The 6th edition of the El Gouna Film Festival (GFF), which took place exceptionally from December 14 to 21, 2023, explored an interesting perspective during a panel entitled “Beyond borders: co-produce films on a global scale”.
The speakers, Sabine Sidawi, Lebanese producer, Marie Baldacchi, French producer, Gaby Khoury, Egyptian producer and distributor, and Mostafa Youssef, Egyptian screenwriter, director and producer, shared in -depth reflections on the complexities and opportunities for international cinematographic co -production.
In this captivating dive in the field of cinematographic co -production, Sabine Sidawi shares her commitment to diversity within production teams, essential for the creation of films intended for a global audience: “ I am convinced that the films intended for a world audience benefit greatly from diversity within the production team, thus promoting a variety of perspectives, provided that they agree with our convictions.
Originally from a French -speaking country, it is natural that France is my privileged partner in terms of co -production, and according to the specific needs of certain films, other countries such as Germany and Italy can also be involved.
Admittedly, co -production offers significant financial advantages, even if it can sometimes result in additional costs, especially for accommodation and transport. However, the benefits are undeniable, because collaboration with individuals with various perspectives opens up new perspectives. This diversity is essential for us, because they are confined to our usual environment would not be enriching.
It is crucial that each co -production meets the specific requirements of a film. I met a situation where a film aroused general enthusiasm, attracting the interest of many major investors. However, the multiplication of co -production partners finally made the project unmanageable, resulting in the abandonment of the film. In my opinion, limiting the number of countries involved at three or four is a strategy necessary to maintain the consistency and efficiency of the process, thus avoiding excessive complications ».
Marie Baldacchi, French producer, shared her point of view by highlighting the importance of the tradition of co -production of foreign films in France: “ I want to highlight the crucial importance of the tradition of co -production of foreign films in France, supported by a dedicated special fund. This fund is a vital element both for French cinema and for international cinema, in collaboration with entities such as cinema in the south, cinema of the world and the National Center for Cinema and Animated Image (CNC).
For me, this practice is of particular importance. It offers the opportunity to work on a variety of cinematographic projects, which makes it possible to explore new intellectual perspectives. What distinguishes this approach is the flexibility of funds. The latter are not conditioned by specific expenses in France, which releases my creativity as a producer.
However, I recognize that the dynamics are evolving, with a tendency to get closer to other European countries. Despite this change, I would like to underline our rich history of cooperation with the countries of the MENA region, such as Egypt, Morocco and Lebanon. My commitment is manifested in the production of films in mainly French -speaking countries, while recognizing the importance of giving a voice to minorities, including those present in France.
An innovative aspect lies in our vision of French co -production, illustrated by the example of cinema in the world. This approach goes beyond the simple financial contribution, also encouraging active collaboration. As a producer, I actively invest in the search for funding beyond French borders, exploring partnerships in Europe.
A significant advantage of French co -production, in my opinion, is the well -established distribution network. This provides maximum visibility for our films. This ability to place our productions in theaters ensures that the public has the opportunity to discover these cinematographic works, thus strengthening the international scope and the cultural impact of co -products co -products ».
Gaby Khoury, Egyptian producer and distributor, shares his experience in co -production by explaining the reasons for his judgment, highlighting the evolution of practices in the Egyptian film industry: “ I worked for a long time in co -production, but I stopped. Previously, the co -producers left total freedom for the making of the films. Many cinematographic projects are emerging today thanks to foreign funding, without which their realization would be compromised.
At one time, I collaborated with directors benefiting from foreign funding, such as Youssef Chahine or Yousry Nasrrallah. These directors often had to fight to obtain the funds necessary for the realization of their artistic visions. Personally, I no longer have the patience to devote four years to the collection of foreign funds. This is why I specialized in the production of commercial films and established partnerships with other Egyptian producers. This approach allows you to share risks. At the same time, we have also encountered challenges related to distribution abroad. In response, we have extended our activities to this field, currently distributing our own films. On the other hand, we collaborate with foreign writers. In Egypt, where we encounter difficulties in the scenarios, co -production mainly focuses on this aspect.
Currently, we have only one film funded by foreign funds. This decision stems from understanding that this film will not generate significant income in our countries of origin, and foreign funds are the only way to make this project a reality.
I was informed that nowadays, funds are accompanied by strict conditions, and it is the responsibility of the foreign producer to ensure their respect. However, although I have heard of this practice, I do not know the operational details.
I tell you a significant anecdote: a few years ago, while Youssef Chahine faced financial problems for one of his films, we were in Paris. At the time, he entrusted me with his intention to call Dominique de Villepin, Minister of Foreign Affairs. After contacting the Quai d’Orsay, we met the minister, and we obtained a subsidy of 50,000 French francs. Although it may seem modest, it highlights the difficulty inherent in collecting foreign funds. But it must be remembered that it was the Grand Youssef Chahine. Another director could not have done this.
I also note a real problem of censorship in Egypt. Unfortunately, many subjects can no longer be discussed, which disinterested foreign co -producers. Youssef Chahine was an influential personality, having the capacity to impose his convictions and ardently defend his films. Today, the situation has changed, the Société de Chahine must persevere, continue to work, and we are forced to make films according to our possibilities. No member of Misr International can match the force held Youssef Chahine. Currently, I note that we can only make co -productions between Egyptians, mainly focused on commercial films, in order to maintain the activity of the company and to provide for our employees ».
In this exploration of project assistance programs at festivals, Mostafa Youssef underlines the vital importance of these independent films initiatives, highlighting the financial challenges faced by young directors: “What is the importance of project assistance programs at festivals? Regarding independent films, I am convinced that there is a passionate audience, especially the one who appreciates the lasting cinematographic works. Faced with this reality, we, young independent directors, are confronted with the challenge of finding sources of funding. Festivals platforms currently represent our main option, although their number is limited, with only 4 or 5 throughout the region, with a total amount of $ 300,000. This funding, although modest, remains a vital resource for our film industry ».
Marie addressed the question of the calculation of risk in film production, emphasizing the complexity of this task: ” How to calculate the risk? If we get lost in the calculations, we do not make the film. It is essential to believe in this project and in this director, to commit fully, to make it happen, and to observe the results.
The search for development funds represents a crucial step. Take for example the film “their Algeria” by Lina Souelem. We have crisscrossed various destinations such as Doha and Carthage, participating in pitchs around the world, collecting the budget required in small sums, whether it be 10,000 euros here, 10,000 euros there.
Once the film is on track, the search for partners, especially for post-production, becomes more accessible. The success of a film facilitates the process for the following project, creating a positive dynamic for the entire creative process. »»
The management of several producers from different countries poses a complex challenge. Sabine shares her experience in this particular context.
“” When you are dealing with several producers from different countries, how to manage everyone? The films I make, unfortunately, are often limited in terms of budget. Although I would have liked to have a team to assist me, this luxury is not always possible. I distinguish myself by my competence in the writing of contracts, a necessity for producers of independent films which must be versatile, even if it can be exhausting. What has simplified my life is my approach to those who work with me. I remind them that, as part of co -production, collaboration is essential, and that we must all contribute collectively to the success of the project. »»
Mostafa Youssef raises the question of the extensive role of the producer, sometimes playing several roles such as editor, accountant, and screenwriter: ” When we approach the role of the co-producer, the question arises: can it impose certain themes or subjects and interfere in the content of the film?
There is a problem with certain co -producers who seek to impose specific content. I have a concrete example of a fund that tried to influence an Egyptian film by imposing an angle of view favorable to Great Britain. The director resolutely refused this interference, stressing that it was up to the English to accept her point of view and seek to understand it, rather than imposing a perspective which would only serve the interests of the co -producer. »»
These various testimonies revealed the complexity and richness of this collaboration on a global scale. Everyone highlighted the importance of diversity, the financial and intellectual advantages, as well as the unavoidable challenges. From the flexibility of French funds to the need for commercial films in Egypt, including the importance of project assistance programs at festivals, participants offered a nuanced vision of the current state of cinematographic co -production.
This dive into the world of cinematographic co -production shows that despite the challenges, creativity and passion remain at the heart of this global enterprise. Diversity, financial flexibility and collaboration are the pillars that support this complex form of cinematographic creation. Beyond borders, co-production continues to be a dynamic force, weaving cultural and artistic links that enrich the world cinematographic scene.
Neïla Driss
