Jo Mühlberger, European Film Promotion Deputy Managing Director, takes the time to chat with The Film Verdict on his way to Sundance from Hamburg. A familiar face in the international film industry, Jo has been one of the pillars of European Film Promotion for the last 25 years.
The Film Verdict: The European Film Promotion (EFP) has been focused on Sundance for a few years now. Why has Sundance become such an important destination for you and what are EFP‘s plans there this year?
Mühlberger: The Sundance Film Festival has been always been an Important launch pad for European films. But often, it’s been difficult for the European attendees to navigate the festival or connect with their peers from North America. EFP started its Europe! Hub in Park City three years ago because we saw the need for a space for the attending European professionals, a place to meet, connect, arrange meetings and sometimes just have a coffee in great company.
At the same time, we can achieve a much stronger awareness for the European titles at the festival by joining forces. The Europe! Hub gives strong visibility to the European films, and we are very grateful to the festival for having us here.
TFV: Is Sundance an important festival for European film makers to find North American distribution? How does it compare with Toronto, where EFP also has an important presence?
Mühlberger: The festivals are very different in their approach. Sundance has fewer films and consequently fewer European titles. At the same time, the films are world premieres. Being invited to Sundance is a milestone for a film from Europe, like being in a highly curated line-up. And it is the first international film festival recognised by professionals from around the globe, kicking off the film year. Here we have been able to build up a relationship with distributors from the U.S., after introducing them to the European titles already prior to the festival.
That said, Toronto has its special position, programming world premieres of European titles beside films which premiered at festivals like Cannes or Venice. Toronto covers a wide range of European filmmaking. At the same time, they have professionals not only from North American but from other international territories who are interested in our films. Thus, our presence at both festivals makes sense for EFP, which hosts the European film institutes as well as sales companies.
TFV: The word “promotion” could be a bit misunderstood by people not familiar with the European Film Promotion. Can you explain EFP’s mandate?
Mühlberger: Indeed, promotion is only one part of EFP’s activities. After traditional promotion, the networking aspect is key to our activities and programs. This starts with a regular exchange between EFP’s member organsiations, the national film institutes, on global questions. On their mandate, EFP also brings together European professionals in programs like Shooting Stars for acting talent and Producers on the Move or Future Frames for producers or directing talent from Europe, always with a strong focus on promoting the participants internationally, of course. And we run hubs at international festivals and markets, like here in Sundance. We also run promotional programs highlighting films and talents; for example, films by women or gender queer directors in selected partner festivals like Sydney and Rio. Last but not least, we support promotion with Film Sales Support, giving a financial grant to world sales companies selling European titles.
So we have a wide range of activities. And here at Sundance, we are offering space for European professionals to meet their colleagues, partners, publicists, media and international peers and vice-versa for the international participants of the festival to find the Europeans here at the EUROPE! Hub.
And – also here in Park City – networking events such as the EUROPE! Cocktail to connect professionals.
Of course, we do traditional PR work too: press releases, targeted mailings promoting the European titles invited to the festival aimed at distributors, festivals and press, social media campaigns, advertisements, etc.
We are in the strong position to have the mandate of national film institutes to bundle all these approaches from the different European countries, using synergies to strengthen the visibility of the films that are supported by different countries, as well as the Creative Europe MEDIA program of the European Union.
TFV: You have been involved in EFP now for quite a while. How have you personally seen EFP change over the years? And what are the significant changes in the European film landscape that you have observed?
Mühlberger: Indeed, there have been many changes since I started working in the business, many coming along with technical improvements. Remember the 35mm print of a film which needed to be shipped…. ? But, in fact, I have seen the industry become more and more international. More international cooperation in productions, but also on different levels in partnering with festivals or markets outside of Europe, as travel by professionals has become much more common. The level of professionalism seems much greater than in the past when you had only those few who were known internationally, while nowadays many more professionals are active all over the world, much earlier in their professional career.
Also, the newer generations of professionals are better educated and film-school trained, and interested in finding partners, not only in their home territories, but beyond. Colleagues are seen more as partners than competitors, without losing focus on the core of their work: making strong films to be seen by wide audiences.
TFV: Last question: Your favorite restaurant/bar and ski slope in Park City?
Mühlberger: As I’m new to Park City, this is the most difficult question for me.
I’m just getting oriented. But I’m happy to share: an evening stroll on Main Street gives a special feeling, seeing all the festival guests, combined with people in skiing outfits with skis or a snowboard on the picturesque road, surrounded by the mountains while walking, talking and queueing for a screening. All serviced by a fantastic team of volunteers, super-nice and super-committed. And – very often – young film professionals themselves coming from all over the U.S. to commit to the festival and its spirit and – of course – share their love for films from all over the world.