The films are there, there is an interested audience and there are cinemas, festivals and cultural centers that can show them. In order to find the screens that connect them with their audience, these films have to navigate a complex system in which there are private and public bodies which may be local, autonomous, national and international. There isn’t one model, there are situations and opportunities about which you must be fully aware.
Circulation Strategies. Programmed for and by the audience
Jens Landestrand, Biografcentralen, Sweden. How to reach the public and increase the number of spectators. Presentation of their web which consolidates information about cinemas and independent film festivals in Sweden establishing a single point of information for the public and facilitating the online sale of tickets to the cinemas
Chloé Faulkner, NFK, Norway. The Norwegian Federation of Cine Clubs, with 110 members and 15,000 associated people, imports and distributes films for its members and is a source of information and education in the area of film.
The reverse-engineer programming consists of analysing a cinema’s environment, knowing its interests, meeting collectives with specific tastes and collaborating with them for the creation of a programme that is adapted to their needs (cultural, economic, calendar…)
Javier Pachón, CineCiutat – CineArte, Spain. Cinema of a programme adapted to the audience’s needs.
Raúl Díez, Youfeelm, Seville, Spain. Cinema on demand: when the audience programmes a cinema.
Circulation on digital platforms
Filmin is the reference for quality online cinema in Spain, because of its catalogue and of how it groups the films in subjects, sections, monographs and styles, to interest the spectator. A ‘human algorithm” as opposed to the mathematics of Netflix.
Jaume Ripoll, co-founder, Filmin
Festival Scope is a platform for professionals (programmers, distributors, sales agents or film critics), helping their visibility and circulation.
Alessandro Raja, CEO and founder, Festival Scope. Development and involvement of audiences
The importance of education in the image
Creating the audience of the future. The image is the communicative element of the start of the 21st century and the educational system is an essential accomplice so that young people become interested in auteurist cinema.
Núria Aidelman, Cine en curso, Moving Cinema and CinEd. In classrooms and cinemas: programmes, proposals, methodologies so that young people get to know and appreciate auteurist cinema
Chloé Faulkner, NFK, Norway. Awaking young people to auteurist cinema.
Manuel Martín González, Head of the Educational Plans and Programmes Department, Dir. Gral. of Innovation, Department of Education of the regional Government of Andalusia: The AulaDcine.
Led by Javier Pachón, CineCiutat – CineArte, Spain. Starting from a contextualisation of marketing and communication today (applicable to any industry),
Cinema in the Museum. Film work in art centers.
In recent years, auteurist and more daring cinema has found refuge in festivals and also in museums and art centres. Various experiments will be explored at national and international levels, along with the challenges and limitations.
Juliette Duret, Head of Cinema, Bozar, Belgium
Nico Marzano, Cinema & Film Programme Manager, ICA, United Kingdom
Álvaro Fominaya, artistic director of the Centro de Creación Contemporánea de Andalucia . C3a, Spain
More than Classics Film archives are a key element for the preservation, analysis, criticism and historiography of cinema. There will be a debate on the circulation of classics and the role of film archives in the exhibition of current independent cinema.
Frédéric Maire, Cinemathèque Suisse, president of the International Federation of Film Archives (FIAF), Switzerland
Carlos Reviriego, Joint director of the Filmoteca Española
Pablo García Casado, director of the Filmoteca de Andalucía
Jaime Pena, CGAI (Centro Galego de Artes da Imaxe)
José Antonio Hurtado, IVAC, La Filmoteca, Valencia
René Wolf, Eye Filmmuseum, Holland
Catalogues and Festival Films
There are films that are not destined for classic commercial distribution. Many of them become so-called “festival films”, travelling from one festival to another, exhausting their itinerary sooner than they deserve, without finding their audience or recovering their investment. How to facilitate the circulation of quality titles that have already passed their window of commercial exploitation? Can this other kind of alternative distribution be formalised?
Ivana Ivisic, Everything works, Croatia
Ewa Bojanowska, Festival coordinator, New Europe Film Sales
International sales workshop in collaboration with ECAM
Benefits of short film distribution via the regional catalogues
For the first time Spanish short film bodies come together with a common aim: to choose a dream team of short films from each autonomous community, which will have over a hundred international awards between them. A unique initiative which will be launched in Seville and will tour throughout the national territory in the following months.
Make them Circulate! has the support of Extenda and Acción Cultural Española (AC/E) and the collaboration of the Agencia Andaluza de Instituciones Culturales (AAIICC), Creative Europe MEDIA Desk Andalusia, ICEX and ECAM (Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid).