CINEMA

Since it was created 13 years ago, Wallimage has
consistently demonstrated over the years its
ability to adapt to the needs of the sector and
to anticipate changes in production in terms of both
funding and habitual practices and formats. “Wallimage’s
‘traditional’ funding lines are now up to
speed,” explains its director Philippe Reynaert.
“Moreover, as they are economically neutral for the
Region (given that the amount spent in Wallonia is
on average three times higher than the amount invested
by the fund, resulting in tax revenues equivalent
to the investment – ed.), we can feel confident
about their sustainability. However, that doesn’t
mean we can rest on our laurels! The production environment
is changing rapidly and the spread of
digital technology is having an impact on traditional
funding models.”
With an annual budget of
€5 million, the economic
fund in support of
Flemish film production is clearly
ambitious. “It was launched in 2012.
Since then we have received and
analysed 56 film projects, of which
we have selected 40. Our maximum
investment is €400,000,” says Jan
Roekens, who has been head of
Screen Flanders at the Flemish Audiovisual
Fund (VAF) since January.
Screen Flanders’ budget in fact derives
from the agency Enterprise
Flanders. The viewpoint is thus definitely
economic. “We act as coproducers,
with the potential to receive
revenue in the right circumstances.”
In order to access this fund, you
must meet three conditions: you
must be a Belgian producer, you
must already have secured at least
50% of your funding, and you must
plan to spend at least €250,000 in
the Flemish Region.
The fund’s objective is to encourage
Update
Wallimage
Perpetuate and explore!
Paradoxically, this changing context seems to be
boosting the Walloon fund’s dynamism. For the last
three years, Wallimage has implemented its Crossmedia
funding line through the Creative Wallonia
programme. “All the studies show that the future of
the audiovisual sector lies in media convergence.
This funding line is a little like our R&D department,
and it has enabled us to encounter other Walloon
creative companies active in fields other than
purely audiovisual activity.”
Another challenge is Brussels! The Brussels economic
fund, Bruxellimage, was set up there five
years ago in collaboration with the sole Belgian
economic fund that existed at that time, namely
Wallimage. With the arrival of Screen Flanders, relations
between the three Regions will need to be
redefined. Nevertheless, links between the two Regions
are strong: Wallimage and Bruxellimage have
together opened a new line of support for television
series to the tune of one million euros, attracting
series such as Métal Hurlant in Marcinelle
or Which is Witch in Liège. If the next four RTBF
series (under development) incur expenses in Wallonia,
this line should also contribute to their production.
Finally, starting this year the two Regions are investing
in the organisation of a genre film market:
Frontières. This originates from Montreal, but a
combined version has just been organised in the
European capital. “Belgian independent films are
already well recognised abroad. It is essential to encourage
other types of cinema...” . ■ V.B.
Screen Flanders
Launch and attract!
Jan Roekens, Head of Screen Flanders at the VAF
Philippe Reynaert
Director of Wallimage
the structuring of the Flemish industry.
“In this context, we also encourage
the participation of mainly
foreign films. We want to attract
them here.” This is where the complementarity
with the VAF makes a
difference, as the VAF provides a cultural
viewpoint, whereas Screen
Flanders’ outlook is more economic.
“When we work with both funding
bodies on a film, we ensure that
there is no overlap between the two
in terms of spending. Costs covered
by the one are not covered by the
other.”
Another not insignificant factor is
the desire to invest in Flemish expertise.
“We prefer to spend on a
film that employs a Flemish head
cameraman or a Flemish actor, rather
than just Flemish extras,” continues
Jan Roekens. “It is these talented
and/or experienced men and women
who are the backbone of the cinema,
so it is vital for us to encourage the
use of their services.” .■ V.B.
Belgian Cinema III May 2014