Czech Filmmakers Bet on New Law to Spark Next Big Wave of Hits

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A year ago, there was a concerning decline in filming activity in Prague, with the typically busy soundstages and lively streets of the Czech capital noticeably less active. Known as one of Europe’s most active production centers, the Czech Republic was experiencing the effects of both the strikes in Hollywood and the chaos surrounding its rebate system, which was closed to new applications for much of 2023.

A year ago at this point, things were quite slow for me,” David Minkowski, head of production at Stillking, explains. “I had few calls coming in, not many budgets to work on, and only a minimal number of scouts we were setting up.” Fast forward to now, and it’s almost as busy as before the strike.”

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“David Minkowski, head of production at Stillking, recalls that this time last year was slow. He had few calls, few budgets, and only a small number of scouts. However, today, things are almost as bustling as they were before the strike.

The recovery is partially due to Hollywood’s rebound following the 2023 labor strikes, which disrupted production worldwide. However, a significant surge has also resulted from the enactment of a fresh audiovisual law. Supporters claim this legislation will modernize the Czech industry and make it more competitive in the intense rivalry among neighboring countries to entice more international film productions.

According to Helena Bezděk Frańková, CEO of the rebranded Czech Audiovisual Fund, the organization needed to evolve because its previous structure was outdated. ‘It became essential for us to align with the audiovisual policies of other nations. The world is in a state of flux, and we must adapt accordingly’,” she said.

This year at the EFM (European Film Market) during Berlinale Series, the revamped audiovisual law will be presented to industry experts. The Czech Audiovisual Fund is collaborating with the Berlinale Co-Production Market to organize a discussion on February 18th. Attendees will include Fraňková, Petr Tichý (CEO of Barrandov Studios in Prague), and Vratislav Šlajer (chairman of the Audiovisual Producers Association).

In the fresh legislation, one significant aspect is a boost in the nation’s incentive for live-action productions from 20% to 25%, alongside the implementation of a 35% incentive for digital production and animation. Furthermore, the maximum claim per project has almost tripled, reaching close to $19 million.

The updated Czech Audiovisual Fund will extend its assistance to a more diverse set of productions compared to its previous version, providing targeted support not only for movies but also for television series, video games, and animated projects. This new fund is anticipated to experience a significant increase in budget due to a clause that requires international streaming platforms to pay levies for the first time; these funds will then be matched by the government, with an estimated annual budget of approximately $92 million.

The industry’s reaction has been enthusiastic, with Tomáš Hrubý from prominent TV production company Nutprodukcia calling the law’s passing a “significant achievement,” and Šlajer from the producers association asserting: “This will certainly ignite the Czech audiovisual industry.” Minkowski believes that the revamped incentive system “definitely brings us closer to where we need to be” in order to keep attracting foreign productions such as “Nosferatu,” the Oscar contender largely filmed at Barrandov.

The proposed changes will significantly revamp local television production, providing a substantial surge to an ailing industry. The Czech national broadcaster, grappling with financial difficulties, and international streaming services slow in penetrating the domestic market are key factors contributing to this need for change. As observed by Hrubý, there’s yet to be an original show from Netflix. However, Martin Vandas, from renowned animation studio Maur Film, which is debuting “Tales From the Magic Garden” at the Berlinale’s Generation Kplus section, sees these incentives as strengthening the Czech Republic’s traditionally strong animation sector. He believes they will expand the opportunities for creating and producing TV series, as well as collaborating with local and foreign partners on such projects.

Exploring uncharted territories within the global market holds great allure for local artists, marking a crucial milestone on the path to the Czech industry’s expansion. As Šlajer points out, “We have a new generation that is globally savvy in both audience and creation.” The key now lies in securing stronger financing and fostering more international connections. This means expanding our project types with a global perspective, while also becoming stronger partners for co-production on an international scale.

Director Jiří Mádl, whose period drama “Waves” was nominated for the best international feature Academy Award, believes that the Czech film industry is primed for a renaissance. He expresses his optimism by saying, “I feel we’re in a stronger position than in past years.” However, he emphasizes that what the industry lacks now is global recognition, stating, “What I believe we need right now is the focus of the international community.

Mádl’s “Waves” is appropriately set during a period when Czechoslovakian cinema flourished, as it tells the story of tenacious investigative journalists on the brink of the 1968 Soviet-led Warsaw Pact invasion of Czech Republic. Could we possibly witness another Czech New Wave era?

He remarks, ‘I sense something is blossoming.’ ‘It’s about to burst,’ he continues. ‘I feel we’re on the brink of a significant event.’

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2025-02-15 11:18