COUNTRY REPORT 2016
In 2016 Slovak films continued to gather international and domestic success, powered by documentary film production, genre-bending feature films and award-winning coproductions. The Slovak Audiovisual Fund (AVF) had a budget of 7.5 m EUR in 2016, which is the biggest budget in its history.
One of the most successful films in 2016 is Jan Hřebejk‘s Slovak/Czech coproduction The Teacher / Učitelka (produced by PubRes in coproduction with Offside Men, RTVS and the Czech Television), which was sold in more than 50 territories including US and Asia after its world premiere at Karlovy Vary IFF.
The first international project benefitting of the 20% cash rebate in 2016 was the Weinstein TV production Marco Polo 2. Thanks to its success, the Slovak Audiovisual Fund announced that it would increase the budget for the tax incentive scheme up to 4.5 m EUR in 2017.
The 24th edition of Art Film Fest relocated from the spa town of Trenčianske Teplice to Košice. After the relocation, the new International Film Festival Trenčianske Teplice was established.
Since 2010, when it started alotting production grants, the Slovak Audiovisual Fund re-arranged the position of Slovak films on both domestic and international market.
A total of 30 feature films were shot in Slovakia in 2016: 13 feature films (of which six minority coproductions), 15 documentaries (including one minority coproduction) and two animated films, which are minority coproductions as well.
The 100% Slovak productions include debut feature Agave/ Agáva, directed by renowned screenwriter Ondrej Šulaj and produced by Trigon Production in coproduction with RTVS, and documentaries The Final / Finále, directed by Dušan Milko and Palo Korec, and produced by S Pro Alfa in coproduction with RTVS and Filmpark production, Professional Foreigner/ Profesionálna cudzinka, directed by Anna Grusková and produced by Reminiscencie in coproduction with RTVS and Grimaldi Production, and Pavol Barabáš’s Freedom under Load / Sloboda pod nákladom, produced by K2 Studio.
According to Martin Šmatlák, the director of AVF, Slovakia had several important coproduction partnerships in 2016. The Line / Čiara was directed by Peter Bebjak and produced by Slovakia’s Wandal Production in coproduction with Ukraine’s Garnet International Media Group and Slovakia’s RTVS. Cellar / Pivnica, directed by Igor Voloshin, is produced by Slovakia’s Furia Film in coproduction with the Czech company 8heads production and Russia’s Gate LCC.
Other important international collaborations are the Slovak/Czech/Polish coproduction The Red Captain / Červený kapitán by Michal Kollár, Agnieszka Holland‘s new drama Spoor / Pokot, which is a Polish/German/Czech/Sweden/Slovak coproduction, and Gardening: The Family Friend / Rodinný přítel (the first part of the trilogy Zahradníctví by Jan Hřebejk), a Czech/Polish/Slovak coproduction between Fog’n’Desire Films, MD4, Sokol Kollar and RTVS.
In 2015 AVF issued the first registration certificate for the 20% cash rebate for the second season of Weinstein Company’s TV series Marco Polo, which was supported with 413,000 EUR.
In 2016 four projects applied for the rebate: Lionsgate‘s Robin Hood: Origins directed by Otto Bathurst, Consider Yourself (starring Geoffrey Rush) and Maestro (both UK/Australian/German coproductions), TV miniseries Maria Theresia directed by Austrian Robert Dornhelm (for which the application was submitted by Slovakia’s MAYA Productions) and TV series Inspector Max by Jaroslav Brabec, a Slovak/Czech coproduction between Trigon Production, RTVS and the Czech Television.
Other international productions shot in Slovakia in 2016 are: US Legendary Entertainment’s Spectral by Nic Mathieu (coproduced by Netflix and Mid Atlantic Films); documentary Perfect, directed by Jérémie Battaglia and produced by Canada‘s Les Productions Rapide-Blanc, and the Austrian drama Zerschlag mein Herz, directed by Alexandra Makarová and produced by Alternative Productions-Konstantin Seitz.
In 2016, a total of 14 feature films including eight minority coproductions and one re-release (Everything I Like / Všetko čo mám rád by Martin Šulík, produced by Charlie‘s) were released, as well as 12 long documentaries (including one minority coproduction) and two animated short films, and an animated series Mimi & Líza directed by Katarína Kerekesová and produced by Fool Moon s.r.o.
The leader in distribution of Slovak films is the Association of Slovak Film Clubs (ASFK), which released six domestic 100% national and majority coproductions in 2016, all documentaries: 5 October/ 5 October directed by Martin Kollar, Steam on the River / Para nad riekou, directed by Robert Kirchhoff and Filip Remunda and produced by Slovakia‘s atelier.doc in coproduction with the Czech Hypermarket film and the Czech Television, Okhwan’s Mission Impossible / Okhwan na ceste za slobodou, directed by Marek Mackovič and produced by Slovakia‘s Filmpark production in coproduction with Mandala Pictures, RVTS, Czech Film & Sociologie, UK’s Tarian Films and Slovakia’s MM Film; Richard Müller: Unknown / Richard Müller: Nespoznaný, directed by Miro Remo and produced by Punkchart films in coproduction with endorfilm, Arsy-Versy, RVTS and the Czech Television; Freedom under Load / Sloboda pod nákladom, directed by Pavol Barabáš and produced by K2 Studio; When Land Is Looking for Its Heaven / Zem, ktorá hľadá svoje nebo, directed by Erik Praus and produced by Filmpark production, and the short animated film Brother Deer / Braček jelenček directed by Zuzana Žiaková.
Association of Slovak Film Clubs also released the minority coproductions I, Olga Hepnarová / Já, Olga Hepnarová by Tomáš Weinreb and Petr Kazda, Trabant – From Australia to Bangkok / Trabantem do posledního dechu, directed by Dan Přibáň and produced by the Czech company endorfilm, The Red Spider / Czerwony Pająk directed by Marcin Koszałka and the Hungarian short animated film Suberbia / Superbia by Luca Tóth.
Continental Film, a big distributor mostly of Hollywood productions, is also an important player in distributing Slovak titles. In 2016 it released Agave / Agáva by Ondrej Šulaj, Stanko / Stanko directed by Rasťo Boroš, IMT Smile and Lúčnica: Made in Slovakia, directed by Palo Janík and produced by Slovakia‘s Filmpark production in coproduction with IMT Smile, and the documentary The Final / Finále, directed by Dusan Milko and Palo Korec.
Forum Film released the box office hits The Teacher / Učiteľka by Jan Hřebejk and The Red Captain / Červený kapitán by Michal Kollár.
Young platform Filmtopia, which was launched in 2012, began distributing domestic films also on the web portal DAFilms, after releasing titles like Mátyás Prikler’s Fine, Thanks / Ďakujem, dobre (MPhilms). In 2016 Filmtopia distributed the minority coproduction Family Film / Rodinný film by Olmo Omerzu and Zuzana Piussi’s documentary Difficult Choice / Ťažká voľba, a Slovak/Czech coproduction between Punkchart films and D1 films.
Filmtopia is also the Slovak partner for KineDok, the international community for alternative distribution of creative documentaries supported by Creative Europe Media programme and the Slovak Audiovisual Fund.
There is little Slovak participation in VOD platforms, although a lot of documentaries can be found on DAFilms. Piano system, which had a leading position in streaming Slovak and Czech films, ended its activities at the end of 2016. Another platform for Slovak films is Kinocola, while ASFK VOD, a VOD platform launched by the Association of Slovak Distributors in 2015, is handling international and domestic titles. Private Slovak television Markíza also releases its domestic series on Voyo.
Slovak films also had a successful year with distribution releases abroad. Slovak/Czech coproduction The Teacher / Učiteľka directed by Jan Hřebejk was sold to more than 50 territories including US, Asia, New Zealand and Australia. I, Olga Hepnarová / Já, Olga Hepnarová was released in its four coproducing countries (Czech Republic, Poland, Slovakia, France), and also in the UK, US, Brasil, Ireland and on VOD platforms. Children animation series Mimi & Liza by Katarína Kerekesová was also successful, its six episodes were released in France and Belgium with over 40,000 admissions.
EXHIBITION AND BOX OFFICE
Slovakia is well-placed in the move towards digitalisation thanks largely to the foresight of the Slovak Audiovisual Fund, which has been allocating a portion of its annual budget for the transformation of non-multiplex cinemas. By the end of 2016, Slovakia had 138 cinemas with 233 screens, of which 185 screens were already digitalised. This includes also four alternative spaces for film screenings and 18 open-air theatres. Compared to 2015, the number of cinemas increased by seven and the number of digitalised screens increased from 177 to 185. No multiplex was opened in 2016.
AVF supported the digitalisation of cinemas with 559,300 EUR in 2014, 218,000 EUR in 2015 and 303,000 EUR in 2016 through the programme Development of the audiovisual technologies in the Slovak Republic.
Several small art house cinemas operate in Bratislava. Kino Lumière, operated by the Slovak Film Institute, opened on the site of the former Charlie’s Centrum in September 2011. Mladosť, Nostalgia and Film Europe Cinema also add to the diversity of Bratislava's art house landscape, together with Kino Klap (located in the Academy of Performing Arts) or Kino Inak, a screening room hosted by the alternative cultural centre A4.
A new programme of support for Slovak films in domestic cinemas was launched in 2016. Every cinema has the right to apply and receive one euro per each ticket sold for a domestic title. In 2016 AVF alloted 217,000 EUR mostly for art house cinemas.
Total admissions for 2016 are 5,694,378 representing a 23.79 percent increase compared to 2015. Total gross was 29,171,723 EUR, which is 23.17 percent more than in 2015.
Total admissions for Slovak films and majority coproductions were 307,197 in 2016, 2.9 percent more than in 2015.
According to UFD (Union of Film Distributors of the Slovak Republic), The Red Captain by Michal Kollár was the most popular Slovak film in 2016 with more than 86,000 admissions.
Other domestic feature films released in 2016 were Little Feather / Pirko, directed by Lucia Klein Svoboda and Petr Klein Svoboda and produced by GoodMint and TA-Sport, and An Angel of the Lord 2 / Anjel Pána 2, directed by Jiří Strach and produced by Czech Marlene Film Production in coproduction with the Czech Television, Czech companies innogy and Certicon, and Slovakia’s RTVS and Attack film.
Admissions top ten 2016 is topped by Finding Dory with 280,744 admissions. Total admissions top ten for domestic films with Slovak majority coproduction in 2016: The Red Captain (Slovak Republic, Czech Republic, Poland) with 87,244 admissions and 461,590 EUR gross, The Teacher (Slovak Republic, Czech Republic) with 59,292 admissions and 284,956 EUR gross, Little Feather (Slovak Republic, Czech Republic) with 21,724 admissions and 110,404 EUR gross, documentary Freedom Under Load / Sloboda pod nákladom (Slovak Republic) with 15,283 admissions and 44,026 EUR gross and Agave (Slovak Republic) with 10,790 admissions and 52,215 EUR gross.
GRANTS AND NEW LEGISLATION
Slovak Audiovisual Fund is the main tool for public support for cinematography in the Slovak Republic since 2010. Its budget was 6.9 m EUR in 2010, fell to 5.5 m EUR in 2013 and increased again to 6.6 m EUR in 2014. The fund had a budget of 7.5 m EUR in 2016, which is the biggest budget in its history.
The budget of AVF is provided in part by TV advertising revenues. In 2016 the funding was granted to support development and production (77%), distribution, promotion, festivals and events (16%), technological innovations of cinemas (4%) and accompanying activities such as education, publications and training (3%).
In 2016, AVF registered four projects for audiovisual industry support and 594 applications for audiovisual culture support, of which 354 (60%) were supported with the total amount of 7.43 m EUR.
AVF allotted 4.02 m EUR for feature films (46 applications, of which 28 in development), 761,000 EUR for documentaries (57 applications, of which 23 in development), 317,000 EUR for animated films (24 applications, of which 12 in development), 591,000 EUR for minority coproductions (16 applications) and 50,000 EUR for student films (17 applications). Other financial support funding was distributed between minority coproductions (16 applications), distribution and promotion (92 applications), festivals (15), support of Slovak films in Slovak cinemas (38), publications and educational activities (35) and digitalisation of cinemas (14).
The maximum grant for a Slovak feature film is 1.2 m EUR and the maximum grant for a Slovak minority coproduction is 500,000 EUR. Martin Šulík’s Tlmočník (Titanic s.r.o.) and Mátyás Prikler’s Power/ Moc, are among the feature films with the highest grants in 2016, both receiving 600,000 EUR. In 2016 AVF also granted a postproduction grant to Peter Bebjak’s The Line / Čiara, which together with the previous supports for development and production reached a total amount of grants of 709,000 EUR.
A new programme of support for the audiovisual industry in the Slovak Republic was launched in 2015, based on 20% cash rebate for private investment into film production in Slovakia with a minimum limit of 2 m EUR over a period of three years after the registration of the project, which could be a film, a TV series, or a group of projects.
A new funding scheme of the Bratislava Self-Governing Region was launched in 2015 for supporting the culture of the region, including film. In 2016 the scheme gave 16,000 EUR as a production grant to Juraj Lehotský‘s feature film Nina, produced by Punkchart Films in coproduction with Lehotsky Film and endorfilm, 6,000 EUR as development grant for the animated film Heart of a Tower / Srdce veže, directed by Peter Budinský and produced by plutoon in coproduction with BFilm, and also 15,000 EUR for the Bratislava International Film Festival.
The primary sources of information on film are the Slovak Film Institute, which celebrated its 50th anniversary in 2013, and its National Cinematographic Centre, through the specialised office of the Audiovisual Information Centre.
Slovakia is unique in the CEE as home of the only channel devoted exclusively to European films. Film Europe Channel was developed by Film Europe Media Company, which launched two more channels, Československo HD and Festival Channel HD in November 2016, in addition to Film Europe Channel HD.
Československo HD is focuses on feature films and documentaries dating from between 28 October 1918 and 31 December 1992, while Festival Cinema Channel HD offers the best of global festival films. It broadcasts in Slovakia and the Czech Republic, and is considering expansion into neighbouring territories. „In November 2016, Film Europe Channel celebrated its fifth anniversary and we are now ready to be replicated in other territories of Europe and the world,” Ivan Hronec, the founder, owner and CEO of Film Europe Media Company told FNE.
The channel operates in Slovakia along with public broadcaster RTVS and commercial broadcasters MAC TV -Slovenská produkčná since January 2017 (with channels: TV JOJ, PLUS, WAU, JOJ Cinema, RiK, Ťuki TV, JOJ Family) and Markiza Slovakia (with channels: TV Markíza, TV Doma, Dajto).
The public broadcaster RTVS, is also a funding source for film and series production and has, together with other sources, contributed to the productivity of the national cinema. In 2016 RTVS supported Agave, The Red Captain, The Teacher and Stanislav Párnický’s fairy-tale The Magical Nose / Zázračný nos (Filmpark production).
SLOVAK AUDIOVISUAL FUND Director: Martin Šmatlák Grösslingová 53
SK-811 09, Bratislava Phone: +421 5923 4545
SLOVAK FILM INSTITUTE General Director: Peter Dubecký
Phone: +421 2 5710 1503 Fax: +421 2 5296 3461
NATIONAL CINEMATOGRAPHIC CENTRE Director: Rastislav Steranka
Report by Alexandra Gabrižová (2017)Sources: Slovak Film Institute, Audiovisual Fund, Union of Film Distributors of the Slovak Republic, magazine Film.sk. 12/2016
COUNTRY PROFILE 2015
One of the biggest success stories of 2015 was the Weinstein production, Marco Polo 2, which became the first production to benefit from the new Slovak tax incentive scheme.
One of the biggest international productions to shoot in Europe this year, Marco Polo 2, spent nine shooting days in Slovakia with a crew of 550 filmmakers of which 120 were Slovak crew members and spent 2m EUR in Slovakia. Until now Slovakia has lagged behind its neighbours Hungary and the Czech Republic which have had tax incentive schemes for a number of years but now that looks set to change.
Slovak films continue to find international success, powered by documentary film production and more recently by genre-bending feature films fueled by documentary techniques and a couple of female directors taking the lion’s share.
Slovak animated film also started to attract critical notice abroad and local cinema audiences have begun responding to domestic films, driving attendance for both feature films and documentaries. KineDok , a new international project for alternative distribution of creative documentaries, was launched in nine venues throughout Slovakia in 2015.
Since 2010 when it started distributing production grants, the Slovak Audiovisual Fund re-shaped the position of Slovak films on both the domestic and international market. Twenty domestic full-length films (including documentaries) premiered in Slovakia through November 2015 compared to 23 in 2014.The fund receives approximately 500 applications per year and has supported up to 50% of applicants annually.
Martin Šmatlák, the director of the AVF, said: “Slovak film is visible now. It is at international festivals, in cinemas, on VOD platforms and it’s covered in the press and on TV. We have a new generation of filmmakers and film producers, people who graduated from film schools a few years ago and who make international coproductions. We also have various genres of domestic films.”
The first Slovak horror film, Evil directed by Peter Bebjak (D.N.A. Production), was made in 2012. Since then several comedies have also followed the trend of growing genre film variety in Slovak cinema. Additionally, Slovakia has a strong feature-documentary mix style represented by Mira Fornay (My Dog Killer, produced by Mirafox), Juraj Lehotský (Miracle, produced by Artileria), Iveta Grofova (Made in Ash, produced by Protos Productions), Miro Remo (Comeback, coproduced by AH production, Academy of Performing Arts and RTVS) and Ivan Ostrochovský (Koza, produced by Punkchart in coproduction with Sentimentalfilm, Endorfilm, Czech Television and RTVS ).
Among films produced in 2015 there were Marko Skop’s Eva Nová (produced by Artileria in coproduction with Sirius Films), the feature animated film Lokalfilmis by Jakub Kroner (produced by Lokal TV) and Alice Nellis’s fairytale Seven Ravens (Attack film) .
After the 2014 box office hit, the documentary 38 (Noemo) by Lukáš Zednikovič and Daniel Dang, another successful Slovak documentary was released in 2015. Rytmus, the Urban Dream / Rytmus, sídliskový, the first film by Miro Drobný (also the producer of the film), was in at number seven in terms of the admissions for the top ten films of the year through November 2015. The film was produced by Európsky Institut in coproduction with Romeofilms and eSlovensko.
The leader in the distribution of Slovak films is the Association of Slovak Film Clubs (ASFK), which released six domestic titles in 2015: Milan Čorba by Martin Šulík (produced by LEON Production in coproduction with RTVS, SFÚ), Suri by Pavol Barabáš (produced by K2 Studio), Anton Srholec by Alena Čermáková (produced by LEON Production), Koza by Ivan Ostrochovský (produced by sentimentalfilm and endorfilm, in coproduction with Czech Television, RTVS and Punkchart Films), Marko Škop’s Eva Nová and Palo Korec’s Waiting Room (produced by Artileria, RTVS and FILMPARK).
Continental Film, a big distributor of Hollywood productions, is also an important player in distributing Slovak titles. In 2014 it successfully released Kandidát / Candidate by Jonáš Karásek (Azyl Production). In 2015 it released two domestic titles: Lokalfilmis by young director Jakub Kroner (produced by InOut Studio) and Vojtech by Viktor Csudai (Cultfilm, Grimaldi production, RTVS).
Filmtopia is a Bratislava-based distribution company launched in 2012. After releasing titles like Mátyás Prikler`s Fine, Thanks (MPhilms), it began distributing domestic films on the web portal DAFilms. In 2014 Filmtopia launched a crowd funding campaign for mobile cinema distribution in Southern Slovakia, and in 2015 it brought Brazilian cinema into theatrical distribution, thus gaining the Cinema do Brasil Distribution Award.
Filmtopia is also the Slovak partner for KineDok, the international community for alternative distribution of creative documentaries supported by Media – Creative Europe and AVF.
Barracuda Movie, which distributes Universal, 20th Century Fox, DreamWorks and Paramount titles, released one domestic film in 2015, Juraj Nvota’s Slovak/Czech coproduction Hostage/Rukojemník ( Normal 0 21 false false false ALEF FILM & MEDIA in coproduction with Filmové Ateliéry, Czech Television, Slovak Radio and Television, UN FILM and Filmpark.)
Zuzana Piussi’s film The Grasp of the State (LEON Production, Ultrafilm) was made available on the internet via the Piano system. Slovak and Czech films are being gradually made available on the internet and the number of Piano subscribers has increased substantially.
The first official day-and-date release was the portmanteau film Slovensko 2.0 produced by MPhilms and distributed by Film Europe Media Company in 2014. As for VOD platforms, there is little Slovak participation, although a lot of documentaries can be found on DAFilms. A new platform for Slovak films, Kinocola, was launched in 2014.
Slovakia is well-placed in the move towards digitization thanks largely to the foresight of the Slovak Audiovisual Fund, which has been allocating a portion of its annual budget towards the transformation of non-multiplex cinemas. By the fall of 2014 Slovakia had 123 cinemas with 197 screens of which 139 screens in 67 cinemas and three summer cinemas were already digitized.
The AVF provides a combination of grants and loans for the digitalisation process, giving 50% in grants and 40% in loans, with 10% required from the cinema itself. Small cinemas, such as film clubs and cultural centers, can receive up to 90 percent of their costs for a lesser upgrade (E-Cinema), to a maximum of 15,000 EUR.
AVF supported the digitization of Slovak cinemas with 559,300 EUR in 2014 and 218,000 EUR in 2015 through the programme Developement of the audiovisual technologies in Slovak Republik.
Several small art house cinemas operate in Bratislava. Kino Lumiere Cinema, operated by the Slovak Film Institute opened in September 2011 in the site of the former Charlie’s Centrum. Foaje (with 30 seats is the smallest cinema in Slovakia), Mladost and Nostalgia also add to the diversity of Bratislava art house landscape.
Film Europe entered the exhibition scene in 2013 opening Kino Film Europe in the site of the former Lenin Museum in Bratislava, in partnership with the City of Bratislava. The cinema’s programme consists of events-driven art house fare. Film Europe also works with numerous small cinemas in rural areas and small towns that were digitized as lower-cost e-cinemas, by offering its catalogue of films on Blu-ray.
According to UFD (Union of Film Distributors SR), one Slovak film made it to admissions top ten through November 2015 - Rytmus, the Urban Dream / Rytmus, sídliskový, the first film of Miro Drobný, which held the Normal 0 21 false false false tenth position with 81,206 admissions. The admissions top ten through November 2015 comprises: Minions with 362,756 admissions, Fifty Shades of Grey with 239,521 admissions, Hotel Transylvania 2 with 149,855 admissions, Fast and Furious 7 with 144,468 admissions, Spectre with 140,386 admissions, Inside Out with 120,816 admissions, Jurassic World with 114,809 admissions, Avengers 2: Age of Ultron with 90,344 admissions, The Hunger Games: Mockinjay Part II with 86,215 admissions and RYTMUS, a Dream from the Block with 81,206 admissions.
Top 10 domestic admissions through November 2015 belonged to: RYTMUS, a Dream from the Block with 81,206 admissions, Lokalfilmis (47,237 admissions), Seven Ravens (42,610 admissions), Spievankovo 5: Professions (Tonada, 30,414 admissions), Wilson City (PubRes, FilmBrigade, Česká televize, RTVS, RWE Česká republika, 19,174 admissions), Hostage (17,048 admissions), Eva Nová (6,224 admissions), Anton Srholec (LEON Production, 6,202 admissions), Suri (4,690 admissions) and Koza (2,915 admissions).
All 100% Slovak films and majority coproductions had total admissions of 268,600 in the first eleven months of 2015, representing 6.38 percent of total admissions.
The main funding body is the Slovak Audiovisual Fund, launched in 2010 with a budget of 6.9 m EUR. The budget was lower in succeeding years, falling to an estimated 5.5 m EUR for 2013and growing again in 2014 to 6,6 EUR. The fund was granted 5.9 m EUR through November 2015.
The budget of AVF is provided in part by TV advertising revenues, which accounted for the decline. The fund gives 80 percent of its budget for development and production of audiovisual works. The maximum grant for a Slovak feature film is 1.2 m EUR and the maximum grant for a Slovak minority coproduction is 500,000 EUR.
In 2015 AVF organized grant contests in all programmes and three of them were production grants contests. Among the supported productions in 2015 were Tretia Veštba (working title) with 285,000 EUR (director: Juraj Nvota, ALEF FILM & MEDIA), HUGO (working title) with 10,000 EUR (director: Katarína Šulajová, Arina, Normal 0 21 false false false Axman Production) or She Is a Harbour with 150,000 EUR (director: Iveta Grófová, Halupa film, Normal 0 21 false false false endorfilm, Katapult Film, SiLVERaRT).
The fund, which stated that support of European coproductions was one of the its priorities, gave grants to seven minority coproductions in 2015.
Under the minority coproduction scheme a film can receive a maximum of 500,000 EUR, with 80% required spend in Slovakia. The Czech Republic is Slovakia’s main coproduction partner, accounting for 80% or more of all coproductions, followed by Poland, Hungary and Germany.
Animated films and especially documentaries are vital and productive segments of the Slovak film industry. The development and production of some 280 documentary films was funded between 2010 and 2014 with a total amount of 4.1m EUR. Feature films received 15.5m EUR support (with 160 applications) and animated films received 1.2m EUR (with 62 applications)
A documentary film can receive a maximum of 84,000 EUR, compared to a maximum of 1.2m EUR for a feature fiction film. In 2013, support for documentary film production increased by 40%, to 1m EUR. The AVF set the maximum amount of support for development at 50,000 EUR, for a Slovak majority production at 1.2m EUR, and for a Slovak minority coproduction at 500,000 EUR.
The primary source of information on film is the Slovak Film Institute, which celebrated its 50th anniversary in 2013, and its National Cinematographic Centre through the specialised office of the Audiovisual Information Centre.
Foreign film production has been nearly non-existent for the past two years. Bratislava once boasted the newest and best-equipped film studio in Central and Eastern Europe, Koliba Studios, but it was later converted into a TV studio and offices, and is now expected to be transformed into a housing complex. The introduction of film incentives in early 2014 and plans for the construction of a film studio near the Austrian and Hungarian borders could be a hopeful sign for the future of the foreign film service industry.
A new programme of support for the audiovisual industry in the Slovak Republic has been launched in 2015, based on a 20% cash rebate for private investment into film production in Slovakia with a minimum limit of 2m EUR over a period of three years after the registration of the project, which could be a film, a TV series, or a group of projects.
The Slovak Audiovisual Fund issued the first registration certificate for a cash rebate of 20% for the Weinstein Company’s TV series Marco Polo Season 2. The Slovak company applying for registration is the local production service company Spectral. The expected amount of qualifying expenditure is 2.2m EUR.
A new funding scheme of the Bratislava Self-Governing Region has been launched in 2015 for supporting the culture of the region. Film is one of nine cultural fields supported by this scheme.
Slovakia is unique in the CEE as the home of the only channel in the region devoted exclusively to European films, Film Europe Channel developed by the media company Film Europe. It broadcasts in Slovakia and the Czech Republic and is considering expansion into neighbouring territories. The channel operates in Slovakia along with public broadcaster RTVS and commercial broadcasters: MAC TV with channels: TV JOJ, PLUS, WAU, JOJ Cinema, RiK, and MARKIZA – SLOVAKIA with channels: TV Markíza, TV Doma, Dajto.
Public broadcaster, RTVS, is also a funding source for film production and has, together with other sources, contributed to the productivity of the national cinema lately. Out of a total of 195 films 81 were coproduced by RTVS in1990-2014.
In 2014 and 2015 RTVS coproduced 43 films of which 17 were feature films and 26 documentaries. Coproductions expected to premiere in 2016 are: Agáva by Ondrej Šulaj (Trigon production, RTVS), Red Captain by Michal Kollár ( Normal 0 21 false false false SOKOL KOLLAR, Fog'n'Desire Films, MD4, Česká televize, RTVS, S pro ALFA, Barrandov Studios). Vojtech by Viktora Csudai (Cultfilm, Grimaldi production) had its premiere in December 2015.
Slovak Audiovisual FundDirector: Martin ŠmatlákGrösslingová 53
SK-811 09, BratislavaPhone: +421 5923 4545
Bratislava Self-Governing RegionSabinovská 16P.O. Box 106820 05 Bratislava 25Phone: ++421 248 26 41 11Fax: ++421 248 26 43 86www.region-bsk.sk
Report by Eva Križková
Source Slovak Film Institute, Audiovisual Fund, Union of film distributors SR, magazine Film.sk. 12/2015
Population: 5.43 m (2016)GDP per capita in USD: 16,034 (2015)Admissions: 5,694,378 (2016)Admissions per capita: 1.05 (2016)Box office: 29,171,723 EUR (2016)Number of screens: 239 (2016)Digital screens: 187 (2016)Average ticket price in EUR: 5.12 (2016)Feature film production: 28 (2016)Market share domestic films: 6.62% (2016)Annual state support for film industry 2016: 7.5 m EUR
Source: Audiovisual Information Centre Slovakia
Admissions Top Ten 2016
Source: Union of Film Distributors of the Slovak Republic
Top 10 in Europa Cinemas Network cinemas 2015(1 country, 19 towns, 23 cinemas, 59 screens)
1. Minions (USA), by Kyle Balda, Pierre Coffin2. Fifty Shades of Grey (USA), by Sam Taylor-Johnson3. Fast &Furious 7 (USA), by James Wan4. Hotel Transylvania 2 (USA), by Genndy Tartakovsky5. Spectre (USA), by Sam Mendes6. Inside Out (USA), by Pete Docter, Ronaldo Del Carmen7. Star Wars: The Force Awakens (USA), by J.J. Abrams8. Jurassic World (USA), by Colin Trevorrow9. The Hunger Games: Mockingjay - Part 2 (USA), by Francis Lawrence10. The Avengers: Age of Ultron (USA), by Joss Whedon
Source Europa Cinemas
Check OLFFI for Film Funding opportunities
Slovak AV Policy and Funding Helmers Martin Šmatlak and Anton Škreko Look at the Future of the Slovak Audiovisual Industry
Interview with Martin Šmatlák, Director of the Slovak Audiovisual Fund
Interview with Zuzana Mistrikova, Executive Director of PubRes, Vice President Slovak Film and Television Academy
Media Desk Slovakia
Ministry of Culture of the Slovak Republic