Studio Babelsberg Secures ‘Hunger Games’ Prequel and Celebrates Wes Anderson at Cannes

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As a lover of all things cinematic, I can’t help but admire Studio Babelsberg‘s enduring status as a cornerstone for international film productions in Europe. Yet, it’s not content to rest on its laurels; instead, it’s broadening its horizons within Germany. This esteemed studio is eager to share its extensive resources with more local productions, providing a solid foundation for our burgeoning industry as we sail through the tumultuous seas of global filmmaking.

The studio is not only thrilled about the Cannes premiere of its fifth project with Wes Anderson, titled “The Phoenician Scheme,” which was both produced in partnership and filmed at Babelsberg. Additionally, it has recently confirmed two significant productions that will begin filming this year as well.

Director Francis Lawrence is coming back to work on “The Hunger Games: Dawn of the Reaping,” the newest addition to Lionsgate’s extensive Suzanne Collins series.

Film director Volker Schlöndorf, famously known for “The Tin Drum,” has chosen to shoot his upcoming project, “Heimsuchung,” at Studio Babelsberg. During the years between 1992 and 1997, when the studio was under the ownership of French company Compagnie Générale des Eaux (later known as Vivendi), Schlöndorff served as its CEO.

Since the arrival of Marcus Loges in January, who became the managing director at the studio, overseeing both German and international co-productions as well as production services, the studio has not produced any major films until now. This change happened after Henning Molfenter left his position, and it followed the appointment of Joerg Bachmaier as the new CEO in November.

For three decades, Loges has been a familiar face at Babelsberg Studios, contributing to some of their most significant productions. This includes the 1995 film “Catherine the Great” with Catherine Zeta-Jones, Jean-Jacques Annaud’s 2001 movie “Enemy at the Gates,” the action thriller “The Bourne Supremacy,” and more recently, the series “Babylon Berlin.

Beyond that, he also collaborated with X Filme based in Berlin, where he functioned as a line producer for numerous prominent projects. Later on, he assumed the role of managing director within the company.

In the year 2021, Loges received recognition as a producer by being awarded both the Primetime Emmy and PGA honor for the Netflix production “The Queen’s Gambit.” The majority of this series was shot on location in Berlin.

Looking back, at the close of last year, they proposed I might take over from Henning. In my mind, it meant returning home. And for someone in a group like this – a harmonious team, part of a company with a century-long history and an excellent reputation – there’s no better news.”

Or simply:

“Recalling the end of last year, they offered me the opportunity to follow Henning. To me, it represented going home. And in a group like this – a well-functioning team within a company with a long history and strong reputation – there’s no better prospect.

An essential element of our team’s approach for joint productions and service provision lies in broadening our studio’s horizons and fostering more partnerships within the local film industry.

According to Loges, Studio Babelsberg, historically focused on Hollywood productions, is now shifting its focus as budget constraints become increasingly stringent.

Despite being a well-established country in film production, Germany’s regional funding continues to draw interest from significant U.S. studios. This is evident in the recent case of “The Hunger Games” movie sequel, which received €800,000 ($893,975) in production funds from Medienboard Berlin-Brandenburg, a local German funding body.

It’s beneficial not only for large Hollywood productions to have ample funding, but it’s also logical for Studio Babelsberg to draw in more local projects and welcome German producers as well.

Located just outside Berlin, Studio Babelsberg is one of Europe’s most expansive film studios, boasting a massive 21 soundstages, flexible outdoor sets, and an array of advanced facilities spread across its 42-acre property. This setup provides ample space for both international and local film productions.

As a passionate film enthusiast, I can wholeheartedly say that when Volker Schlöndorff expresses his joy in creating this film with Babelsberg, it’s because our team warmly embraced the project with genuine excitement. We eagerly want German producers to feel confident in approaching Studio Babelsberg, seeking opportunities for collaboration and potentially bringing projects to life together.

As a devoted admirer, I’m thrilled to share that we’re broadening our horizons and aiming for significant collaborations. I believe that Babelsberg could be an exceptional ally in these endeavors.

We’re aiming for just that – a mix of global productions, particularly from the U.S., as well as boosting European independent projects. These ventures hail from various nations and frequently require substantial incentives and the collective support of numerous partners to fund them effectively. It’s worth mentioning that we’re eager to collaborate with German productions, given our location here in Germany. After all, working locally is not just a responsibility, but also a long-term strategic commitment.

As a result of the recent changes, Germany’s funding reforms have been quite effective, according to Loges. In fact, the government increased the levels of two significant funding incentives in December, boosting the production cost rebate from 25% up to 30%.

Loges jokes that we got a 30% as an unexpected early Christmas gift. He also mentions that aside from raising incentive limits, these reforms have already made a significant difference.

It’s a significant discount for movies costing around $80 million, he notes. The enhanced financing was a key topic in discussions between Loges’ group and studio representatives during their recent visit to Los Angeles.

A frequently debated matter in global discussions is the proposal by U.S. President Donald Trump to impose a 100% tax on movies originating from other countries.

Loges points out that such actions might simply be a part of the president’s negotiation tactics, but they invariably stir up trouble. Given that he is the President of the U.S., every word he speaks carries weight.

For novice investors in the movie industry, this development might instill a sense of fear due to the introduction of uncertainty.

As a cinema enthusiast, I can’t help but see the potential benefits of this conversation. It might pave the way for additional funding sources within the U.S., and perhaps even boost the number of movies filmed domestically, as Loges suggests.

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2025-05-17 07:47