, he notes that the imminent massive arrival of classic films on French platforms, which do not all benefit from the same resources as those of the GAFAs, will entail a significant technical surcharge. He assumes that digitizing a film will cost the platform €1,000. He therefore calls for aid to help them manage these necessary expenses. Lastly, Mathias Hautefort suggested that the smallest platforms, those with annual sales of less than 5 million, should be exempt from the 5% tax. 

Pauline Augrain, the CNC's new digital director, also insisted on the development of aid for innovation, which could benefit the entire industry. She also pointed out that four new players were able to benefit from automatic support for video-on-demand broadcasting thanks to the January opening: INA madelen, Benshi, La Cinetek and Gaumont Classique.