The discussion “Bridge to the North: Co-production Opportunities with Sweden” was held on Monday November 4th at MOMus-Thessaloniki Museum of Photography, within the framework of the Agora Talks of the 65th Thessaloniki International Film Festival. The panel of speakers was composed of: Kristina Börjeson, Head of Production -Film i Väst, Theo Tsappos, Festival Manager Feature Film- International Department - Swedish Film Institute, Anna-Maria Kantarius, producer - Garagefilm, and Zoe Kandyla, Head of Development & Production - Hellenic Film and Audiovisual Centre. The moderation of the discussion was carried out by Maria Drandaki, producer/founder - Homemade Films.
Thanos Stavropoulos, Agora’s manager and co-ordinator of the Agora Talks, welcomed the attendees of the discussion and went on to the thank the MOMus-Thessaloniki Museum of Photography, the Swedish Institute, the Swedish Film Institute, the Swedish Embassy in Athens and the Göteborg Film Festival. Then, Maria Drandaki hailed the pivotal importance of the Festival’s Bridge to the North, which offers the opportunity to the film industry professionals to know more on the financing tools and the co-productions landscape in Sweden, the initiative’s guest country for this year. Theo Tsappos took the floor, laying out in full detail the stages and the processes involved in the financing granted by the Swedish Film Institute, placing emphasis on the possibility of long-term collaborations and the factors that play a key role in the final decision, such as the artistic outcome, the distribution plan, gender balance etc.
Zoe Kandyla talked about the Greek experience of financing granted by the Hellenic Film and Audiovisual Center S.A.-Creative Greece, noting that co-productions are not just desirable for Greek producers, but have become a necessity, bringing up two recent examples of international co-productions, the films Quiet Life and The Triangle of Sadness. Kristina Börjeson was the next to take the baton, analyzing the goals, the strategies, and the processes of financing at the Film i Väst, while explaining why it is so fundamental to keep on working with producers that have proved their value matched by the scouting of new talents. Last but not least, Anna-Maria Kantarius referred to her multi-year experience at Garagefilm, making a case for her faith in diversity both in front of and behind the camera, through the selection of stories that reflect the identity of a company owned by women, which has its eyes set both to the wider audience and the safeguarding of a distinct and singular orientation.
