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SOURCES & FURTHER READING
CNC Bilan 2022
www.cnc.fr/professionnels/etu...
Jonathan Buchsbaum, "Exception Taken"
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Sarah Walkley, "To what extent can France
continue to defend the cultural
exception in the digital age?"
wrap.warwick.ac.uk/80230/1/WR...
Jens Ulff-Møller, "Hollywood's Film Wars With France"
archive.org/details/hollywood...
French Cinema, A State Affair: History of Cinema and Public Policies from WWII to the Digital Age
• French Cinema, A State...
Ruth Vasey, "The World According To Hollywood"
archive.org/details/worldacco...
US Film Tax Incentives Map
www.mediaservices.com/product...
MUSIC (Via Epidemic Sound)
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Thanks for breaking this down Evan! I was always curious how this all worked. Being at Cannes it's obvious France is a country that, more than any other really seems to take pride in their cinema not just as an industry but as a cultural art form.
The CNC also supports the release of films on physical media (4K UHD, Blu-ray and DVD). It's very important to stress this out, because I think it's part of the whole take of "cinema as a cultural art form" you're mentioning. Making available overlooked gems is part of the whole process, and many independent labels need these funds to create critical content and release them as disc extras - interviews, essays, you name it. In the same vein, but at a purely digital level, you have some excellent KZhead channels that receive support from the CNC. There are many, but I'd like to encourage you to check out "Calmos" (my highest recommendation if you are interested in French comedies).
it would be a shame if ... the french government were to publicly attack the Palme d'or winning female director ... oh wait.
Woah two greats of mine in a thread! @thomasflight your metamodern video is what I introduce a ton of my friends to the same way I intro my friends to nerdwriter though his Logan video and every frame a painting with his Edgar wright video. Please keep up the good work!
It also funds very forgettable commercial movies that never make it to screens abroad. As is the case in most countries other than the US, only prestige films get exported/picked up by streaming companies.
Even then, many French people think that Cannes has become a gala for the famous and wealthy to be seen and be hip. Imagine what it used to be like.
I'm a teacher in middle school, in rural France. Without the "Ma classe au cinéma" program, most of my pupils would never get the chance to see something other than a Disney movie in the theatre. It's such a great opportunity to study cinema as an art form !
I remember watching Persepolis in the theater as a kid with my class. It left a profound impression on me. I’m curious to know which films do you bring them to? 😊
@@noone9472 From my childhood I remember we went to see King Kong (the original), The Gold Rush and Singing in the Rain.
"Ma classe au cinéma" was the only time I've watched a film other than a Disney in theater as a child lmao. really good memories
@@noone9472 When I was at elementary school, I remember seeing, in no particular order, U by Serge Élissalde and Grégoire Solotareff, and The Nightmare Before Christmas, and in middle school, we watched The 400 blows, My Life as a Courgette. There are many more that I can't remember of, but the ones I've mentioned made an impression on me for sure.
As an American in France, I thought it was odd when my daughter went to the cinema with her school, makes sense now
For smaller countries (such as Denmark, where I live), this kind of system is vital because the potential market for films in their local languages is so small that big-budget movies aren't even close to being profitable on their own.
Yep. The world should understand that they wouldn't have the likes of Mads Mikkelsen without such programs.
this happens too in south american countries. it keeps the film industry going
@@guyg.8529they can of course, but it’s far from being the rule. The share of films that have a potential for international appeal is very small, particularly in countries where the specific cultural references make the film difficult to understand to general audiences in other countries.
@@STEPA1994 Absolutely. And to expand, there is also a question of numbers here. Even if a handful of movies from, say, Denmark, reach international audiences every year, that still leaves a lot of other movies that could still be important and/or successful locally without those international sales. Most would simply not be made.
Denmark is literally the GOAT of public funding
Fun fact: I've just finished a videogame with the CNC logo in the credits. The game is called "Chants of Sennaar", and this is excellent.
An absolute gem. It's been a long time since I had fully completed a game 100% without letting go of the controller. And what a success. That was clever, trully inspired. Loved that game
CNC is also one of the reason the french youtube landscape is rich and interesting 😎 It has funded many content creators and has pushed for different artistic and educational approaches in youtube videos
Can you name some of these content creators?
Care to share a few? Would be great to practice my french :)
Can you recommend some examples from the French KZhead landscape? Genuinely interested.
Adding a few names here based on the comments: Linguisticae / Nota Bene / Stupid Economics / Nexus VI - not all their content is sponsored by the CNC so contracts etc come into effect but some of their content has the CNC logo yes.
Here are a few : @LesRevuesduMonde who writes about history, @emyltr, who makes a lot of different stuff including fiction, @kyankhojandi who is a stand-up and makes a talk-show / podcast, @marinettefemmesetfeminisme, who talks about women and feminism, @ChroniqueNEXUSVI, they talk about Sci-Fi in a Sci-Fi narrative of their own, @Sylvqin who tells stories about the internet, all of them got funding from the CNC at some point if I'm not mistaken.
As a French Filmmaker, I would always defend the CNC ( even if I was more snubbed than helped by it 😂). Thank you for this video. Even a lot a French people doesn’t understand how it works here.
Waaaaaaaaaaa j'ai lu "French filmmaker" et que voi-je ? Le F? Je m'attendais pas à te trouver dans les com de cette vidéo. (bon film au passage 👍👍👍👍👍)
Je confirme, je ne connaissais pas le fonctionnement ! D'ailleurs, pour le film du Visiteur du Future, vous aviez réussi à avoir un peu d'aide ou pas du tout ? Si c'est "pas du tout" ou très peu, alors c'est bien dommage... Mais comme tu le dis, la CNC reste une très bonne initiative qui doit rester.
Attend quoi ? Toi tu t'est fait snober par le CNC, mais d'où ? Je veux dire...Le visiteur du futur! les dissociés ! Si toi tu te fait snober, j'imagine qu'il faut juste le god mode pour passer😂 Apres on vois beaucoup de filmes qui tendent a se ressembler, avec en fond pour certains, des messages idéologiques qui ne sont plus vraiment bienvenu au bout du 3eme film du même genre (et surtout si le scénar' plait pas). Tout le monde a internet, tout le monde a déjà un avis sur tel ou tel idéologie, donc ça agace beaucoup de gens. Malgré l'utilité du CNC, les gens a la fin, ils ne voient que le prix tu ticket, et si le film était cool, ou pas. Ils ont Netflix et beaucoup de films/séries pour comparer, leurs agacement exacerbe juste leurs avis qui deviens un rejet total au lieu d'un simple "ok ouais, sans plus" A la fin on se retrouve avec le public en mode "CNC = Gros Scam" parce qu'il en ont marre de voir sans cesse revenir le même type de film qui floppe a chaque fois, que presque personne ne veux, ni ne va voir au final mais qui reviens quand même avec un autre nom, un scénario similaire, la même idéologie, pendant que beaucoup d'autres, talentueux, se prennent un "mdr t ki degage pov con" par le CNC alors que leurs audience juste sur KZhead prouve que c'est un bon pari et proposent des truc sinon originaux, au moins appréciés.
As a french working in the film industry, i feel like every french should watch this video. This is very miss-understood in France, and a lot of people are against this system because "it's public money for movies that won't be seen", but as you said, it's really not at all. The CNC and all the other aids (we have funds from regions, from private investors, TV channels that are obligated to invest in the cinema industry...) are crucial to our industry, and we make beautiful films, some even nominated at the oscars ! We also have a very very unique system for people working in the movie industry called "Intermittent", which helps a lot in terms of work stability. Anyway, nice work, and thanks for that !
lmao.
Hi! I'm French. I don't think anyone will read this, but never mind, I have to express myself. (iI advance this text is automatically translated so if there are mistakes it's not me it's the A.I ^^ ) There's a lot to say about this analysis but I'll try to keep it short. To begin with, as you said, the CNC gets money even on a film that isn't French. And that's a huge detail. It's American cinema that keeps French cinema alive today. French cinema is a dying patient on life support. The state decides which French films will be released (50 on average per year) and to be chosen (to get the money) you have to offer smooth, consensual films, or, as everywhere else, have a name or be part of an "actor/director" family. In France, the director has the final cut. And that doesn't make a good director. Most French cinema is boring as hell. Romantic comedies, dramas, biopics or comedies, that's what you're allowed to make in France. SF? Fantasy? Horror films? Action movies? NO! Why not? The answer: Too expensive. If one day American cinema stops exporting to France, French films will disappear. It's a sad fact, but the country that invented cinema was also the first to see it die. A director with real ambition for tripple A cinema can only export himself abroad. The best example of this is Luc Besson's Europa and The Fifth Element. No, really, the CNC is the worst when it comes to financing films, because for years it has allowed French cinema to release crap films that nobody watches, without giving a chance to artists with a real vision of cinema.
Entièrement d'accord.
@@themockingnerd7991Sounds like a gripe with the selection not the system itself. Something that can be changed without breaking the system itself
I feel like you are not really going to the movies here in France bud. Sure we have a lot of crappy comedies, but we have a looooot of other things. Just the last year, did you watch Anatomy of a fall ? Vermines ? The animal kingdom ? Thats all such unique movies, horror, drama, fantasy, c'mon mate ! Sure we dont have the Avengers or James Bond, but we have such unique movies instead. About the financing from US movies, its about half of the ticket sold that are from US movies, thats like 80Million tax, so about 10% of CNC's budget. Sure they do help us, but thats not all. Also, Luc Besson did something unique with Europacorp sure, but thats personnaly what i like about french cinéma. It was new and a game changer, but i'd hate a french cinéma where everything would look like cheep US movies. We make 20 films with the budget of a blockbuster, lets keep it that way.
It's very interesting to see something like this, as a french person who mostly sees french ppl heavily criticizing the CNC, mostly because they only see that it's based on "taxes" and thus assume that it's general universal taxes, not to studios/on cinema tickets, and also because a lot of the french movies that end up produced by the CNC are... kinda bad, and those are the ones with a lot of advertisement. Still, I think that french cinema is a real goldmine, and I hope all the talk around Anatomy of a fall (especially if it wins some academy awards) will help those movies get recognition beyond our small little country. Just in 2023 there were so many cool movies, from more "classic" dramas (the taste of things, chien de la casse), horror/thriller (vermines, vincent doit mourir), scifi (le règne animal/mars express), and they exist in part thanks to the CNC, but mostly because there's a generation of incredibly talented directors who deserve to shine and be talked about out of the country.
I think CNC's are pretty cool, the way they can just cut anything with a precision depending on the cad file given is such a time saver. I like the water jet ones which one do you like.
"a lot of the french movies that end up produced by the CNC are... kinda bad" - this is just not true. Just about every single French movie is supported by the CNC in some way: Anatomy of a Fall? Participation du CNC. The Three Musketeers? En partenariat avec le CNC. All Your Faces? Participation du CNC. Astérix & Obélix: The Middle Kingdom? Soutien du CNC. The Goldman Case? Soutien du CNC. Etc...
Never trust anyone who complains about tax.
"Small little country?" France is around the top-20 in the world going by population, still top-50 by size, and culturally one of the more dominant nations on the planet. If your country is small, then Croatia, Namibia or Paraguay barely exist 😅
Thanks for the recommendations. I was actually going to post asking for some good recent French cinema 👍🏽
As someone who lives in France, i have never really noticed how cinema was a part of our education or at least never questioned it as it was "normal", but after watching this video i got to think of all the moments i got to watch movies at the movie theatre and later on discuss it in class. In high school i got to choose an optional class called "littérature et société", where we'd discuss/debate/study a lot of interesting topics(politics, gastronomy, litterature, journalism, art...etc/ nglit felt like Dead poets society) and one of them being CINEMA! With the few people in the class we got to go to a film festival in Aubenas called " Les rencontres des Cinémas d'europes" which was such an amazing experience and got to discover Mustang! I've always loved cinema and i think the cinema culture being very accessible in France definitely made it easier for me to have fun.
I'm French and working in the film industry and boy is that music to my hears. Great work, thanks!
Oh man. Thank you for this. I adore French cinema - there was a small theatre down the street from my apartment in Paris that would screen older titles - always packed, always riveting, and always followed by amazing conversations at the bar with my friends and locals. The French appreciate art so much it’s in their souls.
One thing I feel was not stressed enough in the video: this system also helps maintain a degree of technical know how from gaffers to animators at every step of the production. Many of those technicians and their companies - which would eventually work form market-viable productions - have all started on CNC-led budget. Those also explain the outsized success of French cinema beyond its border. Something BC and Georgia are now starting to experience since to their long standing tax discount schemes... This know-how becomes a competitive advantage on top of pure accounting.
In Brazil, there is a similar system in the Cinema Industry. The Fundo Setorial do Audiovisual (Cinema Industry Fund, or something like that) invests in projects for cinema, tv and streaming. The way money gets back into the fund is very similar, taxing every video ad, comms industry and video projects in general. Doesnt have the same scale, but the structure is pretty much the same. Even with some of the problems mentioned in the video, it works.
I had a Video Production company for ADs for 5 years, the taxes are very low if you're a small video producing company. Also there's a great increase on taxation if you put an Ad produced outside of Brazil or using foreing footage so companies would preffer remake the whole AD here instead of just dubbing a foreign ad from a muntinational company (but they exist and get aired anyway).
ANCINE
A ANCINE é uma agência reguladora, mas é o BRDES quem gerencia o FSA utilizando dados da ANCINE pra fazer o gerenciamento dos investimentos. Funciona em paralelo.
@@LucasScremin CALMA TORCEDORES!!!!
@@rayanovelha o caps não era pra gritar, é só a sigla hahahah
In my country, Argentina 🇦🇷 We have our own version of CNC called INCAA, which has been crucial in supporting our film industry and preserving our cultural identity on screen. However, there's talk of defunding it to shift towards a more 'American' system, where private investment rules. While I understand the need for change, I worry about losing our unique voice in cinema.
It would mean watching nothing but hollywood slop.
Thats what i was thinking. INCAA can stand a fixing (i have seen some epically inept movies at the mdp film fest financed with grants, and great indie arg movies that got no distribution) but it is a necessary part of the industry
There always a need for change, nothings perfect. This is such a vapid argument. "Need for change". Such an empty concept, and its the whole reason why Milei rose to power. Of course things can be better! But now people are condoning the actual elimination of our sovereignty, all in the name of "change", or "freedom". Makes me sick to my stomach.
I think it's just an excuse to save money.
@@IsaakvonKaempfer0 the thing is INCAA sustains itself with the money people pay to see movies, a small percentage at that. The government does nothing and svaes nothing by eliminatinf it. They just hate cinema, and this might sound hyperbolic but they were celebrating last week when the president anounced hes gonna sell an emblematic and historic public cinema, and his minions were literally saying "we couldnt care lees, we hate cinema, real countris dont care about cinema hahahaha". These is the kind of peopme we are dealing with.
As a French guy, I didn't expect to see such a video on your channel. That was nice ! Another topic you could have talked about is the "chronologie des medias": the fact that movies can only be shown after a set amount of time on different supports. Because of that, it can take a loooooong time (I'm talking years) between watching a film in the cinema and being able to watch it on Netflix for example.
I think it was true decades ago, now the delays are shorter. Don't do your french. :p
@@onsenfousputain7467 nope, currently it's 15months for France before a movie gets on netflix, in the US the minimum is around 30 days, so that's still a big difference
This reminds me of the music industry in Canada. For ages there's been good access for musicians to fund and promote their music, it's one of the reasons that in a country with a population smaller than California, Canada is constantly putting out huge artists to the world stage.
Yeah Canada has adopted many of these ideas for not just music, but tv, film, and more recently online news. Being majority english speaking and on the border of the largest, most influential, and wealthy, english speaking country, which has almost 10x the population, it is extremely easy for Canadian culture and industries to be dominated by America. Taxing entertainment and media industries and funneling that revenue back into Canadian projects and talents in those industries, helps Canadians compete and protect Canadian culture.
Canadian Film and TV get some of their funding from the govt agency Telefilm Canada as I understand it, which provides 50% of a film's budget.
Canada's population just surpassed California's.
As a French person, i never realized how much important the role of the CNC was. It is a really great program that sometimes gets critized. I think the best part is the aid for Ma Classe au Cinéma, it allowed me to see mutiple films a year in middle and high school that has sparked my interest in cinema, and it's something i'm really thankful for. It is things like these that make me proud to be a French citizen
BFI is similar in the UK, although instead of auteurs these funds are seemingly preserved for the privately-educated
The Canadian version is Telefilm Canada.
BFI system is totally different! The way it gets its funding, the way it distributes it, and the scale of the funding has nothing to see with CNC. Biggest governmental contribution to filmmaking in the UK is via tax relief, which is not curated or selective.
@@SeaUrchinFilms similar in the sense that it is a governmental body inshrined by law, partially funded through taxpayers, that selects and funds projects
@@zsht - Okay, I get your point now.
i remember beeing a kid in the early 2000s waiting all month long to get to the day we were going to the cinéma with my class to watch a 3h long 1930 movie or some animation film,no matter the movie we were all so exited to have to chance to be in the cinéma with our friends to share quality time and I think this initiative from the CNC is what built this passion for cinéma deep inside me. Merci le CNC
I'm a French guy working in the cinema industry from time to time. Money from the CNC is sometimes called 'Free Money' because we don't owe anything to the CNC afterwards, unlike investors and private companies who want their money back. (The CNC can only help fund a project partially, and cannot be the majority funder; it depends on the overall film budget). It's wonderful, but it is also a double-edged sword for independent filmmakers as it can fund your independent film, but if it's not successful, they won't give you any money in the future. It's like they give you a shot; you'd better make the best out of it, if not, no more help. And then it becomes even more difficult to try to make a new film. So, the mistake is to ask the CNC for funding for your first serious indie film, as your first projects are usually not the best. But nonetheless, I'm glad the CNC exists.
In Argentina we have the INCAA, which works in a similar manner to the CNC
As a matter of fact, the CNC also has a fund for innovation. I work in the VFX industry, and these funds are often used to develop new pipelines or eco-friendly technologies. It has its issues, but it is a good incentive for studios to invest on better ways of doing stuff.
if only they could fund better salary and working conditions ...
@@Lancelotxxx
I lived in Taiwan. There is also something similar to this selective type of subsidy. The common criticism about this system is: 1. Who is making the decision who would get the money 2. The industry would get dull and not trying to make films that resonate with the masses Although indeed it would be super hard to get a commercial success without such aid. But still, there are other ways that film can profit other than from box office.
Americans do not understand that government suppose to serve people not profits and corporations... but tell that to average american and they start panic about "communism"
Spot on !
As an US American, I am jealous of the CNC's approach to the creative field of their nation. Well done France, there have been lots of media that I have enjoyed as a result of this program.
There is no "creative field", there is : "wich story could afford money from cnc ?" simple, a story where white french are bad, and poor migrant are cool. 100% of time.
Jealous? If we tried implementing something similar to what France has in here, it would almost immediately be hijacked by our government for propaganda purposes.
@@pj-ok4gt Wow, a government artistic program that's been ideologically captured? I'm in complete shock!
In Brazil, we have a similar public system to finance production.
Yes, and the conservatives want to kill it. I don't want to start a political war, plurality of political views is important, but specifically in the case of public investment in cultural production it's important to promote the, admittedly non-obvious, benefits of governamental spending.
Yes! We just need to take even MORE pride in it. ❤ They invest in restauration of theaters, this Brazil should take note.
Same for us in Argentina, until people voted for a lunatic.
But in Brazil it's not about culture, but politics. Brazilian cinema became an indoctrination system.
@@pepperpattynaise 😅😅😅😆😆
Still such a master storyteller, Nerdwriter ! Yeah, CNC is not without issues, but as you say in your video, it is essential for french cinema. As a coincidence, I applied for the first time last year for a grant from the CNC, and was awarded one. I then was contacted by producing companies who wanted to know about my project, and signed up soon after with one - who I'm now developing the project with. I never thought in a million years I'd become a writer, but thanks to the CNC it was made possible.
congratulations! and good luck.
I'm french, and I can say you're dead on. It's amazing that you could do this analysis compared to the US, and I even learned a thing or two. Thank you !
Thanks for that You might also want to talk about the closed money-system and subsidies which allows shooting technicians to not have to struggle when they can’t find jobs. It’s called “intermittent du spectacle”. Basically we pay a little more taxes on our salary (us film and audiovisuel technicians) so that it auto finances the system. When we don’t work, the rest of our I unworked days we get unemployment (you do have be eligible). If I work 2 days in a month, the rest of the days I still get unemployment money, without having to apply for unemployment every week or whatever 🤦🏻♂️
I was researching French film working laws and saw that and thought it was such a helpful system. In the US we have nothing like that, I ended up leaving the industry here in part because I couldn't keep waiting for it to get busy again and for work to return (I'm in a smaller film market, for one).
Julia Ducournau is one of the most exciting directors in modern cinema right now. Really broadened my horizons and got me into French film.
I agree; I'd also include Quentin Dupieux and Céline Sciamma in this renewal of french cinema (among my favorites are also Leos Carax even if he's not so young)
I Love "Amelie"❤ It is one of the most magical movies of my childhood. Luc Bessons Taxi series are also very enjoyable combination of comedy and action done right which I loved as a kid too.
Subway, The Big Blue, Nikita, and Léon: The Professional are also very good
You Can try Albert Dupontel's movies if you dont know him. i'm french and he's m'y favorite french movie maker :)
She cook an egg with a spoon 🥚 🥄
@@Lazarettootv Thank you! Will check him out!👍
@@halfling49 Dips hands in sands of grain and cracks top of Creme Brulee ❤
In fact, the CNC has enabled the world's two oldest productions, Gaumont and Pathé, to stay alive. Gaumont released the Lupin series not long ago on Netflix, and Pathé released a two-part mega-adaptation of The Three Musketeers (Les mousquetaires d'Artagnan and Les trois mousquetaires milady) last year. The CNC helped Pathé finance this small French blockbuster (19 million of the 72 million budget).
So glad I get to learn about film outside the US. Thanks for sharing
This is not just the France system but similar to most European film finance!
Like patronage
i feel like it's relevant to talk about the french system cause it was a model to the rest of the world and that french cinema ranks as one of the best and most distinguished
It makes sense given that the America is kicking their ass in the free market. We have been the dominant poo culture since world war 2.
It was inspired by the French system, that’s why it’s still the reference.
The mothion graphics and sfx in these videos are incredible
In Colombia we have the same. The FDC, and works similar to the video with all the perks and problems that you can imagine. Without it, it wouldn't be possible to make the 90% of the movies in Colombia. It has dramatically change the film industry panorama.
I think its worth noting that this system is used in bascially all european countries
And Canada!
And many other countries I see this all the time with American KZheadrs, who think that America is the centre of the universe, and that everything else is weird. When, in fact, the rest of the world does it this way, and America is one of the only countries that doesn’t. 🤦🏻♀️
South America too, to some extent, like anywhere but USA
what's the system in Canada called? @@PhilippeAllardRousse
except the UK
Argentina has as similar system with the INCAA (National Institute of Cinema and Audiovisual Arts), plus a recently elected Libertarian government that wants to shut it down in favor of a more market-based system.
You failed to mention that the INCAA only has Selective Funding, and that the INCAA often funds the entire cost of movies. Coupled with the fact that a small number of politically-alligned production companies receive most of the funding for movies, and you have the reason why most funded movies end up being really bad. Only 3 movies have been nominated to the Oscars since 2009 and none of these movies have been funded by the INCAA. Also the reason why 99% of the movies produced are known and seen by basically noone in the country.
Both El secreto de sus ojos y Relatos salvajes were partly founded by INCAA, like a lot of big productions, those movies had multiple financiers, and were co-productions. Argentina, 1985 was funded by Amazon, and THEY were not interested in involving public funds into the mix. Please read before comenting incomplete facts. One of the reasons some people are a against the INCAA is because of MISINFORMATION 👈@@manuelaugustosisko9758
“Es como cortarle las piernas a Messi”: el productor de ‘El secreto de sus ojos’ durísimo contra el desfinanciamiento del INCAA Pero ojo que Manuel Augusto el de youtube dice lo contrario! Escuchemos a Manuel Augusto, es indudable que tiene razón.
As a German filmmaker, it's heartbraking to see my country's industry, once the most renowned in the world, having the world's first movie studio, at one point even the most cinemas, go down the road it went. France is defnitely the powerhouse in Europe's film industry today and some Fremch movies are of my all-time favourites. Hope we can be incentivized to support our filmmakers and cinemas the way France does. At least some hope is on the horizon considering one (or actually two, or actually three) German movies being nominated for best International Picture at the Oscars.
Das Boot is my favourite movie. Also loved Lives of Others, Run Lola Run, Goodbye Lenin and Funny Games.
@@lookintoit4537 unfortunately, they all came out rather long ago..
I would say Italy is probably the most prolifico country in Europe for cinema...Cinecittà are the major studios in the EU.
You do realize that Germany has a similar system in place already lol? Also there is a lot more to cinema than the Oscars.
@@cepho8349 Germany's funding is inaccessible for small or medium sized productions. Trust me, I tried.
I love this video! I wanted to tell you that in my country Argentina we have the same thing called INCAA a national instate for the arts that has "financed" our best movies that have even won oscars! we are so proud that it exists since it has put Argentinan cinema at the top of South American cinema!
Movies nominated to the Oscars since 2009: - El Secreto de sus Ojos (2009) - Relatos Salvajes (2014) - Argentina, 1985 (2023) None of these movies received funding from the INCAA, the three of them were almost entirely privately funded. Also most funded movies by the INCAA haven't even been seen or known by most argentinians... The system doesn't work as described in the French version, probably because all the funding is the Selective Funding kind.
@@manuelaugustosisko9758 Both El secreto de sus ojos y Relatos salvajes were partly founded by INCAA, like a lot of big productions, those movies had multiple financiers, and were co-productions. Argentina, 1985 was funded by Amazon, and THEY were not interested in involving public funds into the mix. Please read before comenting incomplete facts. One of the reasons some people are a against the INCAA is because of MISSINFORMATION 👈
The director and the producer of Argentina 1985 talk at congress in behalf of the film industry and the Incaa against its defunding. And you should learn what a Subsidio de primera via its before talking without information.
@@baltazarnadalino647 the fact is that not a single Incaa production received even an Oscar nomination, which males your original comment false, that is all I wanted to point out, all You replied is basic propaganda. Justo accept most productions funded by the incaa are quite Bad.
The soft focus of your shots for this topic adds to the aesthetics perfectly. Nice touch Evan!
Happy New Year ! Cup of tea on a Wednesday! It's not just CNC, but also tv channels that are forced to produce french TV show and movies. Wich help give work and experience to a lot of actors and directors etc. You brushed on the "Exception Culturelle Française" that started after second world war, but every single second on TV have to be in french. Every movie is dubbed, add spots can have words in English, but they need to translate, and even on radio, there is a quota minimum of french songs. Maybe you could do a part 2 on music finance in France haha
Loved this! I'd be interested in seeing moe videos like this - engaging breakdowns of systems, understanding what's going on behind the scenes.
This is AWESOME!! Gorgeous! Amazing!! I'm in awe! 🇧🇷 Brazil got A LOT of influence from France/French thinking. Thank Heavens! 🙏🏽It's STILL pushing the edge on creative FREE thinking! ❤🎉
I'm really pleased that this matter is emerging in the public debate. I'm not going to beat about the bush: the CNC is an institution that redistributes and in particular reinjects money into the French film industry, and that's what makes the model so solid in terms of success (successful films can always be released with a model like this), while at the same time allowing a real cultural ferment to take place underground. I know that not all French people are very familiar with the CNC model, or like it for that matter, and it's good to say that it also leads to certain problems that are dealt with downstream. The fact remains that, as it stands, the French exception stems largely from this. I'd also add that from what I've heard from friends who know more about the international film world than I do, it's a model that's been taken as an example in several countries. South Korea is the most obvious, but I've also heard of similar mechanisms in Brazil and other European countries. I'm still finding out, but I'm really keen to take an interest in the small-scale cinema that is emerging in these countries thanks to subsidies.
maybe a US equivalent to the CNC, though on a noticeably lesser level, tend to be state funding systems like how the State of Georgia (the logo often seen at the end credits) supports and helps filmaking through specific taxing incentives...but hey, I'm French so I'm just guessing
Except we do have that in France too in addition to CNC. (réponse Financée par le département des Yvelines)
@@LeVraiPoio it's true, I didn't pay attention to that 🤔 merci de me l'avoir fait remarquer poto
Tax incentives are not great really. They are often deals made by a city or state to get a company or in this case studios to work in there state or city. In theory the state or city by making these deals will bring in a lot of money, in the case of movies they spend money on the state and hire local people. This doesn't always pan out it is sold and the locals get screwed.
So happy you made that video for the world to see!
Ireland has something similar with Screen Ireland, formerly known as the Irish Film Board.
Thank you Evan for explaining such things in such an immersive way.
Really interesting & different topics you've chosen nice to learn about it make more diverse topics
We are lucky to have such a institution, and I pay my 10% on movie tickets gladly. The CNC is, with ARTE, a true success !
i remember going to the cinema with one of my teacher. We saw studio ghibli's spirited away, that was my first contact with animation from japan. as a kid i was absolutly blown away by the movie.
In Europe, i'm from Italy, we pay taxes like we're lemons to be squeezed. don't forget that it depends on your luck whether you have honest officials who use your money in the right way. in Italy waste and dishonesty are rampant, and no one pays because the system simply provides that tax money is generically allocated to "cinemas" or perhaps "theatre renovations". But who gets it? Sure, maybe in the USA you don't have anyone who finances cultural cinema that no one watches, but are you sure that in the end, from an overall point of view, it's worse? Don't be in such a hurry to nationalize and centralize money!
Before you paid taxes to the king to let you live on his land. So be grateful at least you have some property now.
That's because Italian government is horrifying corrupt and people don't stand up. In France if a government member was corrupted they know there in deep trouble.
Loved that "Free Market." At 7:59
It warms my heart that you took interest in our way of doing things here. It's definitely not all rainbows and cupcakes but I love knowing directors are free to experiment! (see Quentin Dupieux... 😅)
Great work again, as always! Would love to see you make another video on great literature. Maybe on a great 20th century writer, like T.S.Eliot or R.M.Rilke Whatever, thanks for your videos.
Finally a new nerdwriter vid!!
It's the same in italy and even if we had quite an industry with good movies, it's mostly shit now. Almost every movie is a cheap comedy or a family drama. We still have great photographer and other professionists, but most of the time the good movies and series are indie or mostly private. The difference is that France always took pride with their industry in cinema or other arts, like comics, so they put energy and attention, not just money. It's funny because many italians would get famous working in France as illustrators.
Italy has several excellent directors who have been quite successful at major film festivals and awards cerimonies. Luca Guadagnino, Paolo Sorrentino, Matteo Garrone, Alice Rohrwacher, to name a few.
@@billhaverchuck3745 yeah, but few good movies.
And remember in the 60’s they were many film collaboration between France and Italy, Il Gattopardo in 63 was a franco-italian production with Visconti as director and Alain Delon as actor. Rocco e i suoi fratelli was a franco-italian movie with Delon and Annie Girardot as actress. Ennio Morricone worked on French movies in the late sixties. Alain Delon even spoke fluent italian.
@@thomascatty379 for decades, but its very hard for the Italian industry to land a products like amelie.
we call it "l'exception culturelle". it also includes the fact that people working in movies (and theater, music; anything live) have access to a special unemployement system that allows them to get a relatively comfortable benefit when they don't work. Of course all of this as well as everything good about the french social system is threatened by the increasingly cruel and neoliberal policies put in place by successive governmements (the last one in particular). Also worth noting Québec has a strong arts program with the CALQ.
Evan, I liked your approach here where you have filming yourself speaking. It's something a bit different and it works. I think you could make videos of you walking around real world locations discussing things: landmarks, theatres, architecture etc..
Very similar system in Spain. And look, two great movies up for Oscars this year: 'Society of the Snow' and 'Robot Dreams'.
Interessenting! The equivalent in Germany is the Filmförderung (film subsidy) of the federal states. Although they don't have such a big budget as in France and they are critized to often support mainstream movies or commercial succesfull US movies that shoot as few as one or two small scenes somewhere in Germany
Germany might be a good example how such a structure gets impotent because of bureaucracy and political influence...
@@ThisIsWideAnglebureaucracy problems in Germany *sarcasm* I genuinely feel Germany needs to update its government paperwork methods after being there.
@@murphy7801you havent seen french paperwork then, i shudder everytime i have to do anything remotely bureaucratic, once asked if i could observe a job related to a Historical monument (thus public) for school. Done all the paperwork specifically mentionning the date for the observation was in 3 months. They said no... one YEAR later
2:50 it work so well, at some point the CNC didn't knew what do to with a lot of money every years, and litteraly had to provided several thousands of euros to random indie / amateur movie makers who just had to apply for a financement, in order to meet the minimal amount they had to re invest per years, before youtube was even a thing.
It’s important to note that other European countries have similar systems of public funding. The French system however is clearly the best, because there is significant support in the form of legislation. Not only the tax system, but also the minimum requirements of broadcasters and streamers to have a percentage of homegrown content. This means Netflix, Amazon and other streamers have to produce French content. In a lot of countries this is not the case, which means that a Netflix subscription is entertainment money ‘leaving the country’.
yes!!! this is precisely the reason why being such a small industry they can afford to create so many movies (and apparently a lot of other content, with I didn't know). Their production usually doubles the one in Spain on yearly basis. I knew the public funding and the return of the inversion was huge in France but did not exactly grasp the mechanism besides it being public funding. Spain has a very similar system but it is way more complex as there is no thing such as the CNC but rather TVs are forced by law to spend a certain amount per year on producing cinema and audiovisual media content but they rarely are the main source of income so movies end up having lots of producers and it gets very complex as there is public funding but you need loads of micro and not so small investors. Usually local governments will also invest if the movie uses a local language (such as Catalan) or is recorded within the region.
I'm french and it's kinda cool from you to do this kind of work! I've never really had the chance to know about CNC ^^' Kinda cute too, seeing you trying to translate french texts!
One of my favorite Nerdwriter videos. Surely the best KZhead channel.
Very interesting breakdown. Thanks for this insight
I took a French film class in film school and this was never discussed. The films were great but it's illuminating to know some of the financing mechanism behind them. Thank you
This is a brilliant concept, I wish the industry would adopt these changes & help keep local theatres open
Here in Brazil we have a very similar government agency that backs up the industry (ANCINE). Although it has its administration problems and the money does not flow that directly back into the industry, it is what helps its maintenance. We also have Rouanet Law which companies can use some of their taxes to fund art involved initiatives. I find them both a very good strategy to keep our industry alive in a globalized context.
Yep, it's a very interesting model, thanks for making this video!
Brilliant video.Thank you.
How did I only just see this essay now? This was great, and actually pretty similar to a constant discussion us theatre folk have regarding whether the US will ever have a government-subsidized National Theatre system the way a lot of Europe has. Great work as usual, Evan!
Fascinating! Thanks for the breakdown, was always curious about the French and their cinema output, and this explains why it's film landscape is the way it is.
Another names to watch: le fossoyeur de film (personal favourite of mine), nexus vi, monsieur phi, g milgram (he has many episodes of the french antenas of q anon), astronogeek, le vortex, and a very old one that can come as cringy today, le visiteur du future (sci-fi that started as a youtube channel and ended doing a movie)
In Brazil we also have the Rouanet Law that give companies tax breaks if they allow you to use their locations/equipment which gives more realism to the story.
And note that the CNC also works for video game projects ! Their funds were among the ones used to create titles such as Plague Tale : Innocence or Dead Cells ! It's good to have such levers for art creation, no matter the support.
Like every cinephile, who indulges in world cinema, I'm always been in awe of French Film industry for the consistency and variety of cinema. Thanks for sharing this fabulous insight and such a easy to understand breakdown. Great Job....🤩👍
Thank you for this video. I've never noticed the CNC credit before, but always notice the Studio Canal and Canal + credits. I wish America had something like the CNC.
the graphics are getting better and better!
Canada is known for it's tax credits, but there is a plethora of government funded agencies that support film production. Agencies covering an areas as broad as the entire country, or as small as regional municipalities. CAC (Canada Arts Council), OAC (Ontario Arts Council), TAC (Toronto Arts Council), Telefilm Canada, IPF (Independent Production Fund - focus on web content), NFB (National Film Board), Ontario Creates, has funding, but also focuses on tax credits. This is only speaking for Ontario. Quebec is its own separate beast, and has a film industry that nearly matches the rest of Canada (In my opinion). British Columbia, Nova Scotia, and the rest of the provinces all have their own government funding. The first three agencies offer funding across the spectrum of the arts, while the later focuses on film and film related art forms. But, with any sort of cinema, the challenge of distribution looms over everyone, and unfortunately the social support for films made in Canada isn't as strong as those made in the US.
Thanks for the video ! I'm French, and I didn't even know how the CNC worked !
Oh!!! I just found out your book is available on Audible! 🎉 Thanks for this amazing video.
You should look into the korean film industry it is slightly related to this as it is govt funded as well to support the hallyu wave, basically profits back to korea
French hit much more than their weight in many areas. If you ask an ordinary person, they would dismiss French state intervension and will talk about their failures. But in many different areas I also see how this country that is as big as a few US states leaving its mark. For example in engineering, they are really amazing. Everyone think about germans but French have very high tech industries. They are especially good in aero space. They have their own cultural 'ecol' in many areas as well. I really admire what they accomplish and keep accomplishing. And outside the Paris area, they are in general very nice people.
German engineering is renowned for quality. French engineering is renowned for innovation. Having worked in both countries in the past, it's not surprising, you can see it in the cultures.
I think this about culture & science in France is very closely linked to our bastard cultural state : we'd never be considered a real latin country as not fully Meditteranean, and we're not anglo-germanic neither. Thus, there is kind of a need for independency, and an artifical sense of proudness to not feel erased- I think that's why French culture & mindset can be easily hated, as it's in the uncanny valley inbetween the main Western cultures ! And social networks aren't making it any better. I'm happy you met nice people if you went to France !
I have to say, I am french, I had no idea- I'm really happy to hear all that cos my brother wants to be a director, I really hope the system helps him... Great video!
Paris is the best city in the world to go to the cinema by far. Average ticket price is 9€ and you can get way cheaper with monthly memberships. The variety is insane with a wide network of independent cinemas that replay old movies and show indie movies as well. Big releases are available to youth for 6€ and there’s also big IMAX screens if you want
Great content of yours, thanks!
It is mentioned but i want to say it again. The cnc funds streamers, some of my favourite streamers have shows funded by the cnc
Très intéressant, merci
Thank you very much for making this video.
I'm French. Had no idea how the CNC worked and boy am I glad I now do. Sick video man :)
When is the next book coming out? And thank you for delivering yet another great video.
in greece there is a fund like this as well for movies
As a french editor/colorist/screenwriter/director (the laters, for now, are waiting for a production company to pick up something I wrote and/or am attached to direct, but still 😉), I appreciate SO MUCH your video because it's well documented, VERY fair, obviously wall made. Thank you.
That's also how it works in Portugal where I'm from. Speaking as a filmmaker, the problem in Portugal is: you have only a couple of indie companies controlling where the funds go (to themselves, leaving little chance to others who apply) and whether or not the government does care in sending enough funds to their states fund body (in France, CNC. In Portugal, ICA) and unfortunately cultural investment in Portugal is very small. This doesn’t necessarily mean by extension that artists don't still combat this and try to make their art. They do, it's in their bones to fight for their art and Portugal has great culture indeed, but certainly this disparity does not help and for cinema in particular creates unfair situation where the local film production is somewhat homogeanous in style and tone. Thirdly, unlike France, we do not have a class on Film established in schools which is another missing piece and a beautiful thing. To create an audience that seeks movies, whether international blockbusters or local indies, you need to open young minds to cinema. Not to turn all students into filmmakers necessarily, but to open their interest and sensitivity as consumers. By not doing this or any of the before mentioned, the reality is, most portuguese, do not care about portuguese cinema. So, this all to say that I think perhaps the system in France seems more advanced and well organized, but that one should be careful with the pit falls of creating such a states body fund, how it's run to benefit everyone within what's possible and what measures are in place to create a real searching consumer public to an offer out there.
Thanks man ❤
Bon résumé !
This is similar how most countries in Europe operate when it comes to film production. It's also worth mentioning that most bigger European films have participation from multiple countries' film centers. The dowmside is when the government is highly authoritarian and corrupt like Serbia, you get a lot of dumb propaganda films and it's used to extend the power of the ruling party by courting creatives 😢