European cinema is experiencing a remarkable resurgence this awards season, with several films from influential directors emerging as strong contenders for prestigious accolades. Notable titles such as Joachim Trier’s *Sentimental Value*, Oliver Laxe’s *Sirat*, and Jafar Panahi’s *It Was Just an Accident* are now being discussed as potential favorites for the Oscars. The European Film Academy (EFA) is capitalizing on this momentum by moving the European Film Awards (EFAs) from December to January, positioning European films at the forefront of the global awards conversation.
The 38th European Film Awards will take place in Berlin on January 13, 2024. This strategic shift aims to align the EFAs with the broader awards season, allowing European films to benefit from the heightened visibility and promotional efforts that typically accompany the lead-up to major ceremonies like the Golden Globes and the Oscars. In a recent interview with *The Hollywood Reporter*, EFA Chief Matthijs Wouter Knol expressed optimism about this new direction.
Leveraging Momentum for Greater Visibility
Knol noted that the past year has been encouraging for European cinema, showcasing a diverse array of films that tackle relevant themes in innovative ways. He pointed to works like *Sirat* and *Sound of Falling*, which addresses intergenerational trauma, highlighting the richness and relevance of European storytelling. He stated, “These films tell stories that are very relevant in very unusual ways, where I felt, ‘Wow, I didn’t know you could make a film about that.’”
The decision to move the EFAs was not unexpected for Knol. He has observed a steady increase in recognition for European films over the past five to six years, with multiple titles consistently emerging as strong competitors during awards season. “There’s always been two, three, even four films that were very strong in the international award season,” he explained. This shift is intended to create a greater interest among both audiences and Academy members.
To bridge the gap between arthouse films and mainstream audiences, the EFA has adopted a new approach. The traditional “Month of European Film” has been transformed into the “European Award Season,” extending over two months. A pilot program initiated this year featured screenings of nominated films at Yorck cinemas in Berlin, with sold-out audiences demonstrating a clear appetite for European cinema. Knol emphasized that there is a significant interest in these films beyond Europe, citing successful screenings in cities like Hanoi, Ho Chi Minh City, Hong Kong, and Santiago de Chile.
Building a European Star System
Knol aims to broaden the appeal of European cinema, not only to Academy members but also to general film enthusiasts. He emphasized the importance of public screenings, which have attracted local audiences eager to engage with European cinema. “The main part of audiences were really Berliners who love European cinema and wanted to attend a special screening,” he noted.
Despite the enthusiasm, challenges remain in attracting talent for promotional events, especially when many actors are busy with their own film campaigns. Knol acknowledged the difficulty of securing participation from rising stars, stating, “You can’t ask an actress who’s on the rise to introduce her film in a program of 50 cities in three weeks.” To overcome this, he suggests rethinking the European celebrity system to make participation more manageable and appealing.
Knol believes that the industry must unite to develop a more cohesive European star system, rather than relying on localized recognition. “The star system doesn’t work the same way anymore as it did 25 years ago,” he remarked. He envisions the European Film Awards as a gathering that showcases the talent behind European cinema, encouraging collaboration and visibility for both established and emerging filmmakers.
Political Underpinnings and Future Challenges
As the European Film Academy prepares for the upcoming ceremony, Knol anticipates that political themes will naturally emerge during discussions. He pointed out that the Academy has a history of advocating for freedom of speech and addressing pressing social issues. “We’ve never told winners or presenters to stay away from topics,” he said, adding that the current climate in Europe lends itself to open dialogue about worries and hopes for the future.
In light of rising far-right sentiments, Knol expressed concern about the potential threats to institutions supporting European cinema. He emphasized the need for solidarity within the industry, stating, “We shouldn’t take support for culture for granted.” He believes this awareness is crucial for preparing the industry to face future challenges effectively.
As the European Film Awards approach, the excitement surrounding European cinema’s revitalization is palpable. With a strategic focus on visibility, collaboration, and open dialogue, the EFA aims to ensure that European films maintain their place in the global cinematic landscape.
