FINLAND THROUGH A LENS.

FOR IMMEDIATE RELEASE
(Free-Press-Release.com) February 13, 2012 -- ( FINLAND THROUGH A LENS )

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Finnish Film Foundation
Report - Review
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The FFF was established in 1969, there priority is to support and promote professional Film production, distribution, and exhibition & responsible cultural export of Finnish Film and operates under the Ministry of Culture and Education. International Promotion comes from a very proactive FFF.

Feature-Length Fiction.

Educate, motivate inspire. As realized at this years Helsinki Film Festival Gala week, feature length fiction film is strong, varied has world-wide potential and is doing rather well at present. Support coming by way of funds of the FFF has increased year on year for the third consecutive year resulting in the funding of a record number domestic feature films up from 16 in 2009 to 23 this year. As a result this has allowed greater variety of subject matter and themes to be explored. A variance in production budgets and an expedient production schedule proved extremely successful. Last year for instance- there were 172 Cinemas operating in Finland in 127 different towns. Although, only five multiplexes of 8 or more screens can be found all over the country. The situation though seems rather positive, there is a huge general interest for local films at present, and the Finnish Government has favored the film industry increasing the funding of the Finnish Film Foundation. Consequently, the FFF is able to support more films (or give more support than previously) which means for example more time for shooting and/or editing. ( As we know, time equals money ) Educate, motivate inspire.

Documentary & Short films

For documentary and (especially) short films entered perhaps its most challenging period; as an apparent result of social change the situation on the production front is not so good, the expertise of the Finnish distributors doesn’t meets the needs of the documentary films, although some do such as Cinema Monde and have been doing so for many years. However the most important domestic distributor, Finnish Public Broadcasting Company (YLE) appears in the middle of some sort of dispute - if not economical crisis at present. Although it has to be said that domestic documentaries are quite popular in cinemas they remain for the most part watched on television. YLE is planning to cut the number of external program commissions and unfortunately its production participation. Shifting emphasis and focus on its in house dramas instead. However, support coming from YLE is crucial for these cinematic forms, and we all hope things will improve and turn round for the better in the future. As far as festivals go, Doc Point is crucial in supporting documentaries, and without doubt is extremely important for Finnish audience and in meeting with production companies and with Foreign sales companies. Documentary film being sold to theatres in much the same way as is fiction. We should remain aware that despite the importance of a good distribution is does not guarantee success unless the film itself possesses the right ingredients touching the interests and feelings of its audience. It’s essential of course to convey particular moments of real emotion as well as thought and detail to an enthused audience. The need as in moments - such as in real life - when you realize something is not only essential but also very special. Domestic distributors strongest for short films is traditionally YLE bringing in some money for productions film makers - don’t get any income from festival distribution - commercial features gather the best interest they should & concentrate on the distributional problems of short and doc film; TV isn’t organized as best it could be - and doesn’t invest in short film doc productions as much as they used too. YLE TV license is not tax based - people don’t pay them – it’s more or less voluntary plus people are not dependant on TV as they once were, ( and use other channels ) and in part it’s a political issue - commercial TV channels don’t necessarily want to pay. Perhaps something to be considered if not reckoned with here is whenever people are active as now they are have other choices & options & as a result this remains rather interesting. It’s not as simple as it may seem. And in today’s terms it remains a significant grey area. One answer is to find new ways of financing films there should be alternative measures taken, solutions presented. and resources made available. Perhaps engage more with the distributors? Another solution perhaps is to further engage with European wide distributor’s co production, would help; possibly create a more efficient network? But that would still possibly remain difficult with small productions. In regards to the question being asked concerning International promotion - in general terms, it’s less of a problem for feature length but remains a problem unfortunately for short and doc. We at least have some new marketing initiatives regarding support for short films The aim is to encourage and to further show and support the high quality short film makers, and where appropriate at Festivals which remain ideal venues in which to showcase new talent – short and doc films. To what extent the Government has need to make a decision about how to finance the Public Broadcasting Company remains an issue in all of this, and whether that’s related to the license system is more food for thought, however the understanding is that some politicians would support private channels now but not necessarily YLE. Difficult times in some respects but one suspects these discrepancies to be overcome by year’s end if not early next 2012? How realistic this is remains an open question.

Domestic Film Festivals offer important distribution channels for films and usually seem less in commercial cinema distribution. As we are aware and is generally the case most short and documentary - art house films find their home and audience at particular film festivals. With significant diversity of location and landscape attracting European and Asian films especially. With regard to international exposure and relevance regarding Finnish Films were and continue to be popular at this level. Lat year a significant number totaling 760 Finnish films were screened. It’s expected to increased in time with the present infusion of nearly all A Class festivals whereby had a Finnish film premiering internationally. Again, and recently retrospectives of new Finnish Cinema was held in Tokyo, Hong Kong and St Petersburg, and also Istanbul among others. Interestingly, neighbors such as Sweden for the first time hosted a Finnish film week last year.
Digitalization has benefited domestic films a third of the countries cinemas screens have been converted to digital technology and presumed less expensive digital medium enabled a more considered wider approach. Not everyone’s cup of tea, but the return of 3D popular or not as the case maybe has increased cinema interest and revenue with the first Finnish 3D animated family film.

International Promotion

The Finnish Film Foundation is responsible for the cultural export of Finnish films. The goal of International Promotion is to make Finland, Finnish film art and Finnish culture known abroad and to promote international sales of Finnish films. The goal is to screen Finnish films at as many internationally significant film festivals abroad as possible and other events. The fundamental underlying principle of International Promotion is to have each film at a festival which is right for the film and available for audience which is suitable for the film. A targeted audience is crucial for the success of any film. - Viewers attained this way make up a notable addition to the annual number of viewers of Finnish films. The International Promotion of Finnish short and documentary films carried out by the Foundation is also supported by AVEK - The Promotion Centre for Audio-Visual Culture in Finland. The Finnish Film Foundation also grants financial support for producers and filmmakers who want to attend film festivals where their films are screened and support for a film print made for cultural exchange. Head of Feature Film Promotion Jaana Puskala, and Marja Pallassalo, Head of Short & Documentary are the persons responsible who grant this. Their decisions are approved by Irina Krohn, the Managing Director of FFF.

PAUL D. DASILVA MCIJ
International Journalist
Reporter - London UK.

film production