‘Creating a Space Where Stories Come to Life’

Switzerland’s SRG SSR is focused on maintaining the satisfaction of co-producers, as stated by Gregory Catella at the Locarno Film Festival.

“We profit from this success and visibility. Our financial participation isn’t huge – for us, it’s more about prestige. The films and the minority co-productions that come to us aim for international recognition at festivals,” Catella mentioned during the Switzerland and Co-Financing Opportunities for Independent Films panel.

He encouraged participants to apply for the Audiovisual Pact, noting its budget had increased to 34 million CHF ($39.2 million). “The aim of this augmentation is not to make more films or series but to better finance our co-productions. Costs rise,” he noted. The Audiovisual Pact, offering up to 10 million CHF ($11.5 million) for feature films and 2 million ($2.3 million) for animation, also includes opportunities for international co-producers working on documentary series for broadcast and platforms.

The process starts with the Federal Office of Culture, which offers selective and automatic funds based on previous films’ theatrical releases and festival participation. There’s also the Film Investment Refund Switzerland, although it has limitations. “We can only co-produce with countries that have a treaty with us,” said Patrizia Pesko. Several treaties exist with Austria, Germany, Canada, France, among others. Co-productions with countries without treaties, such as Japan or China, cannot be officially acknowledged, losing some rights and festival participation opportunities.

Media Desk Suisse, however, offers more flexibility. Corinna Marschall explained, “There’s a possibility that you have a co-production with Switzerland according to an agreement that exists with the third partner.” Media Desk Suisse provides development funding with a yearly budget of 1.2 million CHF ($1.4 million), typically funding around 23 projects annually, focusing on the project’s artistic and production value rather than nationality.

The application is led by a Swiss production company with a notable track record, evaluated by foreign experts. The funding assists with additional time and resources for tasks like extensive research, marketing strategy creation, or teaser production.

Marschall also elaborated on the Minority Swiss Co-Development Funding, which offers up to 50,000 CHF ($57,670) in non-recoupable grants for projects with Swiss minority expenses, emphasizing projects with a connection to Switzerland. “It’s important these projects have a connection to Switzerland through subject, crew, or cast. We are targeting projects with high artistic and high production value that can reach international audiences,” she said.

Visions Sud Est, founded in 2005, supports countries with low production capacity. It has funded over 200 projects and focuses on theatrical distribution. “The aim is to support films for theatrical distribution,” stated Madeline Robert. Projects must have directors and production companies from eligible countries, filming in local languages. Support at production and post-production stages ranges from 20,000 to 50,000 CHF.

Robert emphasized, “It’s quite a competitive fund, so it’s important not to submit too early and really be ready for production.” She advised ensuring quality and originality. The right stage of involvement is crucial, as noted by Tenzin Roder of Migros Culture Percentage Story Lab, which supports audiovisual narrative formats in early development stages, including cross-media projects and games.

Discussing the anonymized jury process and mentoring opportunities, Roder said, “In a small country like Switzerland, where industry players are well-known, it’s crucial to ensure diverse voices are heard. The ability to tell stories, whether in audiovisual media or literature, represents participation and influence. It’s essential to approach topics from various perspectives.”

She added, “We provide tailored support, particularly valuable for emerging talents new to the industry. The hurdles in filmmaking are high, and access is challenging. Our coaching offerings aim to contribute to the strengthening and professionalization of these new voices.” Creating environments for experimentation and exploration in a competitive landscape is vital for story development.

Source: Variety