Senior European players, but they face YouTube’s challenge

What are some of the main issues currently face by European powers in the international market today? In a committee during the Creative Investors Conference at the San Sebastian Film Festival, the leading figures in European production and distribution spoke about the need for a common continental mentality, and how the severe challenges facing the American joint production market affected the euro scene and the need to organize platforms such as YouTube in the digital market increasingly.

The chief executive of the global drama of Freemantel, Christian Vespar, said that the multinational British are “very good” in making “mainly disciplined European films.” Their main challenge now is to be more like an Irish -Irish Feermith Feelings of Film, while highlighting the impressive of the company that the company is behind films like Yorgos Lanthimos from “BGONIA” and “Pillion” for Lighton in the same evaluation year. “In order for our companies to flourish, we need to find this level of diversity on a large scale.”

Elizabeth Darfio, the administrative director of France, praised the current European market, describing it as “almost perfect”. She said: “The participating market for the United States has been closed almost over the past three years,” she said. “Now, in Europe, we have almost everything. We have a large collection of creative talents in all groups, wonderful sites, modern artistic teams and studio facilities.”

All this, repeat D’Arvieu, with main European bidders in effective tax incentives, support and regulations that greatly protect creators and independent producers. “All of this combined works greatly. The evidence for this is that it allowed us to operate the main European powers in front of the United States Studios. Today, some of the largest European production companies.”

Rudolph Bouet, the SPF1 senior distribution official, divided the main challenges into three categories: instability in securing financing from traditional players such as linear TV, which historically supported European production and is currently facing cost cuts throughout the continent; The box office numbers have not been recovered since Covid; What he calls the “American situation”, in reference to how to pressure the independent distribution in the United States in recent years, which has reduced the openings of European arthouse films to be further.

One of the burning issues that came out of the conversation was the threat of YouTube as a growing player in Europe. David Atlan Jackson, chief content official in the Vuelta group, photographed the platform as one of its “main competitors”. “Because of the fragmentation of the scene in terms of distribution, the audience became very selective and knowledgeable.

Buet YouTube described it as “one of the main threats” in Europe. “They hunt an important part of the audience without contributing to the global ecosystem. YouTube is more views from all platforms together [in Europe]But they tend to contribute [only] 50 % of the cost of creators production. The truth is that they support a very few creators and run part of the traditional opinions that support the financing of television and films in Europe. We have to find ways to organize the system in Europe to ensure that we will continue to support talents and creators to make wonderful European TV and films. “

Execs were asked about a statement issued by the European Producers Club on Sunday, highlighting their concerns about the proposals to replace the European Union’s creative program that supports culture and media. According to EPC, the proposed change raises “dangerous concerns of the future of the European independent visual creation.”

“I’m not worried,” said Bot. He added: “I think the European Commission understands how culture is the key to protecting and defending European values.

On the funding aspect, Vesper talked about how “celebrities” and prominent projects are important when securing early financing quotas, but for Fremantle, it is about the best support for their production companies to make films they want to make. EXC “Bugonia” was martyred as an example, saying that, along with pictures of the elements, Friemantel was able to shed the project before being transferred to the market. “We have put our weight behind the project. It is a lot of work to make my board of directors support it. But we believe in them and want to be able to create as much financial leverage as possible in the market.” In the event of the first appearance of Christine Stewart’s director entitled “The Chronological Sequence of Water”, Freemantel transferred a shooting from Oregon to Latvia, enabling the actor who turned into “making the movie that she wanted to make because he did not cost much.”

He concluded by saying: “We are financing movies. We prefer to go to the market with CAA or the nation’s movie and put investments in the stocks where we need this.”

Other ways to help revenue, of course, to expand access. On it, the Buet mentioned the last Studio TF1 deal with Netflix. Starting in the summer of 2026, all members of Netflix in France will be able to watch TF1 channels and content on request from TF1+ directly on Netflix in a deal signed last June.

“People watch less TV, and we are facing platforms competition,” said Pot. “When we look at the numbers in France, 50 % of the Netflix Tf1 Plus subscribers did not see, mainly because the demographic is not similar. It is in a position that allows it to reach films and televisions, the more we are entered.