European Film Market Chief on Shielding Sales Agents as They Face Challenges: ‘I’m Really Mindful of Their Cost Sensitivity’

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In May, Tanja Meissner was selected to take on the position of director for Berlinale Pro*, a role encompassing responsibilities such as managing the European Film Market, guiding the Berlinale Co-Production Market, supervising Berlinale Talents – an initiative for emerging filmmakers, and administering the World Cinema Fund.

Meissner, a citizen with German-French nationality, boasts over two decades of experience in the cinematic world. During this time, they worked for prominent sales agencies like Celluloid Dreams (from 2000 to 2007) and Memento Films (from 2007 until 2021).

Managing the EFM (Entertainment Finance Market) is exceptionally tough due to the escalating financial strain faced by its primary clients, the independent film sales agents. As Meissner explains to EbMaster, “These sales agents play a crucial role in the value chain for indie films, and if the market shrinks too much, it’s detrimental to everyone involved.” To address their financial difficulties, we maintained our prices at the same level as last year to accommodate the hardships they are experiencing.

The EFM requires careful management because the independent film sales agents, who are vital for indie films, are struggling financially. Meissner told EbMaster that if the market continues to shrink, it’s bad news for everyone. To help them out, we decided not to raise our prices this year.

She states: “It’s our job to offer them an ultra-efficient framework while keeping the costs manageable.

Apart from functioning as a trading platform, EFM also presents various chances for participants, with networking opportunities standing out as the primary one.

She emphasizes that she wanted to strengthen networking at EFM, stating it’s crucial. She believes socializing is key. Some chances for this are the Breakfast Club, the Innovation Hour, a Dine and Shine dinner with Berlinale Talents, and a festival programmers mixer. The Co-Production Market also provides a platform to meet producers, investors, and filmmakers.

Beyond just sales agents, Meissner aims to establish EFM as a central platform for various individuals within the film industry. To illustrate, she established the Distributor Award to acknowledge distribution’s significant commercial, social, and political impact on both the industry and society – an impact that is frequently underestimated according to her. “Stories crossing borders help cultivate a deeper cultural understanding,” Meissner explains, emphasizing the importance of promoting such mutual comprehension. This year, the award will be presented to Huub Roelvink from Cherry Pickers Film Distribution in the Netherlands.

As technology advancements become increasingly crucial for manufacturers, the EFM’s Innovation Hub offers the necessary support. Meissner expresses his desire to develop pertinent solutions for forward-thinking producers eager to delve into innovation and novel business strategies. He emphasizes that technology serves as a valuable tool and can still seem mysterious to some, but it is essential for our industry to adapt to technological advancements.

She mentions that Berlin provides countless chances for “mutual learning” among its diverse activities, and she emphasizes that due to the intricate nature of business today, it’s essential for individuals, particularly producers, to possess a broad skill set. She suggests this is something they aim to promote.

Discussing Berlinale Pro’s wide scope, Meissner elaborates that the festival aimed to establish a versatile stage catering to every facet of the industry. “We’re nurturing a multi-angled perspective here,” she explains. Key focus areas encompass professional growth, championing innovation, and fostering social harmony. “There’s plenty of knowledge exchange happening,” she adds. “It’s also about acknowledging the strength in community engagement.

At Berlinale Pro*, the emphasis continues to be on series, with resources being directed towards events like Berlinale Series Market Selects, now in its 11th edition. Today, numerous companies produce both movies and series, and streaming platforms are embracing a more film-like narrative style. As Meissner points out, it’s crucial for markets to acknowledge this shift. This year, EFM and EbMaster are collaborating on a day of discussions centered around series.

At Berlinale Pro*, the focus remains on TV shows (series), with various initiatives like the 11-year old Berlinale Series Market Selects. Nowadays, many companies create both films and series, while streaming platforms prefer a more cinematic approach to storytelling. It’s essential for markets to understand this change, which is why EFM and EbMaster are hosting a day of discussions about series this year.

The head of Berlinale, Tricia Tuttle, along with Meissner, are committed to ensuring that the European Film Market (EFM) and other industry events under Meissner’s supervision remain nearby, both physically and functionally, to the festival. This is because there are numerous benefits and connections between the two entities. The career of German filmmaker Nora Fingscheidt serves as an excellent example of this relationship. In 2017, she participated in Berlinale Talents and was part of Berlin’s Script Station that same year, where she wrote “System Crasher,” a film that won Berlin’s Silver Bear in 2019 and represented Germany for the Oscars. The following year, Fingscheidt’s “The Outrun” premiered at the Berlinale and was nominated for two BAFTAs.

Meissner explains, “We visualize these types of careers as a spiral. This allows for continuous building upon previous work and then returning to it. It fosters a steady flow of new talent, creating a healthy pipeline. This approach also encourages the alignment of fresh talent with established professionals, providing a solid foundation for them to establish a long-lasting career based on their skills.

A different instance is the Spanish director Carla Simón, who has been involved in numerous collaborative projects at the Berlin production market. She received Berlin’s top prize for a debut feature, “Summer 1993,” and also won the Golden Bear with her film “Alcarràs.

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2025-02-09 19:18