As political conflicts intensify around the world, major film festivals are rallying around exiled filmmakers. In this movement, the Rotterdam Film Festival stands out as a particularly safe space for such creators, given the festival’s fundamental mission of platforming at-risk voices. But how can industry-focused platforms and markets capitalize on that mission? This is a key question for Marten Rabarts, Head of IFFR Pro, and Tamara Tatishvili, Head of Hubert Bals Fund, as the Dutch festival prepares for new developments.
The replacement has further strengthened the relationship between the market and the Fund, resulting in key initiatives being implemented and managed within both. HBF supports the Cate Blanchett-led Displacement Film Fund, which has just released its first wave of short films, including a new film from Mohammad Rasoulof, director of The Sacred Fig Seed. The fund, which was established last year, is now set to move on to its second round of grants.
This year also introduces Safe Harbor, IFFR’s new marketplace program to lift projects in development from emerging and displaced filmmakers who have limited access to professional networks, funding channels and development opportunities. This initiative is carried out in collaboration with the International Emerging Film Talent Fund (IEFTF).
Speaking to Variety ahead of his professional start in Rotterdam, Labarz recalled how upset he felt during last year’s festival when he felt “the world was on fire.” “It was about how do we support filmmakers? A year on, and things are only getting worse. It was clear that shining a spotlight on these stories was a strong parameter in our choices.”
Safe Harbor was born as an answer to that question, with IFFR Pro forgoing a minimum funding request that would normally be between 20% and 25% because the team recognized that “that would not be possible for those dealing with displaced populations.” “We decided to break down barriers and allow displaced filmmakers to stand tall with their talent and stories.” The projects we are supporting in the first issue of Safe Harbor are highly complementary to the ambitions of the Migrant Film Fund. ”
Mohammad Rasoulof (Photo by Mike Coppola/Getty Images)
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Tatishvili emphasizes that these are all “informed movements” and not just talking about “big goals”. “We’re experimenting and innovating because we can’t keep using the same model for 50 years. The mission should be the same, but the tools and partnerships need to evolve.”
But working with filmmakers while taking risks poses a series of additional logistical hurdles. In this sense, both Martens and Tatishvili are especially grateful for the adaptability of their program and the ability to develop and deliver initiatives at a speed that is not standard for major funders or other markets.
“One of the strengths of a fund and an ecosystem like ours is that we have more flexibility than many other investors,” Tatishvili says. “Some of these films cannot be shot in many other roles where the legal framework is more important. We had to be very nimble. In many of these projects, we had to consider serious security issues.”
Mr Martens mentioned how the professional team has been working closely with the Ministry of Foreign Affairs to ensure that Sudanese filmmakers can participate in this year’s festival. “We are really happy to have the support of a government agency. The logic behind HBF and Pros launching Safe Harbor is not unrelated to Rotterdam being one of the founding members of the International Union of Dangerous Filmmakers, an important organization supporting filmmakers living and working in conflict.”
Elsewhere on this year’s agenda, Martens noted that IFFR Pro has more projects than “probably ever before.” “With 21 film projects, eight in Darkroom, eight in Lightroom and four in Safe Harbor, we have 41 projects on the market. There’s something for everyone.” Selected projects include new releases from “Samsara” director Royce Patiño (“Adarna”) and “Aisha Can’t Fly Away” director Morad Mostafa (“Animals”).
The executive emphasized a desire to “reboot the market and its connection to the American indie world,” citing Cinemart’s selection of Andrea Ellsworth and Casey Ellis Walker’s project “The Dispute” as an example of that effort. “What does it mean to have young African-American women making films in America now? We had Cheryl Danney here last year, an amazing black lesbian filmmaker. She came to Europe to finance her next feature series because she couldn’t find support for her next project in America, even though she’s worked on all the A-list series.”
Professional directors also saw significant benefits from projects in Southeast Asia. “We are seeing a resurgence of co-production in Asia, particularly with the Philippines, Indonesia, Malaysia and Singapore. These countries are starting to work together. We see quite a number of countries in our selection that are looking for the last piece of the co-production puzzle. It is an exciting new development that we can play a role in what is already happening organically in the region.”
A trend we have seen in the market in recent years is an increase in the number of partners needed to secure funding for co-productions. When asked how IFFR Pro is responding to this changing reality, Martens said: “We’re building a bigger table!”
“Given the state of film funding these days, I hope we can help normalize it so that it is understood as the new normal,” he added. “This is a global phenomenon and we are putting the infrastructure in place for it.”
“Secret Agent”
Courtesy of Everett Collection
“Right-wing governments are on the rise in Europe, and funds are not as plentiful as before,” Tatishvili added. This has led to new partnerships such as HBF+Brazil: Co-Development Support, offered in partnership with RioFilme, Spcine and Projeto Paradiso, dedicated to supporting the early development of projects by second- and third-time Brazilian filmmakers.
The foundation’s director also emphasizes the importance of prominent alumni like Kleber Mendonça Filho returning to the festival with Oscar-nominated films like “The Secret Agent.” “They are happy to pass on their knowledge,” she says. “That’s the best thing, because HBF is never meant to be around forever. I say this straight to filmmakers: If you want this kind of flexible funding that really listens to your needs, tell a story about the impact we’ve had. When I go out to fundraise, the strength of my pitch is that these are filmmakers who have built their careers on our support.”
