Swiss Funding Bodies Talk Money and Co-Financing Opportunities at Locarno: We Create

For Switzerland’s SRG SSR, the main goal is keeping co-producers “happy,” said Gregory Catella at Locarno.

“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 the festivals.”

Speaking during the Switzerland and Co-Financing Opportunities for Independent Films panel, Catella encouraged Locarno Pro’s participants to apply for the so-called Audiovisual Pact.

“I know you are here to talk money, so let’s talk money,” he said, revealing the Pact now has 34 million CHF ($39.2 million) to offer: a number that went up by 1.5 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. While Audiovisual Pact – which offers up to 10 million CHF ($11.5 million) for feature films and 2 million ($2.3 million) for animation – is aimed at Swiss co-productions, it’s possible to “jump in” as an international co-producer. Now, also when working on documentary series for broadcast and for platforms.

Popular on Variety

However, potential applicants should start with the Federal Office of Culture, which offers a selective fund and an automatic fund based on theatrical releases and festival participants of previous films. Film Investment Refund Switzerland is also available, although there is a limit.

“We can only co-produce with countries that have a treaty with us. We can do other co-productions if they are covered by the European Convention of co-production, but we can’t co-produce with countries that don’t have a treaty,” observed Patrizia Pesko.

Separate treaties exist with Austria and Germany, Canada, France, the French Community of Belgium, Italy, Luxemburg and Mexico.

“You are free to work with Japan or China, but it can’t be acknowledged as an official co-production from the Swiss state. And if you can’t be acknowledged as an official co-production, you lose some rights. Your film can’t be at festivals as an official Swiss co-production, for example,” added Pesko.

Media Desk Suisse offers more flexibility.

“There’s a possibility that you have a co-production with Switzerland according to an agreement that exists with the third partner. If you are from Kazakhstan and have a co-production agreement with France, and France has a co-production agreement with Switzerland, that’s the triangle of co-producers,” said Corinna Marschall.

“We only offer development funding and no production support – for projects with Swiss majority participation, but also for co-development of the projects with Swiss minority. Our total development budget per year is 1.2 million CHF ($1.4 million). For all genres combined.”

With this money, Media Desk Suisse funds roughly 23 projects per year. The support comes typically at the end of the development phase and the nationality of the author is not important. There is also no obligation for the project to have a theatrical release.

The application is done by the Swiss production company, which “must have a certain track record.” The evaluation is done by foreign experts.

“Typically, the funding comes in handy if you need more time and extra money because of extensive research – for archive material, for example, to create a marketing strategy or a teaser.”

Marschall also discussed the Minority Swiss Co-Development Funding, which awards bonus points for children’s films and animation, and for Swiss (co-) authors. It offers up to 50,000 CHF ($57,670) in non-recoupable grants, while funding can cover up to 70% of the Swiss minority partner’s expenses. Applications must be made by a Swiss minority producer at least eight months before shooting.

“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.

“Success with the audience is good, but mainly it’s about whether the film will be able to travel abroad – not just at festivals. Is there potential for that?”

Countries with low production capacity should turn their attention to Visions Sud Est, founded in 2005. Since then, it has supported more than 200 projects, including “All We Imagine as Light,” “Pepe” or “Intercepted.”

“The aim is to support films for theatrical distribution,” explained Madeline Robert. In return for the support, all Swiss rights got to the fund. The director must be from one of the eligible countries – so does the applicant production company. Filming must be in one of the eligible countries and in the local language.

“We are not working with, say, a US filmmaker from the diaspora who is filming in Tanzania. It’s not what we do,” she said.

No Swiss producer on board or European partner is required. Visions Sud Est supports films at production (awarding max. 50,000 CHF ($57,670) for a fiction film) and post-production stage – max. 20,000 (CHF $23,000). The selection process takes 16 weeks.

Robert explained, “It’s quite a competitive fund, so it’s important not to submit too early and really be ready for production,” she said, noting the importance of “the quality and originality of the project and strengthening the local film industry.”

“For us, it’s important to get involved at the right stage [of the project]. ‘Agora’ received support at the post-production stage. The director said: ‘Now I can finish the film and show it at a great festival,'” she added. The film will be shown at the fest later this week.

Later, Robert told Variety: “The most common mistake is to apply too early. As it is only possible to apply once to each stage of support, it’s important to apply when the script is completed – at the production stage – and when a rough cut of the entire film is done – at the post-production stage.”

But such a happy end isn’t always necessary, observed Tenzin Roder of Migros Culture Percentage Story Lab.

“We want to help in the process of filmmaking, and, as we know, it’s not realistic for every project to be made.”

The lab exists for all audiovisual narrative formats in “very early” stages of development, including cross-media projects and games.

Talking to Variety after the panel, Roder underlined the importance of the anonymized jury process and offering coaching and mentoring opportunities.

“In a small country like Switzerland, where the industry players are relatively well-known, it’s crucial to ensure that diverse voices are heard. The ability to tell stories, whether in audiovisual media or literature, represents a form of participation and influence. We believe it is essential to approach topics from a variety of perspectives,” she said.

“We provide tailored support, which proves particularly valuable for emerging talents who are new to the industry. The hurdles in filmmaking are high, and access is challenging. With our coaching offerings, we aim to contribute to the strengthening and professionalization of these new voices.”

She added: “It’s important to create environments that allow for experimentation and exploration, especially in this competitive landscape. We create a space where stories can emerge and take shape.”

Must Read

Film
COVER | Sebastian Stan Tells All: Becoming Donald Trump and Starring in 2024’s Most Controversial Movie
By Andrew Wallenstein 2 weeks

Sign Up for Variety Newsletters

By providing your information, you agree to our Terms of Use and our Privacy Policy.We use vendors that may also process your information to help provide our services. // This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

ncG1vNJzZmiukae2psDYZ5qopV9nfXOAjp%2BgpaVfnLmwrsClZqyvmajAbrLUp5uippdir7CwyJ6qZqyRobhurdNmo6ibkae7sHmQa2pvaWBqfXF%2Fjg%3D%3D

Jenniffer Sheldon

Update: 2024-08-19

DashVib