During this year’s banner 60th anniversary edition of the Karlovy Vary International Film Festival, Variety hosted a panel in collaboration with Allwyn to discuss the longstanding success of the European Film Promotion’s Future Frames program, which acts as a springboard for up-and-coming European directors. The panel, populated by key industry names, broached issues such as access and inclusion, how companies can help foster up-and-coming talent, and what success looks like in such a competitive ecosystem.
Since 2023, the leading lottery-led multinational entertainment company Allwyn has partnered with Future Frames to provide a monthlong scholarship in Los Angeles for one director each year. In L.A., they learn from the best filmmakers in the industry, with a dedicated program of mentoring, shadowing and training designed to build anticipation of entering one of the world’s most exciting industries.
Kicking off the discussion, the recently appointed managing director of European Film Promotion, Irina Ignatiew-Lemke, said that success at EFP is “fostering the diverse voices of Europe.”
“Future Frames for the past 12 years — thanks to our wonderful collaboration with the Karlovy Vary International Film Festival — has been able to do exactly that,” she added. “And thanks to Allwyn, we are able to elevate it even further by building a bridge to the very important North American market. For us, success is when we see filmmakers succeed in this industry.”
Kryštof Mucha, Executive Director of Karlovy Vary International Film Festival, said success “is what you can see right now behind us,” as he pointed to a bustling festival atmosphere in the background of the conversation. Even on a rainy day, the festival home of the Hotel Thermal was swarmed with passionate cinephiles making their way to screenings. “[Success] is a city full of young people. It’s a cinema full of filmgoers and people who love movies.”
Allwyn’s Group chief brand officer Tatiana Jouanneau said creativity and culture can help build a strong brand identity. “For the emerging filmmakers of today, for me, success would be that we can contribute at least a little bit to today’s emerging directors to become the festival winners of the future. Success is not about one-time visibility. It’s about creating long-lasting impact.”
Speaking about the role of Allwyn in helping budding filmmakers get a foot in the door, Jouanneau said that, “of course, financial support is important,” but access is key. “What really makes a difference is access. When you think [about it] from a talent development standpoint, this is true everywhere.” Expanding on the idea of access, the executive said that “early access to right mentors, to thought leadership, to the connections in the industry [that] could create international exposure” is even more important than just plain financial support.
Ignatiew-Lemke echoed that idea, saying that sponsorship, for the EFM, “it’s not about putting a logo of a company somewhere. What I value about [our] relationship with Allwyn is that we want to create impact. Especially today, in the midst of a big destruction and transformation of our entire industry. Having a partner like Allwyn to help us amplify that message in the wider cultural context is super important for us.”
Mucha, who has vast experience fostering new voices and helping filmmakers break through in the industry, emphasized the importance of directors having the chance to enter a talent-led ecosystem with broad reach. “We are not only the film festival. We have a distribution company; we have other festivals …” The director noted the entire Karlovy Vary ecosystem aims to create a space where filmmakers “can feel safe” and where there are opportunities for directors to tell their stories. “Then they could be recognized by bigger producers, and they would have more chances to [get] financing.”
“Karlovy Vary is a small festival, but one of our goals is to give [filmmakers] the chance to be with the right people but also to get their first experience with a film festival,” he added. “These guys will be the winners of Cannes and Venice and, in their acceptance speech, will always mention Karlovy Vary.”
Ugo Obioha, talent agent at United Talent Agency, praised the festival as well as Allwyn and EFP’s vision in giving an emerging filmmaker the chance to experience the American industry with a rare level of support through their scholarship. “I can confidently say I work in one of the three biggest agencies in the world. If I am calling a producer, a distributor, an executive, they will take my call. And if I am pitching an exciting new emerging talent, they are equally excited to meet this person.”
Having the opportunity to have someone like Obioha secure key meetings in the film industry’s mega hub of L.A. is a major trump card, but the agent warns that getting the meeting is only the first step. “Access isn’t necessarily entering the room, but what impression you are making in that room.”
“I am not going to be in that meeting with you,” she adds. “As a filmmaker, you have to sell yourself. You have to have a commanding presence and be able to articulate not only who you are, but whatever you are pitching. These rooms are career-changing. If you are not able to make a strong impression, then this entire thing is almost useless.”
The 2023 recipient of the Future Frames scholarship, Danish director Amalie Marie Nelson, said winning the scholarship was a “big” opportunity filled with “a lot of small wins.” “I learned so many things about the industry over there [in L.A.], about how it works, and also what possibilities there are for collaborating with Europe because I am still writing in Danish and I want to make my first feature in Denmark. I think the most important thing afterward has been that there are some open doors now. I can always contact the people I met over there.”
As for what the panelists believe is necessary for emerging filmmakers to successfully enter and navigate the industry, a few brief keywords emerged: Mucha recommended “bravery”; Jouanneau advised “curiosity”; Nielsen said filmmakers must be present in their work but also a bit “pushy,” while Ignatiew-Lemke emphasized the importance of keeping one’s “unique voice.” Obioha agreed with all of the previous, adding that directors must also have a certain level of “fearlessness.”
“You have to be fearless,” reiterated the agent. “There’s a level of fearlessness that also carries a pushiness, right? Some of the filmmakers that we represented, Curry Barker, for instance, who just made ‘Obsession’ on a microbudget, and when you watch that film, it feels like a studio movie. An element of fearlessness means you’re not asking people for permission. You’re going for what you want. Curry is a prime example of saying: ‘Hey, the studio system doesn’t want to make my movie. I’m going to go in a different direction.’ Now, all studios want to do is make a movie with him.”
