The Rise of Co-Productions: A Fresh Era for Latvian Cinema
Latvian cinema is increasingly looking beyond its borders, embracing international collaborations known as co-productions. These partnerships, particularly “minority co-productions” where Latvia contributes a smaller portion of the budget, are becoming vital for accessing larger projects and expanding the industry’s reach. Though, navigating the complexities of these collaborations requires understanding the evolving legal landscape and financial realities.
Understanding Minority Co-Productions
Minority co-productions involve Latvian producers contributing to films primarily financed by other countries. This allows Latvian filmmakers to participate in larger-scale projects, gain experience, and build international networks. According to research by Petr Szczepanik, these arrangements benefit both producers and institutions, fostering economic and creative potential.
Evolving Regulations and Financial Thresholds
The European Council Convention on Cinematographic Co-production has been updated to ease participation for smaller film industries. As of 2017, the required financial contribution for a three-party co-production was reduced to at least 5% of the total budget, and 10% for a two-party agreement. These revisions aim to make it easier for countries like Latvia to join larger European projects.
However, the situation is nuanced. Not all European Commission member states have ratified these revisions. For example, Germany signed the revised convention in 2022 but hasn’t ratified it, and France hasn’t signed or approved the updated version. This means that when collaborating with these countries, the original thresholds of 10% (three-party) and 20% (two-party) still apply.
Navigating Funding Challenges
The National Film Centre of Latvia (NKC) offers funding for minority co-productions, but competition is fierce. In recent years, approximately 6-7 projects have been supported annually from a pool of around 85 applicants, with a total budget of €400,000. Recent funding highlights include €100,000 for the Lithuanian, Latvian, and Estonian co-production Our Erika and €28,380 for the documentary Silent Waters (Lithuania, Germany, Latvia).
Producers like Gints Grūbe of Mistrus Media emphasize the difficulty of meeting the financial requirements. Previously, a 20% contribution was often unattainable for projects with budgets of €5-6 million. The NKC is responding to these concerns by introducing two application deadlines per year – in spring and autumn – starting in 2026.
The Importance of Strategic Partnerships
Whereas increased application opportunities are welcome, the overall funding amount remains a concern. Gints Grūbe points to Luxembourg as a model, highlighting their targeted approach to supporting specific filmmakers and projects. He suggests that the NKC could benefit from a more defined strategy for identifying and supporting projects with the potential for international recognition.
Currently, Baltic cooperation is prevalent, with Latvia frequently co-producing with Lithuania and Estonia. Uldis Cekulis of VFS Films notes the organic nature of this collaboration, citing geographical proximity and shared resources.
Beyond Funding: The Role of Creative Contributions
Minority co-productions offer opportunities for Latvian film professionals to contribute their expertise to international projects. Uldis Cekulis emphasizes the value of gaining experience in various roles, such as sound or image processing, and even as cinematographers. However, Latvia’s Film Law presents a challenge. It defines a “Latvian film” based on the presence of a Latvian citizen in key creative roles (director, screenwriter, composer, etc.). The law doesn’t adequately recognize other valuable contributions, such as makeup artists or editors, potentially hindering the recognition of co-productions as Latvian films.
The NKC is addressing this issue, with planned amendments to the Film Law expected to be submitted to the Cabinet of Ministers for public discussion.
Reaching the Audience: A Key Hurdle
Even with funding and creative contributions secured, reaching a domestic audience remains a challenge. Statistics show that European films are viewed less frequently than local productions, and “other countries’ films” have the lowest viewership. Producers acknowledge that film festivals and streaming platforms are crucial for reaching audiences, but greater promotion and education are needed to increase interest in international cinema.
Gints Grūbe emphasizes the importance of recognizing that these films tell stories that, while not always directly reflective of Latvian culture, are still relevant and valuable.
FAQ
- What is a minority co-production? It’s a film primarily financed by other countries, with Latvia contributing a smaller portion of the budget.
- What are the current financial thresholds for co-productions? For three-party co-productions, the minimum contribution is 5%, and for two-party co-productions, it’s 10%, although these thresholds can vary depending on the partner country.
- How does the NKC support co-productions? The NKC offers funding through an annual competition, but competition is high.
- What changes are planned for the Film Law? Amendments are planned to broaden the definition of “Latvian film” to include a wider range of creative roles.
Pro Tip: Building strong relationships with international producers and actively participating in film markets are essential for securing co-production opportunities.
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