The Dutch film industry, sometimes eclipsed by its European peers, stands poised for a significant change. Key figures within the industry are openly discussing the hurdles and prospects that loom on the horizon, creating a vivid image of an industry facing crucial decisions.
Over the past few months, Dutch productions have made a significant impact on the international scene. Johan Grimonprez’s joint production with Netherlands, Belgium, and France, titled “Soundtrack to a Coup d’Etat,” is currently up for the Best Documentary Feature Oscar. Moreover, two short films by Dutch filmmakers have also received nominations – Victoria Warmerdam’s live-action sci-fi tale “I’m Not a Robot” and Nina Gantz’s captivating stop-motion film “Wander to Wonder”. Last year, Halina Reijn’s “Babygirl” had a successful festival run, with Reijn being recognized as a Director to Watch at Palm Springs, and is now playing in cinemas worldwide.
The Dutch film scene has great prospects and possibilities, but it also encounters some substantial hurdles when trying to build an industry that matches those of comparable European regions known for their cinematic prowess.
Public Support
As stated by Els Vandevorst from Isabella Films, a company renowned for backing directors like Lars von Trier, Alexander Sokurov, and Thomas Vinterberg, the Netherlands is rich in artistic talent but could be doing more to nurture it. Unfortunately, she suggests that this talent isn’t being encouraged effectively in the Netherlands, and there seems to be a noticeable absence of drive, concentration, and determination.
2023 marked the year with complete box office data, where a total of 52 movies (both feature films and documentaries) that graced the silver screen received financial assistance from the Netherlands Film Fund. Among these, 22 were fiction features and 17 were documentaries that benefited from selective funding schemes. Additionally, 11 more fiction features and two documentaries were supported through the Film Production Incentive scheme.
Although those figures aren’t terrible when put next to smaller European markets, Vandevorst points out a problem with how funding is allocated. “The main cause of this predicament,” she explains, “is rooted within the Dutch film financing system itself, as well as a lack of understanding about content, finance, and production among the decision-makers in our financing structure.
It’s important to mention that the backing for Dutch productions has been growing steadily for quite some time now, with a lot of it being directed towards television projects. In the year 2023, the total value of Dutch audiovisual production surged from approximately €207.1 million ($215 million) to €229.5 million ($238 million), representing an 11% growth. However, a substantial part of this increase can be linked to a rise in high-end series production, which jumped from around €61.9 million ($64 million) to €79.9 million ($83 million), marking a 29% escalation.
International Co-Production
Due to limitations in local production infrastructure, many independent Dutch film producers, similar to those in other European countries, often resort to international co-production as a means to foster local creativity and ambition. Erik Glijnis, producer of “Mr. K,” which was a standout at the 2024 Toronto International Film Festival, and David Verbeek’s upcoming film “The Wolf, The Fox and The Leopard,” emphasizes the significance of such collaborations, stating, “All my films are co-productions across multiple countries. It has become increasingly difficult for productions that are ambitious and challenging to secure financing within a single nation.
Glijnis feels strongly that these partnerships are indispensable, not just because of financial considerations, but also for exchanging experiences and divvying up duties. In his words, “Every co-production offers me numerous fresh insights I can apply to create my ‘unique’ films.” This collaborative mindset is crucial for the Dutch film industry to thrive in a global arena.
Frank Hoeve from Baldr Film, who was a co-producer of the Oscar-nominated “Soundtrack to a Coup d’Etat,” holds a similar viewpoint. He notes that while the situation isn’t exclusive to the Netherlands, international collaborations are now essential for independent production companies, whether they operate within or outside Europe. Hoeve underscores the importance of finding suitable partners to produce high-quality films in an increasingly competitive industry. “Given the growing difficulties in producing films,” he explains, “having the right partners is crucial.
As a movie enthusiast penning down my thoughts, I can’t help but emphasize the extraordinary advantages of collaborating on a global scale. It broadens our cinematic horizons and offers us the chance to weave ourselves into narratives originating from countries with cultures distinct from ours. My personal experience working on co-productions, such as Sophie Hyde’s “Jimpa,” starring luminaries like Olivia Colman and John Lithgow, underscores this fact. Being a part of such an influential film with a significant tale was a monumental opportunity for us all.
Developing a Local Audience
A substantial challenge confronting Dutch film studios is a widespread lack of interest among domestic viewers towards their own productions. Despite a robust post-pandemic rebound at the Dutch box office in 2023, this positive trend didn’t extend to local films. Cinema attendance surged by 26% from approximately 24.8 million to 31.3 million spectators compared to the previous year; however, fewer domestic movies were screened in cinemas during this period.
502 movies were released in the Netherlands in 2023, and out of these, just 77 were Dutch productions. This represents a market share of 15.3%, which is cause for concern since it’s lower than the previous year (16.2%) and significantly below the numbers from 2021 (23.1%). Many people in the Netherlands are eager to see this trend reversed.
Despite the fact that we haven’t received final figures for last year just yet, there seems to be a feeling of optimism among industry experts that things are starting to improve. As Glijnis notes, “The proportion of Dutch films being shown in Dutch cinemas is on the rise [2023-2024], while in most other European countries, the domestic share is dwindling.” He expresses his confidence by stating, “I believe that a ‘Dutch wave’ is approaching.
Slot concurs, noting that the Netherlands holds its ground alongside other comparable markets. “For instance, in Belgium in 2023, the market share stood at 11.7%, while Sweden reported a higher figure of 17.1%,” she notes. “However, it’s worth mentioning that many European countries experienced a decline in their market shares from 2023 to 2024. Yet, during this period, we noticed an enhancement and improvement in our own market share.
As a movie enthusiast, I can’t help but marvel at the success stories like “Alpha,” a film born out of a collaboration between the Netherlands, Switzerland, and Slovenia, directed by Jan-Willem van Ewijk. This masterpiece premiered in Venice and was honored with the coveted Label Europa Cinemas Award, a clear indication of its quality. During the IFFR, it will grace more than 45 cinemas across the Netherlands. The industry’s ability to produce such high-caliber films that strike a chord with audiences both at home and abroad was beautifully demonstrated by “Babygirl” last year.
Film Chain Synergy
Dutch film industry expert Ido Abram from the Nederlands Film Festival emphasizes that collaboration throughout the entire film industry is vital in boosting the market share of Dutch films. He proposes that all players in the chain, including cinema owners, broadcasters, and streaming platforms, should work together to extend a movie’s theatrical run, secure better placement for these films on screens or television, and allocate more resources for individual and collective promotions. This collaborative strategy is considered crucial for fostering growth within the industry.
Nathalie Mierop, head of See NL – Netherlands’ cinematic promotion agency, underlines the necessity of showcasing Dutch films globally, a challenge often faced by smaller European nations. “Our primary goal,” Mierop says, “is to ensure that Dutch movies reach international spectators.” This global visibility is vital for the industry’s longevity, considering the limited scale of the Dutch home market. “On average,” Mierop points out, “people visit the cinema barely twice a year, and when they do, they usually opt for the popular American box-office hits.
Looking to the Future
2025 could mark a pivotal turning point for Dutch cinema, facing as it does some formidable obstacles. Yet, there’s a palpable air of hopefulness about the nation’s untapped potential. As Vandevorst eloquently states, “We just need to create better movies. This begins with making wiser decisions from the get-go—a firm resolve to conceptualize and produce a particular film and to remain faithful to everything that will nurture its growth.
Given appropriate backing, a commitment to excellence, and fostering teamwork, the Netherlands’ film industry can flourish on both local and global platforms.
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2025-02-01 21:47