Aide aux cinémas du monde
The Aide aux cinémas du monde brings its support to foreign filmmakers who lead a project in co-production with France. Accessible to all nationalities, this selective fund is open to feature films, animation or creative documentaries for a cinematographic exploitation in theaters. It is granted before production (pre-filming subsidies). Projects that have not been selected before production can be presented for completion assistance (post-filming subsidies).
AIDE AUX CINÉMAS DU MONDE KEY FIGURES
Each year, four supporting sessions are organized and 40 to 50 projects are granted. Since its creation in 2012, 383 films of 92 different nationalities have been supported, including:
First sub-committee (college) :
• The Unknows Saint (2018) by Alaa Eddine Aljem (Morocco, La Fabrique 2016), selection La Semaine de la Critique Cannes 2019
• Still recording (2018) by Saeed Al Batal & Ghiath Ayoub (Syria), FIPRESCI Prize, Audience award (Venise 2018)
• Nuestras madres (2017) by Cesar Diaz (Guatemala), Caméra d’Or, SACD César Diaz Prize (Festival de Cannes 2019)
• A Febre (2016) by Maya Da-Rin (Brazil, La Fabrique 2016), Best picture Prize (Festival de Biarritz 2019)
• Talking about trees (2015) by Suhaib Gasmelbari Mustafa (Sudan), Best documentary, Audience Award (Berlinale, 2019)
• Bombay Rose by Gitanjali Rao (India, La Fabrique 2011), selection Critics Week, Festival de Venise 2019
Second sub-committee (college) :
• All the Dead Ones by Marco Dutra and Caetano Gotardo (Brazil, La Fabrique 2014), in competition, Berlinale 2020
• Corpus Christi (2018) by Jan Komasa (Poland), nominated for Best International Feature Film Award, Oscar 2020
• It must be Heaven (2016) by Elia Suleiman (Palestinian Territories) Jury special mention (Festival de Cannes 2019)
• L’Insulte (2015) by Ziad Doueiri (Lebanon) nominated for Best International Feature Film Award, Oscar 2018
• Félicité by Alain Gomis (Grand Prize of the Jury at the Berlinale 2017)
• Winter Sleep by Nuri Bilge Ceylan (Turkey), Palme d'Or in Cannes in 2014
In addition, nearly 100 films supported by the Aide aux cinémas du monde (more than half of the films shot so far) were selected in one of the three most prestigious international festivals (Cannes, Berlin, Venice). Moreover, 17 films were presented in the different selections of the Festival de Cannes in 2019.
1. The film must be a co-production between a production company established in France and one that is not, it must be directed by a non-French (or exceptionally French) director.
2. The language in which it is filmed may be the official or commonly-used language(s) of the foreign country of which the director is a national; or of the territory where the film is shot.
3. Pre-filming subsidies must be applied for before the start of any filming.
4. Post-filming subsidies must be applied for by the French production company and are only applicable to projects rejected at the pre-filming stage
▷ A committee of professionals chooses the projects based on their artistic quality, their ability to present different points of view and new ideas to the general public, as well as the relative weakness of the foreign professional network on which the projects would depend.
▷ The committee comprises two sub-committees (colleges), presided over by two Vice-Presidents, one open to first or second films of a director, and the other to projects by experienced directors.
▷ The projects are examined at three stages: first by the reading committee, then by the plenary committee, which decides whether the projects should be supported or not and finally by the assessment committee, which sets the aid amount.
A PROGRAM BY THE INSTITUT FRANÇAIS/CNC
The Aide aux cinémas du monde is co-managed by the Institut français and the CNC, which contributes to a decisive part of its funding. The Institut français provides the secretariat and the organization of the first college.
▶︎ More information and applications on the websites of the Institut français and the CNC.