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PRODUCCIÓN / FINANCIACIÓN Bélgica

El Centro de Cine y el Audiovisual de la Federación Valonia-Bruselas trata los nuevos retos de la recuperación en su informe del 2021

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- La institución belga publica sus resultados, entre la continuación del plan post-Covid, la reflexión sobre la diversidad y la frustrada vuelta del público al cine

El Centro de Cine y el Audiovisual de la Federación Valonia-Bruselas trata los nuevos retos de la recuperación en su informe del 2021
Un pequeño mundo, de Laura Wandel

Este artículo está disponible en inglés.

The Wallonia-Brussels Federation Film and Audiovisual Centre presented its annual report last Friday, an opportunity to take stock of the post-Covid recovery policies, the evolution of the Commission du Cinéma and of the number of films supported, the results of Belgian films in Belgium and abroad, and the new projects on the table.

To support the profession in its return to activity following the Covid crisis, an envelope of nearly 3 million euros was released. It was mainly aimed at allowing a 20% increase in the amount of production aid, unconditional access to reinvestment bonuses, or the taking care of part of the additional costs of Covid on shoots. 27 new feature-length fiction films were supported this year, out of 174 promises of aid, for a total budget of 10.22 million euros.

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The Centre du Cinéma has also supported operations to encourage the public to return to the cinema. It should be remembered that Belgian cinemas remained closed for more than 5 months in 2021. In Belgium, the most successful French-speaking Belgian films were Playground [+lee también:
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entrevista: Laura Wandel
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by Laura Wandel (20,888 admissions), The Restless [+lee también:
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entrevista: Joachim Lafosse
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by Joachim Lafosse (18,369 admissions) and SpaceBoy [+lee también:
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entrevista: Olivier Pairoux
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by Olivier Pairoux (15,047). For comparison, these figures are in line with those of European arthouse films, knowing that films like Titane [+lee también:
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entrevista: Julia Ducournau, Vincent L…
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or The Worst Person in the World [+lee también:
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entrevista: Joachim Trier
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are also close to 20,000 admissions, or that Lost Illusions [+lee también:
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entrevista: Xavier Giannoli
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made 11,000 admissions. These films naturally spread to other French-speaking territories (first and foremost France, of course), offering them a wider audience potential.

However, there are many candidates for success, and attendance remains a major concern. In almost constant decline for several years, the Covid crisis marked a sudden halt, and we can see that the Belgian public is shunning theatres and concentrating its attention more and more on a few titles. Winning back these audiences remains one of the major challenges for the coming year.

One of the other issues highlighted was the representation of diversity. A series of initiatives has been put in place to raise awareness and to encourage, such as the collection of figures, the training of professionals but also of non-professionals, and the attempt to create a diversity dynamic by encouraging productions to observe and reflect upon their approach to diversity, both in front of and behind the camera.

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(Traducción del francés)

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