Lors du Festival international du film de Venise de cette année, le Venice Production Bridge a démontré son influence croissante dans le soutien aux cinéastes et aux professionnels de l’industrie. Avec une participation en hausse et un programme dynamique, l’événement a consolidé sa réputation de plaque tournante essentielle pour les coproductions, le financement et le réseautage dans l’industrie. Nous discutons de ces résultats avec le directeur du VPB, Pascal Diot.

Le Venice Production Bridge connaît une expansion rapide, comme le souligne Pascal Diot, le directeur responsable de son organisation. « Nous avons augmenté la participation à tous nos événements, y compris le Venice Financing Market et le Venice Market », a-t-il déclaré avec enthousiasme. Bien que les chiffres exacts ne soient pas encore disponibles, il a indiqué que le nombre de professionnels présents avait augmenté, reflétant l’importance croissante de l’événement dans le calendrier mondial de l’industrie cinématographique. Les professionnels du secteur présents à l’événement ont fait écho à ce sentiment, décrivant l’atmosphère comme productive et intense. Un jeune producteur a souligné que l’événement permettait aux cinéastes de se concentrer sur la production et le réseautage plutôt que sur le simple visionnage de films, une distinction essentielle pour la croissance du secteur. La structure de l’événement, qui comprend des rencontres individuelles, des tables rondes et des projections commerciales, favorise un environnement créatif qui va au-delà des marchés cinématographiques traditionnels.

Cette édition a mis à l’honneur trois pays clés : le Royaume-Uni, le Chili et le Maroc. Chaque pays a fait état de résultats positifs suite à sa participation. La représentation du Royaume-Uni a été particulièrement fructueuse, avec de nombreux projets immersifs qui ont suscité un vif intérêt. « Ils ont coché toutes les cases, en présentant un portefeuille large et innovant », a souligné M. Diot. Les cinéastes chiliens ont élargi leur réseau de financiers et de coproducteurs, bénéficiant d’une forte participation aux projets et de relations fructueuses. La participation du Maroc a été remarquable non seulement pour sa qualité, mais aussi pour la présence du ministre de la Jeunesse, de la Culture et de la Communication. La délégation marocaine a été visiblement impressionnée par le format unique de l’événement. La visite du ministre a souligné l’importance du pont en tant que lien entre les projets en cours, le distinguant des marchés traditionnels qui se concentrent uniquement sur les films achevés.

Contrairement aux marchés cinématographiques conventionnels, Venice Production Bridge fonctionne comme une plateforme hybride, à la fois marché de coproduction et centre de négociation. Il offre aux bailleurs de fonds, aux diffuseurs, aux agents commerciaux et aux distributeurs la possibilité de rencontrer des cinéastes à différentes étapes de la production. « Nous ne vendons pas seulement des films achevés, nous travaillons avec des projets en cours de développement ou de préproduction, en fournissant des services qui soutiennent l’ensemble du processus de réalisation cinématographique. » Cette approche attire un public diversifié qui cherche non seulement à acheter ou à vendre des films, mais aussi à forger des partenariats stratégiques.

Pour l’avenir, Pascal Diot a révélé son intention d’améliorer encore l’événement. L’une des initiatives futures consiste à créer un espace dédié aux commissions cinématographiques et aux studios, en particulier ceux impliqués dans la production virtuelle. L’objectif est de faciliter les contacts directs avec plus de 1 500 producteurs lors d’un seul événement, afin d’assurer leur visibilité et de favoriser les collaborations internationales. Il a souligné l’intérêt de tirer parti de la plateforme de Venise pour bénéficier à la fois aux régions locales et aux marchés internationaux. « Ce scénario gagnant-gagnant aide les professionnels à présenter leurs installations tout en gagnant en visibilité à l’échelle mondiale », a-t-il déclaré.

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At this year’s Venice International Film Festival, the Venice Production Bridge showcased its growing influence in supporting filmmakers and industry professionals. With an increase in participation and a dynamic agenda, the event cemented its reputation as a vital hub for co-productions, financing, and industry networking . We discuss these results with the director of VPB, Pascal Diot.

The Venice Production Bridge is rapidly expanding, as noted by Pascal Diot, the director responsible for its organization. “We have increased participation across all our events, including the Venice Financing Market and the Venice Market,” he stated enthusiastically. Despite the lack of exact figures yet, he shared that the number of professionals attending has grown, reflecting the event’s rising importance on the global film industry calendar. Industry professionals attending the event have echoed this sentiment, describing the atmosphere as both productive and intense. A young producer highlighted how the event allows filmmakers to focus on production and networking rather than just viewing films—an essential distinction for industry growth. The event’s structure of one-on-one meetings, panels, and market screenings fosters a creative environment that goes beyond traditional film markets.

This edition spotlighted three key countries: the United Kingdom, Chile, and Morocco. Each country reported positive outcomes from their participation. The UK’s representation was particularly successful, with numerous immersive projects gaining traction. “They ticked all the boxes, showcasing a broad and innovative portfolio,” Diot pointed out. Chile’s filmmakers expanded their network of financiers and co-producers, enjoying strong project attendance and fruitful connections. Morocco’s involvement was notable not only for its quality but also for the presence of the country’s Minister of Youth, Culture, and Communication. The Moroccan delegation was evidently impressed by the event’s unique format. The minister’s visit underscored the bridge’s significance as a connector for in-progress projects, setting it apart from traditional markets that focus solely on finished films.

Unlike conventional film markets, Venice Production Bridge operates as a hybrid platform—part co-production market, part deal-making hub. It offers opportunities for project financing, streamers, sales agents, and distributors to engage with filmmakers at different stages of production. “We’re not just selling finished films; we’re working with projects in development or pre-production, providing services that support the entire filmmaking process.” This approach attracts a diverse crowd seeking not only to buy or sell films but also to forge strategic partnerships.

Looking ahead, Pascal Diot revealed plans to enhance the event further. One future initiative involves creating a dedicated space for film commissions and studios—especially those involved in virtual production. The goal is to facilitate direct connections with over 1,500 producers at a single event, providing exposure and fostering international collaborations. He emphasised the value of leveraging the Venice platform to benefit both local regions and international markets. “This double-win scenario helps professionals showcase their facilities while gaining global visibility,” he said.

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Celebrating the power of cinema to boost local tourism and economy, the Film Commission Valle d’Aosta has recently published a comprehensive study on the influence of film and TV productions in the region. This in-depth research sheds light on how film projects contribute significantly to regional visibility and economic growth, with ongoing initiatives to harness this potential at the Venice International Film Festival.

The study, spanning from 2011 to 2024, represents a landmark effort to quantify the tangible benefits of film productions on Aosta Valley. As we understand from our talk with Alessandra Miletto, director of the Film Commission Valle d’Aosta, the analysis includes detailed data on financial investments, employment opportunities, and tourism stimulation resulting from film and TV series shot in the area. The findings highlight a robust return on investment, both economically and culturally.

According to Miletto, over the course of thirteen years, the Film Commission Valle d’Aosta invested approximately two million euros directly into supporting productions. The broader economic impact, including regional spending tied to these projects, exceeds nine million euros. When factoring in taxes and other indirect financial flows, the total contribution to local revenue approaches ten million euros—a remarkable figure considering the Commission’s modest budget. The research reveals that for every euro invested by the commission, roughly five euros are brought into the territory through film-related activities. This return, calculated as a ratio of more than 5:1, underscores the strategic importance of film commissions in regional economic development.

Beyond direct financial impact, the study explores how film and television content serve as powerful tourism catalysts. Miletto highlights the case of two notable productions, the TV series “Rocco Schiavone” and the film “Le Otto Montagne,” which have sparked increased curiosity among viewers to visit the Aosta Valley. Post-viewing surveys indicate that approximately half of the visitors are influenced by their familiarity with the locations depicted on screen, a phenomenon that boosts local tourism and enhances regional visibility.

Building on these insights, the Film Commission Valle d’Aosta is developing an innovative mobile app designed to guide visitors through filming locations. The app offers immersive tours in the heart of the city, allowing tourists to explore iconic sites featured in movies and series, many of which have been transformed into heritage and cultural attractions. This initiative aims to convert film tourism into a sustainable and engaging experience, further amplifying the region’s appeal.

The study also emphasises the importance of clear communication regarding the role and benefits of film commissions. Miletto underscores the misconception that regional support is limited to on-location filming, clarifying that many postproduction and related activities occur within the supporting region, even if filming takes place elsewhere. This supports local producers and encourages regional collaboration, vital in a moment of fluctuating national funding.

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At this year’s Venice Film Festival, the film “Elisa” by Leonardo Di Costanzo has garnered attention not only for its artistic qualities but also for the collaborative efforts behind its production. Supported by the IDM Film and Music Commission of Sudtirol, “Elisa” exemplifies how regional film commissions are actively fostering innovative projects and regional talent development. We talked about it and also about other topics, with Renate Ranzi of the IDM Music & Film Commission of Sudtirol.

“Elisa” was partly shot in Sudtirol, with substantial involvement from approximately 30 local professionals across various departments. This collaboration highlights the commitment of regional film commissions like IDM to nurture local talent and integrate them into international circuits. The film’s support from the commission reflects a broader strategy to showcase regional stories on prominent stages like Venice. The production’s success at Venice marks a positive milestone for the Sudtirol region, which has maintained a consistent presence at the festival over recent years. Previous entries such as “Lubo” and “Vermiglio” have also benefited from similar support, establishing a fruitful tradition that underscores the importance of regional involvement in the global film industry.

Renate Ranzi, representative of the IDM Film and Music Commission, elaborates on the organisation’s unique role within Italy. Recently renamed to include “Music” in its title, the commission now manages a dedicated fund for music projects, reflecting a broader cultural mission. This fund, established by the Autonomous Province of Bolzano, is designed to support musical endeavours across all stages—from composition and production to distribution and live performances. The fund’s inclusive policy welcomes applications from musicians and companies worldwide, regardless of their location. Applicants must commit at least 120% of a project’s budget involving local Sudtirol musicians or structures, encouraging international collaboration and cultural exchange.

The commission’s funding structure covers 33 different phases of music-related projects, including pre-production, recording, and distribution. This comprehensive approach enables support for a variety of initiatives, such as music videos, tours, and concerts. The current funding cycle has a deadline set for October 7, with a policy to inform applicants within two months.Moreover, the funding agenda anticipates two deadlines annually, allowing more consistent support for international and local artists alike. With a current budget of €275,000, the commission aims to develop Sudtirol into a thriving hub for both film and music industries.

Beyond financial support, the IDM commission actively promotes talents at international markets. Initiatives include delegations, participation in various festivals, and hosting events like the Audiovisual Producer Summit held in Murano. These activities foster networking opportunities and help regional talents gain visibility beyond Italy.The synergy between film and music support initiatives underscores IDM’s broader goal to diversify and strengthen Sudtirol’s cultural industries. Such efforts could serve as a blueprint for other regional film commissions seeking to integrate music and film development strategies.

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Dans notre rencontre classique avant l’ouverture du Venice Production Bridge avec le directeur Pascal Diot, on a parlé du fai que, depuis sa création il y a 14 ans, le VPB a su s’adapter aux transformations du marché cinématographique mondial. Avec une croissance remarquable, passant de 500 professionnels lors de la première édition à plus de 3 300 cette année, cet espace de rencontres et de coproduction confirme son rôle clé dans l’écosystème du film international. La capacité du VPB à innover et à élargir ses activités en témoigne de son importance stratégique pour l’industrie.

Pascal Diot note que les nouveaux formats et enjeux du secteur ont poussé le VPB à intégrer plusieurs initiatives innovantes au fil des années. Parmi celles-ci, « Meet the streamers » a été lancé pour faciliter les rencontres entre producteurs et plateformes de streaming comme Amazon ou HBO. Ce dispositif vise à encourager la coproduction tout en offrant aux professionnels une plateforme d’échange privilégiée. La diversification des échanges s’est également traduite par l’ajout de nouveaux marchés, notamment le Venice immersive market, qui met en avant la réalité virtuelle et les contenus immersifs. Plus récemment, l’organisation s’est adaptée aux demandes croissantes, en ajoutant une journée supplémentaire au calendrier pour mieux répartir les événements et donner plus d’opportunités aux professionnels de participer.

Le choix des pays présentés lors du marché ne se fait pas au hasard. Le VPB privilégie des territoires qui investissent dans le développement de leur industrie cinématographique et immersive. L’édition présente cette année le Royaume-Uni, le Maroc et le Chili, tous trois engagés dans la création de contenus innovants et soutenus par des initiatives publiques ou privées. Le Maroc et le Chili, en particulier, ont lancé des mesures pour soutenir la production immersive, malgré un secteur encore en développement.

Contrairement à d’autres marchés, le Venice Production Bridge se concentre principalement sur la coproduction plutôt que la vente de films finis. Son objectif est d’accompagner la création de produits cinématographiques atteignant leur maturité dans plusieurs années. Grâce à un accompagnement complet, il offre aux producteurs un continuum, depuis l’écriture et la mise en chantier jusqu’à la distribution future. Parmi les outils phares, le Market Rights pour l’adaptation de livres, le financement participatif, ou encore le montage final en partenariat avec Final Cut in Venice jouent un rôle clé dans l’écosystème.

Le Venice Production Bridge s’affirme ainsi comme un levier essentiel pour l’industrie cinématographique, visant à soutenir la création de contenus innovants et à favoriser la coopération internationale. La croissance constante du marché, la diversité de ses participants et la pertinence de ses initiatives en font un rendez-vous incontournable pour les professionnels du secteur. Alors que l’édition 2024 approche, tous espèrent que ces rencontres continueront à stimuler la production de projets audacieux, à l’aube d’une nouvelle ère audiovisuelle.

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Valérie Donzelli porte à Venise son nouveau film “À pied d’œuvre”. On a rencontré la réalisatrice et le protagoniste Bastien bouillon lors de la première du film, en compétition, au Festival International du Film de Venise.

Le film met en scène un protagoniste incarné par un acteur talentueux tel que Bastien Bouillon, représentant un artiste en lutte pour sa survie professionnelle et personnelle. Il est question ici d’une figure qui, malgré ses efforts et sa créativité, se retrouve piégée dans une précarité qui alourdit sa quête d’expression. À travers des images fortes, “À pied d’œuvre” insiste sur la vulnérabilité de ces personnages, souvent invisibles dans la société contemporaine.

Selon les propos recueillis lors de la présentation,  Valérie Donzelli a voulu dépeindre cette réalité de manière brute et sans fard. «Le film est un regard sans compromis sur le monde artistique, une sorte de fresque  qui montre la face cachée de la création», explique-t-il. La caméra capte avec authenticité les moments de doute, mais aussi d’espoir, illustrant la complexité de l’être artistique dans un monde qui ne facilite pas toujours la passion.

Le style visuel et la réalisation jouent un rôle essentiel dans la puissance du film. La narration s’appuie sur une esthétique forte, maritime, presque brutale, qui renforce le message sur la difficulté de vivre de son art. La performance des acteurs, notamment celle du personnage principal, contribue à créer une immersion totale dans cette réalité difficile mais sincère. Le film ose révéler la dure réalité des artistes, tout en proposant une réflexion profonde sur la société et ses mécaniques. Une œuvre à voir absolument pour comprendre la fragilité de l’artiste dans un monde moderne souvent déshumanisé.

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“Broken English” by Iain Forsyth and Jane Pollard has been presented, out of competition, at the 82° Venice International Film Festival.

The film as in the tradition of Forsyth and Pollard’s work, is not a simple documentary on singer and songwriter Marianne Faithfull but “a portrait of her, made with her”.

As the film’s intent is to sort of recalibrate Faithfull’s legacy,  Iain Forsyth and Jane Pollard unfolded The Ministry of Not Forgetting, an imagined, cinematic institution where memory and mythology collide.

To lead this Ministry the directors put Tilda Swinton in charge while, in the task of accompanying Marianne Faithfull along a journey into her memories, actor George Mackay jumped in.

What did he learned from this experience with Marianne Faithfull? Mackay replies: “I learned to not stop working and to not give up because she had faced such adversity in terms of, personal things, her career in the way that she was treated by the press and,the public understanding off the back of that.And she just did not stop working”.

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“The Souffleur” by Gaston Solnicki, in competition in the Orizzonti section, stands out for its organic and emotionally charged approach to storytelling. Solnicki shies away from conventional narratives, instead opting for a more spontaneous method—often involving non-traditional actors who bring authenticity and freshness to the project. This approach not only enriches the film’s texture but also invites viewers into a genuinely immersive experience. We went deeper into the film’s philosophy and production in a talk with the director and the film’s star, Willem Dafoe, on the day of the premiere at the Venice International Film Festival.

The creation of “The Souffleur” was a highly collaborative journey. According to the filmmakers, it began with a simple conversation about making a feature film. “We started talking about doing something together,” one explained, emphasising the unpredictable and complex nature of their process. Unlike traditional productions with rigid scripts, this project evolved organically, blending spontaneous moments with carefully chosen locations to evoke emotion and beauty.

A defining characteristic of “The Souffleur” is its unconventional cast. Instead of relying solely on trained actors, Solnicki involved individuals who are not normally actors, contributing a sense of realism and vulnerability. These participants help shape the narrative, bringing their own lives and experiences into the story. The choice of stunning locations further enhances the film’s immersive quality, serving as more than just backdrops but active elements that deepen the emotional landscape.

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From Iain Forsyth & Jane Pollard, the BAFTA nominated directors of the Sundance award winning “20,000 Days on Earth“, comes “Broken English“, a bold documentary portrait of the inimitable singer, songwriter and icon: Marianne Faithfull.

The film has been presented out of competition in Venice and sees the collaboration of many artists including Tilda Swinton, George Mackay, Courtney Love, Nick Cave.

What truly matters when telling the story of a person’s life? This is the question that directors Iain Forsyth and Jane Pollard asked themselves in approaching the life story of Marianne Faithfull, the subject — and also the co-creator — of “Broken English“.

Not a documentary but a portrait, made together with the artist, the film answers the opening question through a retro-flavored device: the Ministry of Not Forgetting, an imaginary institution led by Tilda Swinton, tasked with “recalibrating” collective memory around a person’s life and representing them for who they truly were, giving due weight to both mistakes and accomplishments.

“She’s a true artist – says Jane Pollard –  constantly looking at what the next thing would be, and had learnt defiantly to not look back. However, we felt like her legacy needed some serious recalibration”.

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Interview during the 82nd edition of Venice International Film Festival with Adèle Exarchopoulos and Gille Lellouche, actors in the film “Chien 51”. The production, out of competition in the closing slot of Venice Film Festival 2025, is set in a dystopian France, in which the Ministry of the Interior delegates its security policy to an artificial intelligence called Alma.

A central topic in “Chien 51” is its exploration of artificial intelligence (AI). During the interview, the cast highlighted how the film addresses both the technological fears and ethical questions associated with it. Gilles Lellouche noted that the film was partly inspired by the desire to examine the potential threats AI poses to humanity.

The film, directed by Cédric Jimenez showcases intense sequences of running, shooting, and swimming.It’s an action thriller that, in the words of Adèle Exarchopoulos, left space for the emotional preparation of the roles between the actors and the filmmaker. The film’s ability to marry spectacle with emotional nuance contributes to its fresh perspective within the action-thriller genre.

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