PRODUCTION GUIDE POLAND

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1 PRODUCTION GUIDE POLAND

2 Film Commission Poland Krakowskie Przedmieście Warsaw Poland tel fax

3 PRODUCTION GUIDE POLAND TABLE OF CONTENTS COMPANY INDEX

4 FILM PRODUCTION FUNDING 9 FILM INDUSTRY 19 PROFESSIONAL ORGANISATIONS AND PARTNERS 99 THE LAW 115 COMPANY INDEX 123

5 CONTENTS Welcome to Filmic Poland 7 FILM PRODUCTION FUNDING 9 Polish Film Institute Operational Programmes 10 Project Development 10 Film Production 11 International Co-Productions 11 Polish-German Co-Development Fund 13 Regional Film Funds 13 Creative Europe, MEDIA 16 Eurimages Fund 16 FILM INDUSTRY 19 The Film and Television Market 20 Polish Cinema Today 20 Film Production 20 The Television Market 21 Distribution 23 Cinemas 24 Admissions 24 Film Commissions 28 Film Commission Poland 28 Regional Film Commissions 29 Film Studios 31 Sound Stages 36 Producers 40 Film Services 59 Aerial Photography 59 Animal Training 59 Animation, CGI 60 Casting 62 Catering 64 Editing Services, Sound Libraries 64 Equipment Rental 69 Equipment Sales 72 High-Speed Photography 74 Lighting Equipment 74 Location Scouting 75 Make-Up 77 Motion Capture 78 Motion Control 78 On-Set Services 78 Pyrotechnics 80 Scanning, Telecine, Digital Intermediate 80 Set Design, Costumes, Props 81 Special and Underwater Photography 82 Steadicam 83 Stock Processing 84 Stunts, SFX 84 Subtitling, Dubbing, Voice-Over 84 Transportation 86 Television Broadcasters 88 Public Broadcasters 88 Commercial Broadcasters 88 VoD Platforms 89 Distributors 91 Cinemas 95 Cinema Chains 95 Arthouse Cinemas 95 PROFESSIONAL ORGANISATIONS AND PARTNERS 99 Institutions and Organisations 100 Public Institutions 100 EU Institution Representatives 101 Professional Organisations 102 Organisations Supporting Film Culture 104 Film Events 108 Film-Related Media 114 Periodicals 114 Websites 114 Websites in Polish 114 THE LAW 115 Film Production. Legal Aspects 116 Employment Law 117 Economic Law 118 Copyright 118 Legal Assistance 119 Collective Copyright Management Organisations 121 Insurance 121 COMPANY INDEX 123

6 6 JACK STRONG (2014) DIR. WŁADYSŁAW PASIKOWSKI TABLE OF CONTENTS COMPANY INDEX

7 WELCOME TO FILMIC POLAND The filmic heart of Europe. The country where everywhere is close. The country of the landscapes you recollect from the films of Roman Polański, Andrzej Wajda, Krzysztof Kieślowski, Steven Spielberg and Jerzy Skolimowski. And also of some you would seek in vain anywhere else in Europe. Inspiration Filmic Poland is fascinating. A country of average size, embracing several hundred, diametrically different landscapes. The golden, sandy beaches and the wilderness of the coastal dunes are among the most beautiful in Europe. And barely a few hundred kilometres separate them from the alpine peaks of the High Tatras. The ancient forests and nature reserves have retained all the spellbinding magnetism of the primaeval wilds while, in the Mazurian region in the north, the concentration of expansive lakes, with their ecologically natural shorelines, are a magnet to filmmakers. You will be familiar with them from Roman Polański s Nóż w wodzie (Knife in the Water, 1962). You will also remember the instances of the rare and the singular in Poland s natural world seen in The Chronicles of Narnia (2005, 2008); the vast, snowy reaches of the frozen lake and the rock formations of the oddest shapes and most curious forms hidden away in an unchecked wilderness at the heart of the Old Continent. Poland, lying between East and West, between Russia and Germany, is a country with a rich history, the footprints of which are preserved in her landscapes, rural and urban. Here, every city and every town is a reminder of that history. You will have seen Poland s war in Steven Spielberg s Schindler s List (1993) and in Roman Polański s The Pianist (2002). Historical cities such as Krakow, Wrocław and Poznań have now played the role of dozens of European metropolises and towns. Architecturally abundant, postindustrial Łódź, with her legendary Film School, has been drawing Polish and foreign filmmakers and their teams for several decades. Its immense photographic qualities are something we recall from Andrzej Wajda s Oscar-nominated Ziemia obiecana (The Promised Land, 1974). Poland unites history and the modern world; her urban landscapes range from the ancient, via the architecture of the communist era, preserved for posterity by Krzysztof Kieślowski in his famous Dekalog (The Decalogue, 1988), to the thoroughly contemporary cityscapes of the twenty-first century. Professionalism The film infrastructure in Poland is one of the best-developed audiovisual services markets in Europe. Several factors have influenced this; the rich tradition of Polish cinema, the consistent post-war investment in the film industry, the enterprise and drive of the Poles following the watershed of 1989 and the highly qualified personnel in the audiovisual sector. Three huge studio complexes, situated in three of the country s largest cities, provide a complete film production line. Filmmakers will find sound stages ready and waiting for them at competitive prices and offering fully developed support facilities, costume stores, props stores and armoury stores. There are more than a dozen dynamic picture and sound editing studios operating in Poland. The Poles are a nation with a highly developed love of music, which is why producers from across the world record their soundtracks here; indeed, not so long ago, a Polish studio handled just such a commission from TABLE OF CONTENTS COMPANY INDEX 7

8 Qatar! Film crews rent state-of-the-art shooting equipment here. Poland s camera crews are deemed the best in the world and her cinematographers and camera operators work on blockbusters and numerous prestigious productions across Europe and in Hollywood. Animation is another of the country s fields of expertise, be it traditional, such as computer animation, for instance, or be it special effects. More than a dozen superbly equipped studios work to service productions from all over the world, supported in this not only by the cutting-edge quality of their equipment, but first and foremost by the visual talent, proficiency and professional background of Polish animators and special effects experts. Openness The Poles love film and cinema. Modern cinema chains are rapidly winding their way across the country and multiplex facilities are rising in cities and towns, large and small alike. The Cinema Act of 2005 established the Polish Film Institute, considered to be one of the best-functioning institutions of its kind in Europe. The stable system of film funding ensures the making of around forty features a year, a quarter of which are international co-productions. Poland has a splendid documentary film tradition. Amongst the more than one hundred documentaries created here every year, an increasing number are co-productions made in collaboration both with neighbouring countries and, more and more often, with countries outside Europe. Poland s animation studios are specialists in the field of international co-production. A few years ago, one such production, the British-Polish co-production of Suzie Templeton s Peter and the Wolf (2006) won the Oscar for the Best Short Animated Film, a well-merited victory. The Polish Film Institute is a valued and reliable partner in international audiovisual collaborations and a flagship for Polish cinema. In 2007, work begun on establishing a network of regional film funds and film commissions run by people whose experience, creativity and enthusiasm attract an ever-increasing succession of filmmaking teams from abroad. Film Commission Poland, which was founded thanks to the efforts of the country s most important institutions in the field, represents the Polish audiovisual sector in the international arena and works to invite foreign film and television teams to participate in collaborative initiatives. The Commission s mission is to create working conditions in Poland which are better than best. This guide is no more than a suggestion, a foretaste. For the richness of filmic Poland cannot be enclosed within the modest framework contained within these covers. We cordially invite you to Poland. Once you arrive, we will show her to you... from her best, filmic side. Film Commission Poland 8 TABLE OF CONTENTS COMPANY INDEX

9 FILM PRODUCTION FUNDING TABLE OF CONTENTS COMPANY INDEX FILM PRODUCTION FUNDING

10 POLISH FILM INSTITUTE 2014 Operational Programmes The Polish Film Institute (Polski Instytut Sztuki Filmowej; PISF) provides subsidies and loans, working to four operational programmes and the objectives set out within them. The Institute has allocated a sum of approximately EUR 31 mln for the accomplishment of its tasks in 2014, as follows: Film Production (ca. EUR 21 mln) Objectives: Screenwriting scholarships Project development; feature films, documentary films, animated films Feature film production Documentary film production Animated film production Film Education and Dissemination of Film Culture (EUR 4.5 mln) Objectives: Film education and vocational training Film events Local film initiatives Digital reconstruction and maintenance of film archives Research and development Development of Cinema Infrastructure (EUR 2.7 mln) Objectives: Modernisation of cinemas Digitisation of cinemas Promotion of Polish Film Abroad (EUR 1.9 mln) Project Development The Polish Film Institute supports film production at every stage of the making of a film. Under the Film Production operational programme, it awards screenwriting scholarships and funding for the development and production of features, documentaries and animated films. Under the Project Development objective, the Institute allocates money for activities such as preparing the financial plan and set documentation, searching for investors and co-producers, writing the script, script doctoring, creating the storyboard, visual designs, screen tests, producing a pilot and/or trailer and so forth. A subsidy from the PISF may not exceed 70% of the planned costs of the undertaking and the limits set out in the table below. The remaining funds required for the project s development must come from other sources, such as the producer s, co-producers, sponsors and/or investors own contributions. At the same time, in-kind contributions may constitute no more than 50% of the total value of the said funds. TYPE OF PROJECT PROJECT GENRE MAXIMUM SUBSIDY IN EUR, ca. feature film artistic historical children s and family film documentary film artistic > 70 min artistic min historical >70 min animated film, including a series of films historical min artistic > 70 min artistic min historical > 70 min children s and family film > 70 min FILM PRODUCTION FUNDING TABLE OF CONTENTS COMPANY INDEX

11 Film Production A subsidy granted by the PISF for features, documentaries and animated films under the Film Production objective may not exceed 50% of the planned costs of the undertaking and the limits set out in the table below. The exception to this is a difficult film project, which may receiving a subsidy of up to as much as 70% of the production costs. TYPE OF PROJECT PROJECT GENRE MAXIMUM SUBSIDY IN EUR, ca. DIFFICULT FILM** IN EUR, ca. feature film artistic historical children s and family film commercial film* documentary film artistic > 70 min animated film, including a series of films artistic min artistic > 40 min historical > 70 min historical min historical < 40 min artistic, historical, children s and family film > 70 min commercial film > 70 min artistic, historical, children s and family film > min artistic, historical, children s and family film < 15 min * a film with significant box-office potential ** a film of artistically ambitious content and form, with a limited commercial appeal, or a directorial debut or second film When applying for production funding, the producer is obliged to contribute a minimum of 5% of the planned costs of the undertaking. This contribution may be financial or a combination of financial and in-kind contributions. At the same time, an in-kind contribution may constitute no more than 95% of the producer s entire contribution. International Co-Productions The Polish Film Institute also supports the development and production of film projects with the participation of foreign producers. The minimum contribution from the Polish side, which may be either financial or a combination of financial and in-kind contribution, must constitute at least 20% in the case of a bilateral co-production and 10% in the instance of a multilateral one. PISF funding for a project of this nature, which is to say, a minority co-production, carries with it the absolute requirement of expending at least 80% of the funding in Poland. A minimum artistic contribution is also stipulated. In the case of a minority co-production, it is essential that: a feature film engages at least one Polish artist from the following fields: production designer, cinematographer, editor, composer a documentary film makes use of at least one of the following elements: material from Polish film archives, a Polish central character or a Polish cinematographer, Polish composer or Polish editor; an animated film engages at least one Polish artist from the following fields: director of animation, storyboard writer, visual designer or composer; a significant part of the animation must also be produced in Poland. TABLE OF CONTENTS COMPANY INDEX FILM PRODUCTION FUNDING 11

12 In addition, the majority producer must demonstrate a recognised body of work in that field. In the case of a minority production, the maximum subsidy is 50%, calculated on the basis of the financing from the Polish side. A subsidy from the PISF may not exceed the limits set out in the table below. The exception to this are projects directed by Polish directors, where the percentage limits are calculated on the basis of the entire film budget. Projects of that nature may apply for funding under the Project Development objective. TYPE OF PROJECT PROJECT GENRE MINORITY CO- PRODUCTIONS IN EUR, ca. feature film artistic historical (European film**) children s and family film (non-european) commercial film* documentary film animated films, including a series of films artistic > 70 min artistic min artistic < 40 min historical > 70 min historical min historical < 40 min artistic, historical, children s and family film > 70 min commercial film > 70 min artistic, historical, children s and family film min artistic, historical, children s and family film < 15 min * a film with significant box-office potential ** a film where the majority producer is based in a country which is either a member of the European Union or a party to the European Economic Area Agreement Applications for funding are accepted throughout the year and are considered during three sessions: session 1/ November 28 November 2013; session 2/ March 15 March 2014; session 3/ July 15 July The exception to this is the Promotion of Polish Film Abroad operational programme, under which, applications for funding are accepted and considered on a continuous basis. Applications must be submitted electronically, to https://wnioski.pisf.pl. They are assessed by committees of experts appointed from amongst representatives of the Polish film industry. However, the final decision rests with the Director of the Polish Film Institute. The results of the assessment and the decision as to funding are issued within ninety days of the session to which the application was submitted. The decision is valid for six months and its validity can be extended by a maximum of a further six months on the strength of a decision issued by the Director of the Polish Film Institute. The grant must be reimbursed if a film generates a profit within the first six years following its premiere. https://wnioski.pisf.pl Polish Film Institute Polski Instytut Sztuki Filmowej Warsaw, ul. Krakowskie Przedmieście 21/23 tel , fax Film Production and Film Project Development Department Dział Produkcji Filmowej i Rozwoju Projektów Filmowych tel , fax FILM PRODUCTION FUNDING TABLE OF CONTENTS COMPANY INDEX

13 POLISH-GERMAN CO-DEVELOPMENT FUND Polish and German producers may also apply to the Polish-German Co-Development Fund for financing for the development of film projects. The Fund, which was established thanks to collaboration between the Polish Film Institute, Mitteldeutsche Medienförderung (MDM) and Medienboard Berlin-Brandenburg, supports feature and animated films and creative documentaries. Projects for which funding applications are submitted must possess artistic quality and demonstrate the potential for drawing European audiences and, at the very least, audiences in Poland and Germany. Applications may only be submitted on condition that a co-development agreement has been signed by at least one Polish producer and at least one German producer from the region in which MDM and Medienboard operate. Financing is awarded to a maximum total of EUR Decisions as to the granting of support are taken jointly by the directors of the PISF, MDM and Medienboard or their representatives. The decisionmaking panels sit two or three times a year and the application forms are available on the websites of the Fund s founders. The Fund s annual budget is approximately EUR Polish Film Institute Polski Instytut Sztuki Filmowej Robert Baliński tel , fax and REGIONAL FILM FUNDS There is a well-developed network of regional film funds in Poland and their operations encompass most of the Polish regions. There are currently nine operating funds, but the authorities in the regions not yet covered have declared that more will be launched. In the case of Lower Silesia, Łódź, Małopolska, Mazovia, Silesia, and Poznań, the regional film commissions work alongside the film funds. In general, the Polish regional film funds seek film projects by announcing competitions. One basic condition for entering a project for a competition is that it is related to a city or town in the region, or to the region itself, either in its theme and/or its setting, or through the participation of local people and companies in its production. Support is also contingent on the expending of at least 100% of the funding within the region; in some cases, the sum to be expended is 150%. The competition organisers are interested in consolidating and enhancing the positive image of the city, town or region, which is why projects intending to use distinctive locations, sites and buildings receive the most favourable assessments. The Polish regional film funds differ in terms of the budgets they manage, the form of support they provide and the sums which must be expended in their cities, towns and region during the production of a film. Support most often takes the form of the institution managing the fund participating in the production as a co-producer with its own financial or in-kind contribution. Other forms of support are non-repayable grants or refunds, in other words, a partial reimbursement of the costs incurred, which is paid after the production has been completed. All the Polish film funds provide support of up to 50% of the film s budget, although in the case of documentaries and animated films, the funding may be higher. TABLE OF CONTENTS COMPANY INDEX FILM PRODUCTION FUNDING 13

14 The regional film funds usually announce the competitions once a year, with the assessment of the projects and allocation of funding taking anything from sixty to one hundred and twenty days. Foreign producers are also welcome to submit projects, though preferably as partners to Polish producers. All the requisite documentation must be completed in Polish. CITY/REGION FILM FUND S BUDGET IN EUR FORM OF SUPPORT Gdynia co-producer: Gdynia Culture Centre (Centrum Kultury w Gdyni) SUM TO BE EXPENDED IN THE CITY/REGION PROJECTS SUPPORTED IN % of the proposed sum 3 documentaries 1 animation 1 TV serial Lower Silesia co-producer: Odra-Film % of the sum allocated 3 features 7 documentaries Lublin grant refund 50% of the sum allocated 2 features 5 documentaries Łódź grant 150% of the sum allocated 4 features 3 documentaries 2 animations Małopolska co-producer: Krakow Festival Office (Krakowskie Biuro Festiwalowe) Mazovia co-producer: Mazovian Culture and Arts Centre (Mazowieckie Centrum Kultury i Sztuki) Poznań co-producer: Poznań Estrada (Estrada Poznańska) 150% of the sum allocated 2 features 3 documentaries 2 animations 150% of the sum allocated 1 feature 6 documentaries OF WHICH, INTERNATIONAL CO-PRODUCTIONS 4 co-productions 7 co-productions: Germany, the Czech Republic, the USA, Slovakia, Belgium and France 5 co-productions: Great Britain, Canada, Denmark and Switzerland 4 co-productions: Spain, Romania, the Czech Republic, Slovakia and Germany 7 co-productions: France, Germany and the Czech Republic 75% of the proposed sum 4 documentaries - Silesia co-producer: Silesia Film 50% of the sum allocated 2 features 4 documentaries 1 animation Western Pomerania co-producer: Pomeranian Dukes Castle in Szczecin (Zamek Książąt Pomorskich w Szczecinie) 100% of the sum allocated 1 feature 7 documentaries 4 animations 4 co-productions: France, Great Britain, Germany, Israel, Belgium, Luxembourg and Slovakia 2 co-productions: Germany, Great Britain and Norway - 14 FILM PRODUCTION FUNDING TABLE OF CONTENTS COMPANY INDEX

15 GDYNIA FILM FUND GDYŃSKI FUNDUSZ FILMOWY Gdynia Culture Centre Centrum Kultury w Gdyni Gdynia, ul. Łowicka 51 tel./fax LOWER SILESIAN FILM COMPETITION DOLNOŚLĄSKI KONKURS FILMOWY Odra-Film Wrocław, ul. Piłsudskiego 64A tel , LUBLIN FILM FUND LUBELSKI FUNDUSZ FILMOWY Lublin City Office Urząd Miasta Lublina Lublin, Trybunał Koronny, Rynek 1 tel ŁÓDŹ FILM FUND ŁÓDZKI FUNDUSZ FILMOWY The City of Łódź Office Urząd Miasta Łodzi Łódź, ul. Piotrkowska 104 tel , fax KRAKOW REGIONAL FILM FUND (MAŁOPOLSKA) REGIONALNY FUNDUSZ FILMOWY W KRAKOWIE Krakow Festival Office Krakowskie Biuro Festiwalowe Kraków, ul. Olszańska 7 tel , MAZOVIA FILM FUND MAZOWIECKI FUNDUSZ FILMOWY Mazovian Culture and Arts Centre Mazowieckie Centrum Kultury i Sztuki Warszawa, ul. Elektoralna 12 tel POZNAN FILM FUND REGIONALNY FUNDUSZ FILMOWY POZNAŃ Poznań Estrada Estrada Poznańska Poznań, ul. Masztalarska 8 tel ext. 35 fax SILESIAN FILM FUND ŚLĄSKI FUNDUSZ FILMOWY Silesia Film Katowice, ul. Górnicza 5 tel ext.115, 203 fax WESTERN POMERANIAN FILM FUND POMERANIA FILM ZACHODNIOPOMORSKI FUNDUSZ FILMOWY POMERANIA FILM Pomeranian Dukes Castle in Szczecin Zamek Książąt Pomorskich w Szczecinie Szczecin, ul. Korsarzy 34 tel TABLE OF CONTENTS COMPANY INDEX FILM PRODUCTION FUNDING 15

16 CREATIVE EUROPE, MEDIA The MEDIA sub-programme is part of the European Union s Creative Europe initiative for The initiative has a budget of EUR 1.46 billion, over half of which is earmarked for the support of cinema and the audiovisual sector. The MEDIA sub-programme supports various activities within the audiovisual sphere. It offers non-repayable grants to producers, distributors, sales agents, the operators of new digital technologies and VoD platforms, and the organisers of training programmes, festival, film fairs and other industry events. In the next few years, this will take place under the following operational programmes: Training for professionals in the audiovisual sector (EUR 7.5 mln) Development (EUR 17.5 mln) Support for producers in making feature, animated and creative documentary films intended for cinema, television and VoD platform distribution. TV Broadcasting (EUR 11.8 mln) Support for the production and distribution of high-quality television films intended for the European and global market, including co-productions, artistically ambitious, high-quality European feature series, as well as sequels and further seasons of series which have already been produced. The maximum sum for a grant is EUR 1 million. International Co-Production Funds (EUR 1.5 mln) Facilitating the production and distribution of international film projects by means of support provided through international co-production funds. Access to Market (EUR 5.47 mln) Support for the operations of Internet platforms designed for professionals in the audiovisual sector and for events aiming to facilitate the financing, co-production and sale of European works of all genres. Support for distributors and sales agents (EUR mln) Film Festivals (EUR 3.25 mln) Reaching the Audience (EUR 1.9 mln) Stimulating the appetite for European films in European audiences, particularly young people and children, by means of international support for events and initiatives geared toward film education and the exchange of best practices. Cinema Networks (EUR 10.5 mln) Creative Europe Desk biuro Programu Kreatywna Europa Adam Mickiewicz Institute Instytut Adama Mickiewicza Warsaw, ul. Mokotowska 25 tel EURIMAGES FUND Eurimages is a fund supporting European cinema. It is run by the Council of Europe and it primarily subsidises co-production activities, earmarking almost 95% of its funds for that purpose. The Fund s annual budget is EUR 25 mln. Eurimages provides financial support for the production of full-length features and animations and for documentaries with 16 FILM PRODUCTION FUNDING TABLE OF CONTENTS COMPANY INDEX

17 a running time of more than seventy minutes. The main condition attached to applying for funding is that at least two producers, from at least two of the countries belonging to the Fund, are participating in the project. The Regulations of the Fund also stipulate the limits for the co-producers share in the project: CO-PRODUCTION MAJORITY CO-PRODUCTION MINORITY CO-PRODUCTION bilateral < 80% of the film s budget > 20% multilateral < 70% > 10% bilateral with a budget of up to EUR 5 mln < 90% Co-producers from countries which are not members of Eurimages may participate in a project, provided that their combined share in the co-production does not exceed 30% of the film s budget. Apart from their financial involvement, the co-producers collaboration must also display artistic and/or technical cooperation. The criteria born in mind when assessing the projects are the nationality and/or residence of the heads of departments, in other words, the director, screenwriter, composer, director of photography, sound engineer, editor, art director and costumes, as well as of the actors playing the main roles. The location of the sound stages and shooting locations and the companies providing film-related services, including post-production services, is also taken into account. Artistic criteria include the quality of the script in terms of story and theme, originality of content and subject matter, characters and dialogue, narrative structure, director s intention, cinematic vision and choice of genre; and the contribution of the creative team, including their experience and track record. The production criteria include the film s festival and box-office potential. The financial requirements are also crucial; a co-producer applying for funding should provide formal confirmation, in the form of agreements, letters of intent and bank statements, that the financing for at least 50% of the project s budget has been arranged. This half of the budget includes the co-producer s in-kind contribution, which should not, however, exceed 15% of the film s costs. Eurimages provides support in the form of a conditionally repayable, interest-free loan. It may not exceed 17% of the total production cost of the film and the sum of EUR The Fund accepts applications in English or French, completed in accordance with the instructions set out in the application form, which is available at Applications must also include all the requisite attachments. Four calls for projects are issued per year and the Eurimages Board of Management meets to evaluate the submissions on each occasion. However, co-producers are instructed to contact their National Representatives on the Board at the earliest opportunity and prior to the Board s meeting. Eurimages Fund National Representatives in Poland: TOR Film Production Studio Filmowe TOR Irena Strzałkowska Warsaw, ul. Puławska 61 tel./fax Polish Film Institute Polski Instytut Sztuki Filmowej Robert Baliński Warsaw, ul. Krakowskie Przedmieście 21/23 tel TABLE OF CONTENTS COMPANY INDEX FILM PRODUCTION FUNDING 17

18 18 MIASTO44 (WARSAW44, 2014) DIR. JAN KOMASA TABLE OF CONTENTS COMPANY INDEX

19 FILM INDUSTRY TABLE OF CONTENTS COMPANY INDEX FILM INDUSTRY

20 THE FILM AND TELEVISION MARKET Polish Cinema Today Following the introduction of the new film law in Poland in 2005 and the establishment of the Polish Film Institute, the country s film production entered a period of rapid growth. Several dozen films are made each year, often in co-production with other countries, and go on to win awards and acclaim at national and international film festivals, as well as enjoying popularity amongst Polish cinemas and their audiences alike. The same is true of Małgorzata Szumowska s latest feature, W imię (In the Name Of ), was screened in the main competition at the 63 rd Berlin International Film Festival and went on to receive the Silver Lions, the award for Best Director and the award for Best Actor at the Gdynia Film Festival later in the year. Paweł Pawlikowski s Ida, a Polish-Danish co-production, swept the board in Gdynia, picking up not only the Grand Prix Golden Lions for the director and producer of the best film, but Best Actress, Best Cinematography and Best Production Design as well. It also received the Grand Prix at the 29 th Warsaw International Film Festival, the Best Film Award at the 57 th London Film Festival and the Golden Frog award, for cinematographers Ryszard Lenczewski and Łukasz Żal, at the 21 st Camerimage International Festival of the Art of Cinematography. The main competition of the 66 th Cannes International Film Festival featured Venus in Fur, Roman Polański s latest film, a French-Polish co-production with cinematography by Paweł Edelman. All three films were co-financed by the Polish Film Institute. Film Production Each year, Poland produces over forty feature films and several dozen documentaries and animated films, a number of which are made as bilateral or multilateral international co-productions. In 2013, the budgets for Polish features ranged from EUR to 4 million, with budgets of between EUR and for documentaries and of EUR to 5 million for animations. The budgets for international co-productions and animated film series were by far and away the highest. Poland has three major film studios; the Documentary and Feature Film Production Company (Wytwórnia Filmów Dokumentalnych i Fabularnych; WFDiF) in Warsaw, the ATM Group (Grupa ATM) in Wrocław and Alvernia Studios in Kraków. WFDiF is state-owned and is the largest film producer in Poland. ATM is the country s largest tele vision producer and Alvernia is a state-of-the-art enterprise which has been compared to Pinewood Studios and Babelsberg Studios. Polish film studios are not only experienced co-production partners, but also offer a full range of film services. For further details, please see: Film Studios section Film production in Poland is the domain of specialised companies, predominantly private. There are a few hundred of them in total and they include, at the very least, several dozen with experience encompassing the production of large film projects. Polish film producers are versatile in applying their know-how and skills, engaging in making features and documentaries alike. They are happy to join forces and undertake co-production with one or more domestic or foreign partners. Akson Studio, Opus Film and Apple Film, all of which make several productions a year, number amongst the most active production companies. For further details, please see: Producers section 20 FILM INDUSTRY TABLE OF CONTENTS COMPANY INDEX

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