For Switzerland’s SRG SSR, the main goal is to keep co-producers “happy,” Gregory Catella said in Locarno.
“We benefit from this success and this visibility. Our financial participation is not huge; for us it’s more about prestige. The films and minority co-productions that come to us aim for international recognition at the festivals.”
Speaking during the panel on Switzerland and co-financing opportunities for independent films, Catella encouraged Locarno Pro participants to sign up for the so-called audiovisual pact.
“I know you’re here to talk about money, so let’s talk about money,” he said, revealing that the Pact now has 34 million CHF ($39.2 million) to offer: a number that increased by 1.5 million has increased.
“The purpose of this expansion is not to make more films or series, but to better finance our co-productions. Costs are rising,” he noted. While the Audiovisual Pact – which offers up to CHF 10 million ($11.5 million) for feature films and CHF 2 million ($2.3 million) for animation – is aimed at Swiss co-productions, it is possible to “jump in” as an international co-producer. Now also in making documentary series for broadcasters and platforms.
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 make other co-productions if they fall under the European Co-production Convention, but we cannot co-produce with countries that do not have a treaty,” said Patrizia Pesko.
Separate treaties exist with Austria and Germany, Canada, France, the French Community of Belgium, Italy, Luxembourg and Mexico.
“You are free to collaborate with Japan or China, but it cannot be recognized as an official co-production of the Swiss state. And if you cannot be recognized as an official co-production, you lose some rights. For example, your film may not be at festivals as an official Swiss co-production,” says Pesko.
Media Desk Suisse offers more flexibility.
“There is 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 you have a co-production agreement with France, and France has a co-production agreement with Switzerland, that is the triangle of co-producers,” said Corinna Marschall.
“We only offer development financing and no production support – for projects with a Swiss majority participation, but also for the co-development of projects with a Swiss minority. Our total development budget per year is CHF 1.2 million ($1.4 million). For all genres together.”
With this money, Media Desk Suisse finances approximately 23 projects per year. The support usually comes 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 be released in theaters.
The application is made by the Swiss production company, which “must have a certain track record.” The evaluation is done by foreign experts.
“Usually, the financing comes in handy when you need more time and extra money due to 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 animations, and for Swiss authors and co-authors. It offers up to CHF50,000 ($57,670) in non-repayable grants, while financing can cover up to 70% of the Swiss minority partner’s expenses. Applications must be submitted at least eight months before inclusion by a Swiss minority producer.
“It is important that these projects have a connection with Switzerland through subject, crew or cast. We focus on projects with high artistic and high production value that can reach an international audience,” she said.
“Success with audiences is good, but what matters most is whether the film can go abroad – and not just to 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 goal is to support films for theatrical distribution,” explains Madeline Robert. In exchange for the support, all Swiss rights ended up in the fund. The director must be from one of the eligible countries, as must the applicant production company. Filming must take place in one of the eligible countries and in the local language.
“We do not work with, for example, an American filmmaker from the diaspora who is filming in Tanzania. That’s not what we do,” she said.
There is no need for a Swiss producer on board or a European partner. Visions Sud Est supports films during production (granting max. 50,000 CHF ($57,670) for a fiction film) and the post-production phase – max. 50,000 CHF ($57,670) for a fiction film. 20,000 (CHF$23,000). The selection process takes 16 weeks.
Robert explained, “It’s a pretty 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.”
“It is important for us to get involved at the right stage [of the project]. ‘Agora’ received support in the post-production phase. 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 festival later this week.
Robert told me later Variety: “The most common mistake is to apply too early. Because it is only possible to apply once for each stage of support, it is important to submit the application when the script is completed – in the production phase – and when a rough cut of the entire film is ready – in the post-production phase.”
But such a happy ending isn’t always necessary, noted Tenzin Roder of Migros Culture Percentage Story Lab.
“We want to help make films, and as we know it’s not realistic to make every project.”
The lab exists for all audiovisual storytelling formats in “very early” stages of development, including cross-media projects and games.
Talk to Variety After the panel, Roder underscored the importance of the anonymized judging process and providing coaching and mentoring opportunities.
“In a small country like Switzerland, where industry players are relatively well known, it is crucial to ensure diverse voices are heard. The ability to tell stories, both in audiovisual media and in literature, represents a form of participation and influence. We believe it is essential to approach topics from different perspectives,” she says.
“We offer customized support, which proves especially valuable for emerging talents who are new to the industry. The barriers to filmmaking are high and access is difficult. With our coaching offer we want to contribute to the strengthening and professionalization of these new voices.”
She added: “It is important to create environments that enable experimentation and exploration, especially in this competitive landscape. We create a space where stories can emerge and take shape.”
