Cinéma du réel inaugurates this year “ParisDOC Capsules”: thematic and privileged breakfasts for film professionals.
The Capsules will take place at Georges, on the top of the Center Pompidou, at 11am, Monday 26th, Wednesday 28th and Friday 30th March.
Participation is free, upon mandatory registration.
To register, please fill in the online form.
* ParisDOC CAPSULES are conducted in FRENCH
MONDAY MARCH 26th, 11am, Le Georges (6th floor Centre Pompidou)
ParisDOC CAPSULE 1 : Meet the guests!
Meeting with the international guests of the festival and ParisDOC
Impassioned and inspiring discussions ahead, meeting together made easy, for experienced professionals and beginners alike!
On Monday, March 26th at 11am, we invite you to share a moment with Mark Peranson, Program Manager at the Locarno Film Festival, Editor-in-Chief of Cinema Scope magazine and juror of the feature film competition, Léo Goldsmith, Academic and Co-Director Brooklyn Rail magazine’s film section and Bettina Steinbrügge, director of the Hamburg Kunstverein and programmer for the Berlinale Expanded Forum, both members of the First Films and Short Films jury.
At their side, you will find Gerwin Tamsma, programmer at IFFR (Netherlands), Gabor Greiner, director of acquisitions at Films Boutique, Petr Kubica programmer for the Jihlava International Film festival (Czech Republic), Ina Rossow, responsible Festival at Deckert Distribution, Charlotte Selb, programmer for RIDM, Hot Docs, Cinéma Moderne and critic for 24 images (Canada), Manuela Buono, founder and director of sales and acquisitions at Slingshot films, Sandro Fiorin co-founder of Figa Films, Davide Oberto programmer for Torino Film Festival (Italy) and co-director of Doclisboa (Portugal) and Susana Santos Rodrigues, international consultant on Latin American territories and Portugal for Karlovy Vary (Czech Republic) and the Bildrausch Film Festival (Switzerland).
WEDNESDAY MARCH 28, 11am, Le Georges
ParisDOC Capsule 2: The distribution of documentaries on new media
Wednesday, March 28 at 11am, ParisDOC offers a meeting around documentary and new viewing practices.
How, how many and by whom are documentaries viewed on the VOD/SVOD platforms? European development of UniversCiné: is the network organization representative of the needs of a new generation? Sketches of the new landscape of viewing practices 2.0
Discussion led by Charles Hembert, director of the UniversCiné editions and member of Eurovod. Conducted in French.
3 questions to Charles Hembert
Who are the viewers of documentaries on VoD / SVoD?
They are ultimately more on a national scale than for fiction. The documentary is released on few copies in theaters in France, about 50-60, so 30-40 cities, it is however well supported by the press. Thus when it arrives in VoD, it becomes accessible to 60% of France for the first time. This allows a higher rate of dispersion, the audience of the documentary is less Parisian finally that of the fiction, at least on our platform. And the strength of the documentary is also to be able to interest other types of public that the film-lovers one. So the movies that work are those with themes that are not only circumscribed to the cinema cues. This is valid for documentaries on artists like Janis by Amy Berg or Vivian Maier by Charlie Siskel and John Maloof or on societal topics such as Raoul Peck’s I am not your negro or Mariana Otero’s Like an Open Sky.
What can the documentary hope for from new viewing practices?Physical video continues to have a significant weight in the documentary market compared to digital, the transformation rate is still 10%, where normally it is around 2% for the rest of the market. On the digital, especially on TVoD, the documentary suffers from the appearance of the catch-up TV. In fiction, except for Arte, nobody does catch-up with movies. This practice made the audience feel that paying for a documentary was not “normal”. On the other hand, the emergence of the SVoD has shown that within a subscription offer, where the consumer does not have the feeling of paying again, the documentary, but also short films or more experimental works, are more watched. The success of a platform like Tënk or even documentaries on Netflix or in our UnCut offer shows it well: there is an audience for this type of works.
Is collaboration the future of European VoD / SVoD?
Historically, UniversCiné and Eurovod, an association that we preside, have always been strongly supported by the European Union and the MEDIA program. Moreover, today, in this idea of the European single market, there is a strong desire to Europeanise certain VoD / SVoD platforms. We can see it with Netflix, when buying a film, it’s still easier to pay it off on 190 territories than on one. With Eurovod, we are trying to regroup and grow to become a real European VoD union. The challenge is to improve the distribution of arthouse and documentary movies, which are often limited to a few territories. The idea is to, thanks to the low cost of putting online and advertising, make this type of cinema more accessible in Europe, including by associating with festivals.
FRIDAY MARCH 30, 11am, Le Georges
ParisDOC Capsule 3: Rouge International
Friday, March 30, at 11am, ParisDOC offers a meeting with producers Nadia Turincev and Julie Gayet.
From Fix Me to Raw, between documentaries and fiction, Beirut and Paris… A focus on the singular career of Rouge International! Challenges, intuitions, strategies… What were the key choices made by these two partners?
Discussion moderated by Pamela Pianezza. Conducted in French.
It is in the name of the company, which multiplies co-productions abroad, and Nadia Turincev lives between Paris and Beirut: the International is therefore the DNA of Rouge?
Of course ! The universal begins when you push the walls of your kitchen – that’s our motto from the beginning. Inter, yes, and not only national, inter in the sense of relationship, reciprocity. And also interlocutors, interstices, interpret, interrogate, startle (interloquer in French), call-out (interpeller in French), interact …
The company has been around since 2007, but the success of Raw really put it in the spotlight. What did the film of Julia Ducournau actually change for you?
It depends on what scene! We do not see a radical change, no break, rather a continuity. A Spell To Ward Off The Darkness, with more than 125 festival selections and numerous awards, had put Rouge International on the forefront of avant-garde arthouse cinema, and we have continued to win our stripes, step by step, as with The Treasure, Mimosas … and Raw.
You work as much on fiction as you do on documentaries, without distinction. But what are the main differences between these two materials in terms of production and distribution?
In terms of production, documentaries, let’s say author or research, accept a creative disorder, a less rigid temporality, and the distribution is more fragile, too. Anyway, whether fiction or documentary, every film we produce prevents any possibility of applying a recipe, forces us to reinvent, to recreate a world – and that’s what we cherish.
by Perrine Quennesson