From Auteur Docs to Immersive Innovation, Luxembourg Makes Big Impact

As someone who has had the privilege of witnessing Luxembourg‘s audiovisual industry blossom over the years, I am truly in awe of its remarkable transformation. From a fledgling sector with no professional infrastructure to a global powerhouse that boasts 35 years of unparalleled growth, it’s been an absolute joy to be part of this journey.

As a passionate movie lover, I can’t help but feel proud witnessing the grandeur of Luxembourgish cinema at this year’s Venice Film Festival. With six projects from this tiny yet powerful nation gracing our screens, it feels like a triumphant lap of honor for such a small state that punches well above its weight.

35 years back, our film industry was non-existent; we lacked professional facilities and didn’t have any substantial audiovisual production, remarks Guy Daleiden, head of Luxembourg Film Fund. Starting from scratch, we cultivated an independent sector with renowned production companies and technicians who are now recognized on a global scale.

Over the following years, our native talent Vicky Krieps has become the nation’s most prominent star, and the duo Laurent Witz and Alexandre Espigares, creators of “Mr. Hublot”, have showcased home-grown projects at the Oscars. This dual focus on live action and animation has paved a broader path for development in both fields. Today, animation represents 40% of local productions, with live action work making up the remainder – as documentaries continue to garner attention.

As a film enthusiast, I’m thrilled to witness Wang Bing’s “Youth (Homecoming)” making its debut at Venice Film Festival, completing what Daleiden refers to as an unprecedented ‘grand slam’. Previously, the series’ instalments “Youth (Spring)” and “Youth (Hard Times)” graced the screens at Cannes and Locarno respectively. Beyond the festival accolades, this 10.5-hour immersion into China’s sweatshops has significantly expanded the reach of local producers within the global film circuit.

Daleiden mentions that collaborations between Belgium, France, and other regions are frequent. However, Gilles Chanial, our producer, has gone beyond the norm, venturing into less conventional partnerships and exploring new horizons in his work. It would be beneficial for us to emulate this approach by expanding our connections and venturing into unexplored territories.

In line with these objectives, the country’s royal family and culture minister will join a group of about 30 local film producers, all eager to capture the spotlight during this year’s Venice Production Bridge emphasis on Luxembourg and Francophone Belgium. They will be particularly proud to showcase digital advancements – a trait that is not unexpected considering Luxembourgish productions such as “Ceci Est Mon Cœur” and “Oto’s Planet,” which make up five projects at this year’s Venice Immersive program.

The fact that the chosen immersive title “Ito Meikyu,” which Gilles Chanial of Les Films Fauves co-produced, has a similar production team to “Youth (Homecoming),” indicates the broader industry’s commitment to cross-medium projects.

In my perspective, virtual reality, augmented reality, and immersive works are just as crucial in audiovisual production as cinema, television, documentaries, and animation. Each form of production should grow together, so ignoring technological advancements would be a significant oversight. That’s why I advocate for everyone within our industry to stay informed about technological development and digitalization.

He goes on to emphasize that dwelling on the past isn’t an option. Instead, we must evolve and adjust to prepare for future advancements. In fact, all businesses in Luxembourg are being encouraged to delve into virtual reality or immersive projects. As our former Prime Minister would say, when the digital revolution departs, we don’t want to be left on the platform; we aspire to be the engine pulling the train.

Producing approximately 30 projects annually, and relying on a unified, multi-purpose financial aid resource, equipped with a yearly budget of $35 million distributed across various production aspects, the expansion of our local industry hinges upon additional funding investments.

According to Daleiden, “the pattern is unmistakable” – as more projects are being developed, there’s a growing curiosity in collaborating with Luxembourg for production and co-production. With extra financial support at our disposal, we can continue broadening and advancing our capabilities, as the demand has never been higher than it is now.

2024-09-07 20:46

From Auteur Docs to Immersive Innovation, Luxembourg Makes Big Impact

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