ROUND TABLE EUROPE - How can the EU strengthen its policies and programmes in favour of the heritage sector ?

On its 3rd day, the MIFC put Europe at the heart of its discussions. A subject that is set to become a recurring theme at the Market. The first round table was chaired by Florian Krieg, editor-in-chief of Film Français, and included Aurélie Champagne, deputy director in charge of legal and European affairs at the CNC, Maria-Silvia Gatta, head of the Creative Europe MEDIA project at the EU Commission, and Bérénice Honold, adviser to the FFA's Director General / International Affairs.

The round table began with a video by Laurence Farreng, MEP and member of the Mouvement démocrate, who stressed that Creative Europe MEDIA was the only programme dedicated to strengthening the European Union's independence from the digital market by regulating it. She also stressed the importance of maintaining the 30% European film content within platforms, which is linked to the AVMS Directive. You can find her video on the replay of the round table here (with your accredited codes, available on your Festiciné space).

European or national heritage?

The round table began by defining the notion of heritage film. France defines it as a film that is over 20 years old, while Europe defines it as a film that is only 10 years old. In Germany, no definition has yet been agreed. With this in mind, the very notion of heritage becomes a national prerogative. This is also confirmed by Maria-Silvia Gatta, who points out that it is a national prerogative. However, because of the large number of co-productions, talking about national cinema is becoming an artificial notion. It is therefore up to Europe to see it as a sharing of values and culture.

How can we ensure the visibility of this heritage?

From a European point of view, it is important to ensure that this heritage is visible outside dedicated venues such as film libraries. The key is the link with the general public, which is why Maria-Silvia Gatta points out the importance of the Europa Cinémas network, supported by the MEDIA programme. Europe's support also involves education in the visual image, as well as support for professionals and the economic model embodied by the MIFC. For the Filmförderungsanstalt (FFA) and the CNC, one of the key issues is discoverability. 

This involves support for restoration, with a view to exhibition, as well as initiatives such as Justwatch and Allociné, which enable works to be found on the various legal offers. The other issue linked to this notion of discoverability is also to support access to heritage films in ‘small countries’ that don't necessarily have the same cinema structures as France, for example. Festivals are thus becoming one of the key issues in this European debate.

What about a European platform?

If the project is considered by Europe, it poses a number of problems. In addition to ensuring discoverability, Europe must also ensure that the potential platform is competitive, which could distort competition. The other problem is that of the territoriality of rights to works, which would be an obstacle to this platform. Aurélie Champagne and Bérénice Honold rightly point out that the AVMS Directive ensures that 30% of existing platforms in Europe contain European works, most of which are heritage works. They also add that a European initiative already exists, between France and Germany, with six languages available: Arte. Although it is not multi-territorial, it is a first step in the direction of this European project.

What to expect for 2027?

While the European elections have just taken place and a new European Commission has just been appointed, their action is still limited by the financial framework adopted in 2020. A new budget and a new breakdown will be adopted in 2027. In the meantime, Europe's actions are limited. But there are several objectives. One of them is to ensure that the source elements of works are maintained in Europe by introducing a system for protecting catalogues, including the obligation to carry out ongoing exploitation research, particularly in the case of the sale of a European catalogue to the rest of the world. Or, at least, maintaining a technical copy in Europe. This idea raises another issue, that of storage, which, according to Maria-Silvia Gatta, depends above all on the country concerned. Subtitling is another major issue for the years to come, and one in which technological developments will have to be taken into account. The questions are still open, as we wait until 2027 for a new impetus.