MARKET ANALYSIS 2018
Polish cinema had a strong year in 2018, with record-breaking box office results, international success of feature films, worldwide distribution for domestic titles, as well as the introduction of long-awaited 30% financial incentives for international filmmakers.
In 2018 Poland produced over 45 feature films, most of them supported by the Polish Film Institute. Polish cinema landscape took a significant turn towards period cinema, with major costume war dramas in production.
Michał Rosa launched the production of his Józef Piłsudski biopic, following the early years of the Polish statesman’ activity from 1900 to 1914. The shoot launched in August 2018 with the postproduction planned for the first half of 2019. The film is produced by KADR Film Studio.
Władysław Pasikowski shot The Courier, a war biopic about Jan Nowak-Jeziorański, one of the most notable resistance fighters of the Home Army. The film was shot in Warsaw and Lódź in the summer of 2018, produced by the Warsaw Rising Museum. The Courier will open in Polish cinemas on 8 March 2019, distributed by Kino Świat.
Maciej Pieprzyca finished work on Icarus. The biopic on the famous Polish pianist Mietek Kosz (1944-1973) was shot in October-December 2018, produced by RE Studio.. The premiere is planned for 27 September 2019 with Next Film distributing.
Lech Majewski started worki on his new drama Brigitte Bardot the Wonderful, based on his novel under the same title. The shoot to this elaborate costume drama launched in Silesia on 6 November 2018 and will continue throughout 2019. The film is produced by Domino Film in coproduction with Majewski's "Angelus Silesius" Association.
Polish company Watchout Studio launched production on The Coldest Game, a spy thriller in English directed by Łukasz Kośmicki and aimed at international markets. The Coldest Game is set in 1962 at the height of the Cuban missile crisis. The shoot took place in Warsaw in February-April 2018 and the film is produced by Watchout Studio, which also produced box office hits Gods by Łukasz Palkowski and Art of Love by Maria Sadowska, in coproduction with TVN and NEXT FILM.
Dariusz Gajewski’s costume drama Legions will showcase a love triangle on the backdrop of the heroic deeds of the Polish Legions (1914-1916). Shooting took place in the autumn of 2017 and winter of 2018. The film is produced by Picaresque in coproduction with FINA. Kino Świat will release the film on 27 September 2019.
In the last decade Poland has been continuously involved in a steady number of international coproductions, the growing support from the Polish Film Institute introducing specially designed grants for producers working on international projects.
One of the biggest titles produced as part of this scheme in 2018 was Agnieszka Holland’s Mr. Jones, a drama about the Welsh journalist Gareth Jones, who first publicised in the Western world the existence of the Soviet famine of 1932–1933. The Polish/British/Ukrainian coproduction was shot on location in Poland, the Ukraine and Scotland in February-June 2018. The film is produced by Film Produkcja (Poland), Mandants (Poland), Crab Apple Films (UK), Orka Studio and Film UA (Ukraine) with the support of PFI, the Krakow Festival Office and the Ukrainian State Film Agency. Gareth Jones will premiere in the Competition of the 69th Berlinale IFF and will be released in Polish cinemas in 2019, with WestEnd Films managing the international sales.
My Name Is Sara, a Polish/American coproduction directed by Steven Oritt, wrapped shooting in 2018. This drama following a teenage Jewish orphan who escapes the Nazis and finds refuge in a small village, is a Polish/American coproduction between Watchout Studio and Sara's Story. This is the first production fully financed in the USA but produced on every stage in Poland.
Jacek Borcuch shot Dolce Fina Giornata aka Volterra, with the famous Polish actress Krystyna Janda, in Tuscany in March-April 2018. The film follows a fictional Nobel Prize winning Polish poet played by Krystyna Janda, who leads a quiet life in a small town in Tuscany. Polish company No Sugar Films is producing in coproduction with Tank Production, Motion Group and Aeroplan. The film will premiere at the Sundance IFF in the World Cinema Dramatic Competition and it will be released by NEXT FILM in Polish cinemas on 10 May 2019.
Jan Komasa shot his new drama Corpus Christi, a Script Pro winning project about a convict pretending to be a priest. The film is produced by Aurum Film in coproduction with Canal+ and WFS Walter Film Studio. The Polish distributor is Kino Świat.
In the summer of 2018 Daria Woszek wrapped shooting on her debut feature Marygoround, a black drama comedy about an agnostic collector of Virgin Mary statues, produced by Jutrzenka Studio.
The box office hit director Patryk Vega produced two new crime films – a sequel to Women of Mafia, following the gang of Polish women who get involved with a Columbian drug cartel, and Plagues of Breslau, about a female police officer who has to catch a brutal serial killer. Both films were shot in 2018 and produced via Vega’s own company Vega Investments. The director announced that he purchased production rights to the Pitbull franchise and plans to release the new part in November 2021.
In the summer of 2018 Ryszard Zatorski shot There Is No Sin in Bad Luck / Pech to nie grzech, an independent romantic comedy produced by Figaro Film. The film opened domestically on 25 December 2018 with 190,000 admissions in the first week.
A new production company NEM Corp was established in 2018 by Ewa Puszczyńska, the producer of Pawel Pawlowski’s Cold War (Opus Film) and the Oscar winning Ida (Opus Film), together with Klaudia Śmieja, the producer of Agnieszka Holland’s Gareth Jones, and Jan Naszewski of New Europe Film Sales.
The leading distributors of mainstream cinema on the Polish market are Kino Świat, SPI International Polska, NEXT FILM and Monolith Films. The art house market is dominated by Gutek Film and Against Gravity. In 2018 a new distribution company Velvet Spoon was launched on the Polish market with plans to release quality genre cinema.
The biggest Polish distribution success in 2018 was Cold War by Paweł Pawlikowski, awarded top prizes including best director at Cannes Film Festival and five awards at the European Film Awards, including the European Film award. The film was also nominated for the 2019 Academy Awards in the Best Director, Best Foreign Language Film and Best Cinematography categories, and it also holds four nominations for the 2019 BAFTA Awards.
Cold War is a Polish/British/French coproduction from Opus Film, Apocalypso Film and MK Production, distributed by Kino Świat. It opened in Poland on 8 June 2018 and racked up over 940,000 admissions. The film was sold into distribution in several international territories including North America (USA, Canada), Europe (UK, France, Benelux, Germany, Italy, Greece, Austria, Spain, Portugal, Czech Republic, Scandinavia, Turkey), Asia (China, Japan, South Korea), Australia and New Zealand. Amazon is the US distributor.
The year 2018 was great for Polish cinema abroad, especially in the UK, where Wojtek Smarzowski’s The Clergy had over 1 m admissions during the opening weekend, distributed by Phoenix Films. The film was also sold in the USA, Canada, Germany, Austria, Holland and Norway. The Clergy opened in Polish cinemas on 28 September 2018 distributed by Kino Świat and has racked up over 5 m admissions to date, becoming the first ever Polish film to reach that number of admissions so quickly.
Another title of interest for the UK audience was Patryk Vega’s crime comedy Women of Mafia. The film was also a major success in Poland with over 2 m admissions. In the UK, where it opened on 2 March 2018 distributed by Odeon, it had a box office of 692,479 EUR during the first month, ranking 6th in the overall UK box office top ten for March 2018. Its worldwide box office to date is 11.5 m EUR.
Pitbull. The Last Dog directed by Wladyslaw Pasikowski and produced by Ent One, debuted in the UK in the 11th place, bringing in over 330,000 EUR by the end of April 2018. The romantic comedy Fake Fiancée / Narzeczony na niby, directed by Bartosz Prokopowicz and produced by TFP in coproduction with Telewizja Polsat and Cyfrowy Polsat, debuted at number 15 in the UK, bringing in 80,000 EUR on its opening weekend. It earned almost 5 m EUR in five weeks in the Polish top 20, when it was released mid-January 2018.
The leading VOD platform in Poland is CDA.pl with its Premium section. In November 2018 CDA.pl had 3.11 m users, 30 m views and over 155,000 active subscribers. The platform has been developed since 2016 and the subscription is approximately 4.6 EUR / 19.90 PLN.
Netflix, which has been active on the Polish market since 2016, released its first locally produced Polish series in 2018. The 8-episode show 1983 was directed by Agnieszka Holland, Kasia Adamik, Olga Chajdas and Agnieszka Smoczyńska, and it was produced by The Kennedy/Marshall Company and Poland’s The House Media Company.. The series premiered internationally on Netflix on 31 November 2018.
In the spring of 2018, HBO launched an HBO GO subscription to all Internet users, separate from a TV cable subscription. HBO continued its engagement in local content production and introduced an original crime series Blinded by The Lights directed by Krzysztof Skonieczny and produced by House Media Company. The 8-episode series became the most popular TV series on HBO in Poland, surpassing Westworld and Game of Thrones, and it ranked 3rd in the top of the most watched HBO productions in the CEE region.
Leading TV broadcasters continued to develop their own VOD platforms. TVP introduced digitally restored hit series from the past, TVN teamed up with nc+ and Ipla, a Cyfrowy Polsat service, introducing a greater number of channels that can be watched live on VOD, and the WP Pilot video service introduced Kino Polska TV channels into its VOD offer in June of 2018.
EXHIBITION AND BOX OFFICE
Poland has over a thousand cinemas, 80% operated by big multiplex cinema chains. The leading companies are Cinema City with over 30 multiplex cinemas, 380 screens and 110,000 seats, Helios with 42 cinemas and 49,000 seats, and Multikino with 48 cinemas and 70,000 seats. Additionally, there are more than 600 one-screen cinemas.
In 2018 the British cinema chain Vue International, working in Poland under the brand name Multikino, bought Polish Cinema3D. The chain had 11 cinemas in Poland, that were turned into Multikino units. Vue International also plans to invest in three cinemas with 20 screens in Warsaw and Nowy Targ.
In 2018 Polish cinema saw another record breaking year with an all-time best result of 59.7 m total admissions and four domestic titles in the general box office top 10. Admissions for domestic films surpassed 19.8 m and domestic films grossed 58,2 m EUR / 249,1 m PLN , which is another record for the Polish market. Total box office surpassed 263 m EUR. According to a special report commissioned by Filmweb.pl from Milward Brown in 2018, the average Polish cinema viewer is 21-41 years old and goes to the cinema at least once a month. The average cinema ticket price in Poland is 4.39 EUR / 18.8 PLN.
Polish films also dominated the overall top ten 2018 with Wojtek Smarzowski's The Clergy (Profil Film Jacek Rzehak) topping the charts with 5,183,080 admissions, followed by Women of Mafia (Showmax) directed by Patryk Vega (2,037,202), Planet Single 2 (Gigant Films) by Sam Akina (1,685,864), Squadron 303 (Film Media) by Denis Delić (1,516,443) and international blockbusters The Incredibles 2 (1,446,260), Wonder (1,376,894), Fifty Shades Freed (1,364,357), Hotel Transylvania 3: Summer Vacation (1,338,859), The Grinch (1,297,688) and Bohemian Rhapsody (1,227,207).
Polish top 10 includes seven films with more than 1 m admissions: The Clergy (5,183,080 admissions), Women of Mafia (2,037,202), Planet Single 2 (1,685,864), Squadron 303 (1,516,443), Pretend Fiancée (TFP) by Bartosz Prokopowicz (1,127,083), Pitbull. The Last Dog (Ent Productions) by Władysław Pasikowski (1,014,213), followed by Cold War (Opus Film) by Paweł Pawlikowski (931,339), 7 Emotions (WFDiF) by Marek Koterski (853,931) and Love Is Everything (Akson Studio) by Michał Kwieciński (617,152).
GRANTS AND NEW LEGISLATION
Up to 45-50 films are produced annually with an average budget of approximately 930,000–1.1 m EUR / 4- 4.5 m PLN.
The Polish Film Institute is the largest source of funding with additional funds coming from the television, a well-developed network of regional film funds, as well as private sources. The most frequent coproduction partners are Germany, France and the Czech Republic, with growing involvement of the Scandinavian countries including Sweden and Denmark.
In 2018 the Polish Government approved the long-awaited bill offering a 30% cash rebate on qualifying film production expenses. The Polish Film Institute will have a 46 m EUR / 200 m PLN budget to refund partial costs of film production in Poland. Ten percent of the budget will be allotted for animated films and animated series. Submissions and the final reports, which will be the base for refunding, must be evaluated within 28 days each, which will make Poland competitive on the international market.
The new Polish law allows up to 30% of the production budget to be refunded once the applicant fulfills the necessary conditions. Polish producers, coproducers and servicing companies are now able to apply for a partial reimbursement of qualifying production costs spent in Poland. The refund will come after the company has signed a special contract with the Polish Film Institute, finished the production, spent the money, paid all necessary taxes in Poland and submitted all the required documents.
In 2018 the Polish Film Institute introduced a new grant category that will support micro-budget productions directed by film school graduates and other debut filmmakers. The "First film" priority grant has a maximum budget of 162,581 EUR / 700,000 PLN for each film. The projects will be produced in cooperation with a national TV broadcaster, which will act as a coproducer with rights to the film.
Poland has a well-developed network of regional film funds with 12 active funds: Łódź FF, Gdynia FF, Silesia FF, Lower Silesia FF, Poznań FF, Podkarpackie FF, Krakow FF, Białystok FF, West Pomerania FF, Lublin FF, Mazovia FF and Warmia and Mazury Regional Film Fund.
The Polish Filmmakers Association (SFP) has over 1,700 members. The SFP is involved in the organisation of film events including festivals and major markets. Munk Studio – Polish Filmmakers Association, which operates within the structure of the SFP, produces short films and debut features made by young filmmakers. Polish producers are members of the Polish Audiovisual Producers Chamber of Commerce (KIPA) established in November 2000 to protect “the economic and legal interests of the Polish audiovisual sector.” The Polish market also has a very active network of film commissions located in the Lower Silesia, Małopolska, Mazovia, Silesia and Wielkopolska regions and the cities of Łódź and Poznań.
In 2018 Film Commission Poland, which was created in 2012, became a part of the Polish Film Institute and it was delegated to promote Polish cinema abroad.
By the end of 2018, the Ministry of Culture and National Heritage announced plans to merge public film production institutions WFDIF, KADR Film Studio, TOR Film Studio, ZEBRA Film Studio and KRONIKA Film Studio into one major film production center in 2019. This will allow the creation of a company with 23.2 m EUR / 100 m PLN of annual revenue.
Public and private broadcasters are an integral part of the Polish film industry as producers and commissioners of locally produced content.
The leading TV channels in Poland are public TVP holdings with flagship channel TVP1 with 9.73% and TVP2 with 8.16% market share in the second quarter of 2018 (according to the National Broadcasting Chamber), followed by Polsat with 10.23% market share and TVN with 9.38% market share.
The market share of the “big four” (TVP 1 and 2, Polsat and TVN) dropped from 38.24% in 2017 to 37.5 % in 2018. The takeover of Scripps Networks Interactive by Discovery made a huge shift in the power dynamics on the Polish TV market, which will become visible in 2019, as the TVN and Discovery portfolio will hold over 20% of the market share.
In 2018 SPI International’s subsidiary Kino Polska TV took full control over Cable Television Networks & Partners by acquiring all its shares for 2.4 m EUR / 10 m PLN. Cable Television Networks & Partners operates the terrestrial channel Zoom TV holding 0.4% of the market share. The company announced its plans to transform Zoom TV into a brand that will supplement the film offer in the group’s portfolio from both Kino Polska and FilmBox.
TVP continued to be the biggest source of funds for filmmakers. The Polish public broadcaster launched a special competition for documentaries celebrating the 100th anniversary of Polish independence and chose 13 projects that went into production in 2018. All projects are produced by regional branches of TVP with a planned total budget of 236,529 EUR / 1 m PLN.
In 2018 TVP also produced new original war drama series, continuing a successful trend from the recent years. The costume drama series Century of the Guilty is based on the bestselling series of novels written by Ałbena Grabowska and follows a Polish family living near Warsaw from the break of WWI to contemporary times. The series is directed by Piotr Trzaskalski. Endemol Shine is the executive producer and the budget of 230,152 EUR / 1 m PLN per episode makes it one of the most expensive TVP projects to date.
Also in 2018 TVP produced the 13-episode war drama series Roads to Freedom, directed by Maciej Migas, which follows the lives of three sisters who open a weekly magazine towards the end of WWI. The show was created by Stanisław Krzemiński, co-creator of the TVP hit series The Vicarage and The Londoners.
In 2018 Sony Pictures Television Networks Central Europe commissioned the first season of the original crime series Signs from ATM Group, following the successful Ultraviolet series (produced by Opus Film), which was commissioned by Sony for AXN and eventually purchased by Netflix in 2018.
By taking over TVN, Discovery expanded the private broadcaster’s involvement in local content productions, with TVN announcing its plans to produce and coproduce five new films and a mini-series in 2018. The Coldest Game directed by Łukasz Kośmicki and starring Bill Pullman, is an international coproduction produced by Watchout Studio in coproduction with TVN S.A, Next Film and ITI Neovision S.A..
All the Luck directed by box office hit director Tomasz Konecki (Letters to Santa 3, TVN) is a romantic comedy produced by TVN and planned to be released by Next Film on 8 March 2019.
Leszek Dawid’s Broad Peak, the real story of the Polish mountaineer Maciej Berbeka, is produced by East Studio in coproduction with TVN and Canal+..
Hater. Suicide Room, the sequel to Jan Komasa's box office hit drama Suicide Room (2011, KADR Film Studio), is also produced by TVN. The Christmas-themed rom-com Love Is Everything / Miłość jest wszystkim directed by Michał Kwieciński, a coproduction from Akson Studio and TVN, was released in Poland on 23 November 2018 distributed by Kino Świat. The film had over 1 m admissions.
Kinga Dębska’s mini-series Six, also produced by TVN, started shooting in Krakow on 25 September 2018.
Report by Katarzyna Grynienko (2019) Sources: the Polish Film Institute, the National Broadcasting Chamber
MARKET ANALYSIS 2017
Polish cinema had a strong and challenging year in 2017, with record-breaking box office results, the celebration of 70 years of Polish animation, international success of feature and documentary films, worldwide distribution for domestic titles, as well as new international coproduction agreements and crucial changes within the Polish Film Institute.
In 2017 Poland produced over 45 feature films, most of them supported by the Polish Film Institute.
One of the major Polish coproductions shot in 2017 was the new drama by Oscar-winning Polish director Paweł Pawlikowski Cold War / Zimna wojna, recently acquired by Amazon Studios. Pawlikowski told FNE that the film tells the story of two young people and their difficult love in the 50s-60s. Cold War is a British/Polish/French coproduction between Apocalypso Pictures, Opus Film and MK Productions.
Wojciech Smarzowski shot his new crime drama about the Catholic Church reform in Poland under the working title 3 in August 2017. The film is produced by Profil Film Jacek Rzehak.
Adrian Panek shot his sophomore film Werewolf in July-November 2017. This Polish/Dutch/German coproduction follows eight children freed from the Gross-Rosen concentration camp in 1945. The film is a coproduction between Balapolis (Balapolis), House of Netherhorror and Twenty Twenty Vision Filmproduktion.
In autumn 2017 Jan Jakub Kolski started working on his new drama, the Polish/Czech coproduction Pardon, and resumed work on 15 January 2018. The story is set in 1946 and follows a married couple travelling through Poland with a casket containing the body of their 26-year-old son. The film is produced by Centrala and the director's company Wytwórnia Doświadczalna in coproduction with the Czech company Mimesis Film.
Also in 2017 the master of the Polish action cinema Władysław Pasikowski took on directing the third part of the Pitbull crime trilogy after Patryk Vega decided not to helm the last installment of his hit project. Shooting for Pitbull. The Last Dog took place in Warsaw in October 2017. The film is produced by Ent One Investments.
Oscar nominated Bartosz Konopka wrapped The Mute, a Polish/Belgian coproduction set in the Middle Ages, when two men come to a pagan land - one to bring Christianity, the other to find his way of living. The film is produced by Otter Films in coproduction with Odra Film and Earlybirds Films. New Europe Film Sales is handling the sales and Kino Świat will release the film domestically.
Also in 2017 the acclaimed director Krzysztof Zanussi shot his new feature film Ether, that follows a military doctor at the beginning of the 20th century as he is experimenting with science in order to get power over people. TOR Film Production is producing. The film was shot in Poland, the Ukraine and Hungary in August-December 2017.
In 2017 acclaimed writer/director Andrzej Jakimowski finished his new film Once in November / Pewnego razu w listopadzie, a drama inspired by the political climate in Poland. The film was produced by Zjednoczenie Artystów i Rzemieślników and was domestically released by Kino Świat on 3 November 2017 with 11,176 admissions to date.
Poland celebrated 70 years of animation with special spothlights at the Toulouse Cartoon Forum and MIPCON 2017 in Cannes, showcasing the newest animated projects, resulting in several promising international projects, like Polish Animoon Studio’s and Chinese Animex Animation’s coproduction of the second season of the Polish animated hit series Hug Me. This is the first animated coproduction between the two countries.
The leading distributors of mainstream cinema on the Polish market are Kino Świat, SPI International Polska and Monolith Films.
The art house market is dominated by Gutek Film and Against Gravity.
The new SVOD platform Showmax was launched in Poland on 15 February 2017 with 172,000 subscribers, which is double than what Netflix had on the Polish market on the same day. Showmax offers international film and TV series as well as investment in local content including new episodes of the Polish hit show Ear of the President / Ucho Prezesa, created by Robert Górski and Kabaret Moralnego Niepokoju. The series became an instant hit with over 27 m viewers when its four episodes were first aired on Youtube. Showmax had also teamed up with Polish box office hit directors Patryk Vega and Wojciech Smarzowski, who directed short thrillers that were the focus point of the launch campaign.
Netflix commissioned the first locally produced series in Poland, directed by Agnieszka Holland and Kasia Adamik. The show will be produced by The Kennedy/Marshall Company and Polish The House Media Company. The title of the series has not been revealed yet. The international premiere is planned for 2018.
In 2017 Netlix also teamed up with Poland’s Platige Image and is currently in development with a new English-language series based on The Witcher saga by Andrzej Sapkowski. Platige Image, which sold the adaption rights to Netflix, will coproduce with Polish filmmaker Tomasz Bagiński directing at least one episode in each season of the show. Platige Image signed a contract with Netflix covering the production of the first and potential upcoming seasons.
Popular Polish VOD portals include Ipla, Player (previously TVN Player) and Vod TVP, providing programmes from public broadcasters.
In 2017 TVP launched an international streaming service for TVP Polonia, its international channel for Polish-speaking audiences from abroad. Streaming is available at polonia.tvp.pl. TVP also plans to introduce a VOD service for mobile devices and a stream for Smart TV users.
The leading Polish VOD service from Onet.pl launched O!Dokument, a new platform offering high quality Polish documentaries awarded at international film festivals. The project launched in February 2017 and is supported by the Polish Film Institute.
It was a strong year for Polish features, with Spoor / Pokot by Agnieszka Holland having its international premiere in the competition of the 67th Berlinale IFF, where it was awarded the Silver Bear Alfred Bauer Prize. The film went into regular distribution in the Czech Republic, Slovakia, Sweden, Finland and Norway, and was chosen as Poland’s 2017 Academy Awards bid. Beta Cinema sold it to several territories including China, Turkey, Cyprus, former Yugoslavia, Spain and Andorra.
Piotr Domalewski’s debut feature Silent Night won the top Golden Lion Prize at the 42nd Gdynia Film Festival (18-23 September 2017) with broad critical acclaim. The film was produced by Munk Studio – Polish Filmmakers Association with a budget of 700,000 EUR. The project was supported by the Polish Film Institute with 233,547 EUR / 1 m PLN and also by the Warmia and Mazury Film Fund.
Loving Vincent, a fully painted animation feature about Van Gogh, directed by Dorota Kobiela and Hugh Welchman, became one of the most internationally recognised and broadly distributed Polish productions in 2017. The film won the European Film Award for the Best European Animated Feature Film 2017 and was sold to over 130 territories including France, China, Italy, Spain, Denmark, Finland, Norway, Sweden, Greece, Portugal, Japan, Thailand, Colombia, India, Russia and Brazil.
It was also another great year for Polish documentaries, with EFA winning Communion by Anna Zamecka becoming one of the most recognised titles of the year. The documentary produced by Otter Films, Wajda Studio and HBO Europe, with the support of the Polish Film Institute, won over 20 international awards including the Critics’ Week Award at Locarno 2016, best documentary at Warsaw Film Festival 2016 , Young Eyes Award at DOK Leipzig 2016 and Silver Eye Award at Jihlava IDFF 2016.
Andrzej Wajda's latest production Afterimage continued to generate major interest abroad. In 2017 the film was theatrically released in Canada, France, Czech Republic, Greece, Hungary, Bulgaria, USA and Japan.
Polish box office hits made a big splash on the UK market in 2017. Michalina Wisłocka’s biopic Art of Loving was released in the UK and Ireland by Odeon on 31 March 2017 and made 84,583 EUR on the British market. In October 2017 the Polish box office success Botox, directed by Patryk Vega and distributed by Phoenix Productions, opened at number five in the UK, cashing in 1,133,353 EUR. Polish box office nr 1, TVN's romantic comedy Letters to Santa 3 by Tomasz Konecki, hit the top 10 at the UK box office with 450,655 EUR gross in its first weekend. The film was released by Phoenix Productions in 253 British cinemas on 24 November 2017.
Successful Polish films and coproductions from 2016 continued their journey abroad. Agnus Dei (Aeroplan), Anne Fontaine’s French/Polish/Belgian coproduction, was released by Thimfilm GMBH in Austria on 16 June 2017. The film became one of the most popular Polish productions abroad with distribution in Canada, Spain, Japan, Brasil, Mexico, Italy, Denmark, Sweden, Estonia, Finland, Norway, Portugal, Greece, Switzerland, Columbia, UK, USA an Australia. Film Distribution is handling the sales.
11 Minutes by Jerzy Skolimowski was released by Zootrope Films in Portuguese cinemas on 19 April 2017. The film was also in regular distribution in the UK, Portugal and Japan, and is also available on iTunes and Netflix.
Ira Carpelan’s and Jakub Wronski’s animated film Moomins and the Winter Wonderland opened on 500 Scandinavian screens on 1 December 2017 and also in France, Japan and Poland on 22 December 2017. The film based on the iconic series created by Tove Jansson is a Polish/Finnish coproduction between Animoon and Filmkompanie. The film is available worldwide in 23 language versions.
Poland has over a thousand cinemas, 80% operated by big multiplex cinema chains. The leading companies are Cinema City with over 30 multiplex cinemas, 380 screens and 110,000 seats, Helios with 42 cinemas and 49,000 seats, and Multikino with 33 cinemas and 60,000 seats.
Additionally, there are more than 600 one-screen cinemas.
In 2017 Polish cinema saw another record breaking year with an all-time best result of 56 m total admissions and two domestic titles topping the overall box office. Total gross was 254.6 m EUR.
Admissions increased by almost 10% compared to 2016, when admissions were 51 m. The romantic comedy Letters to Santa 3, directed by Tomasz Konecki and produced by TVN, topped the 2017 box office with record-breaking 2.98 m admissions. The TVN series has been on top of the Polish box office for years. Letters to Santa directed by Mitja Okorn had 2.5 m admissions in 2011 and Letters to Santa 2 directed by Maciej Dejczar had 2.5 m admissions in 2015.
TVN's hit is followed by Botox, directed by Patryk Vega and produced by Ent One, with 2.31 m admissions in 2017. This dark medical thriller had 711,906 admissions during the opening weekend, becoming the best domestic premiere in 2017 and the second best domestic premiere in the last 30 years. It also reached the number four spot in Ireland on its opening weekend, with 100,000 EUR and the number five spot in the UK overall box office with nearly 890,000 EUR (which includes the Irish results).
The overall Polish 2017 box office also includes: Star Wars: The Last Jedi, Despicable Me 3, The Art of Loving directed by Maria Sadowska (Watchout Productions, 1.8 m admissions), Sing, Pirates of the Caribbean: Dead Men Tell No Tales, Fifty Shades Darker, Smurfs: The Lost Village and The Fate of the Furious.
The average price of a cinema ticket is 4.2 EUR / 18.6 PLN.
In 2017 the Polish Film Institute received 18.3 m EUR / 78 m PLN from the European Union for the digitalisation and reconstruction of Polish cinema. Polish films are set to be totally digitalised by 2020.
The Polish Film Institute is the largest source of funding with additional funds coming from the television, a well-developed network of regional film funds, as well as private sources. The most frequent coproduction partners for Poland are Germany, France and the Czech Republic, with growing involvement of the Scandinavian countries including Sweden and Denmark.
Polish Minister of Culture and National Heritage Piotr Gliński dismissed Magdalena Sroka as the Director of the Polish Film Institute on 9 October 2017 and Radosław Śmigulski was appointed Director of the Polish Film Institute for five years in December 2017.
In 2017 PISF granted approximately 32.2 m EUR / 135 m PLN through the Film Production Operational Programme for script development, project development and production of feature films, documentaries and animated films. Projects implementing the international promotion of Polish cinema received a total of 2.3 m EUR / 9.6 m PLN in funding. In 2017 the Institute set a new operational priority for productions with micro budgets. The 2018 PISF budget is 48.9 m EUR / 204,132,000 PLN with new genre cinema priority to be introduced this year.
Poland still awaits a tax incentives law. Poland has special production agreements with several countries and in 2017 struck new cooperation deals with Lithuania and Vietnam.
In 2017 the Polish Ministry of Culture and National Heritage held a special competition for feature film projects about Polish history. The winning screenwriters received 132,922 EUR / 565,000 PLN as script development and awards.
Poland has a well-developed network of regional film funds with 12 active funds with Warmia and Mazury Regional Film Fund launched in 2017. Other film funds offering production support as coproducers or funders are: Łódź FF, Gdynia FF, Silesia FF, Lower Silesia FF, Poznań FF, Porkaprackie FF, Krakow FF, Białystok FF, West Pomerania FF, Lublin FF and Mazovia FF.
The Polish Filmmakers Association (SFP) has over 1,700 members. The SFP is involved in the organisation of film events including festivals and major markets. Munk Studio – Polish Filmmakers Association, which operates within the structure of the SFP, produces short films and debut features made by young filmmakers. Polish producers are members of the Polish Audiovisual Producers Chamber of Commerce (KIPA) established in November 2000 in order to protect “the economic and legal interests of the Polish audiovisual sector.” In 2017 the SFP introduced a new grant for cinema distributors.
In 2017 Munk Studio and CANAL+ announced their plans to launch a new 60 Minutes programme to support debut filmmakers with a budget of 237,000 EUR / 1 m PLN for each 60-minute film. The films will be produced both for cinema and TV distribution.
The Polish market has also a very active network of film commissions located in the Lower Silesia, Małopolska, Mazovia, Silesia and Wielkopolska regions and the cities of Łódź and Poznań.
Film Commission Poland was created in order to centralise all these activities as the first source of information on organising production in Poland. Film Commission Poland offers an interactive portal with an online catalogue of locations and Polish film professionals available at http://filmcommissionpoland.pl.
On 1 June 2017 the Polish Minister of Culture and National Heritage Piotr Gliński merged the two leading film institutions, the Polish National Film Archive and the National Audiovisual Institute, into one unit named the National Film Archive - Audiovisual Institute.
The leading TV channels in Poland are public TVP holdings with flagship channel TVP1 with 11.3% market share in the second quarter of 2017 (according to the National Broadcasting Chamber), followed by Polsat with 10.31% market share and TVN with 10% market share.
TVP continues to be the biggest source of funds for filmmakers. In 2017 TVP and CDRTV China’s TV Chengdu Radio & Television went into coproduction of an eight-episode documentary series about Polish and Chinese economic relations.
In 2017 TVP undertook a major project The Crown of Kings, a costume TV series directed by Wojciech Pacyna about the life of Casimir III the Great. The show is a local attempt to tap into the costume drama soap opera genre, which became very popular in Poland thanks to the Turkish production The Magnificent Century: Kösem, a big hit for TVP in 2016. The Crown of Kings premiered on 1 January 2018 with a strong average of 3 m viewers per episode.
This year TVP also launched an EU co-financed project that will digitalise its 800 archive productions in the course of the next three years. The budget of the project is almost 19 m EUR / 81 m PLN. The digitalisation is planned for 36 months with 836 unique titles restored from analogue archives to 4K sound and image format. Feature films, documentaries, TV series and TV theatre plays will be restored by a team of 79 Polish specialists.
TVN is still strongly engaged in film production (for example, box office hit Letters to Santa 3) and invests in producing domestic content for TV. As its new original series Belle Epoque hit a record of 2.9 m viewers during the premiere of the first episode, TVN decided to invest in the format, to produce a second season and to sell it abroad.
One of the key players in Polish film production is HBO Polska, a channel focused on supporting original cinema and programming. The second season of locally produced Polish drama The Pack / Wataha, directed by Kasia Adamik and Jan P. Matuszyński, had a day-and-date premiere across HBO Europe on 15 October 2017.
In 2017 CANAL+ produced the second season of its hit original series Teacher / Belfer, with TVN as executive producer. Belfer was the first production after the station's return to production of local programming. The series aired between 2 October and 27 November 2016, with the first episode gathering an average of 267,000 viewers and the final episode 460,000 viewers.
In 2017 CANAL+ also commissioned two new original crime series directed by Maciej Pieprzyca and Leszek Dawid. Opus Film and Telemark are producing.
Polish private broadcaster Polsat introduced a new TV format in cooperation with Ikea Retail, which commissioned and sponsored the first Polish product placement mini-series, House Full of Changes / Dom pełen zmian directed by Kristoffer Russ.
Report by Katarzyna Grynienko (2018)Sources: the Polish Film Institute, the National Broadcasting Chamber
Population: 37.7 m (2018)GDP per capita in USD: 15,751.23 USD (2018)Total admissions: 59.7 m (2018)Box office: 263.9 m m EUR (2018)Box office domestic films: 79.8 m EUR (2018)Admissions per capita: 1.5 (2018)Number of feature films produced: 50 (2018)Average ticket price in EUR: 4.49 (2018)PISF Operational Programmes budget: 32.2 m EUR (2017)
(Source: the Polish Film Institute)
Admissions Top Ten 2018
Check OLFFI for Film Funding opportunities
Radosław Śmigulski Appointed New Director of Polish Film Institute
Radosław Śmigulski graduated from the Department of Law and Administration of the University of Warsaw. In recent years his posts included head of the film agency of Telewizja Polska and general director at Syrena Films. He spent several years at Totalizator Sportowy as deputy marketing and sales director and member of the board.
Interview with Magdalena Sroka, former Director of PISF
Polish Society of the Phonographic Industry -http://www.zpav.pl/
Internet Database of Polish Films -http://www.filmpolski.pl/
Ministry of Culture - http://www.mkidn.gov.pl/
Media Desk Poland - http://www.mediadeskpoland.eu
National Film Archives - http://www.fn.org.pl
Association of Authors and Composers –http://www.zaiks.org.pl