Here is the rewritten article: Proposed budget cuts to Finland’s national film and TV promotion and development agency AVEK have been strongly crit
Here is the rewritten article:
Proposed budget cuts to Finland’s national film and TV promotion and development agency AVEK have been strongly criticised by figures from throughout the industry.
If the cuts go ahead, AVEK will no longer be able to support the development and production of international co-productions and will be forced to significantly reduce its other activities, including international promotion of Finnish films, said AVEK director Ulla Simonen.
"It’s devastating," said AVEK director Ulla Simonen. "The way the cuts are targeted against AVEK is completely disproportionate. I’m not worried about my own work but about future filmmaking in Finland, and the diversity of this culture."
AVEK currently supports the writing, development and production of audiovisual works, and the development and production of international co-productions. Under the proposed cuts, it would have no money for international co-productions, and national productions would face "significant changes".
Additionally, AVEK’s support for international workshops such as Czechia’s Dok.Incubator and Norway’s Doc Forward, and Finnish events such as Finnish Film Affair would end under the proposed cuts.
Last week at Finnish Film Affair – the industry event running parallel to Helsinki International Film Festival – AVEK presented five film projects from emerging creators through talent development lab Kehittämö, including Pavel Andonov’s Flowers Of Farewell from Finnish production company Made.
The budget cuts have been broadly criticised by the Finnish industry, including by filmmakers who received AVEK support early in their careers and have since progressed to wider recognition.
"I’m not worried about my own work but about future filmmaking in Finland, and the diversity of this culture," said director Selma Vilhunen. "We are about to destroy something that has been our strength internationally."
Vilhunen received AVEK support for her first seven films across shorts and documentaries, including 2012’s Do I Have To Take Care Of Everything?, which was nominated for the best live action short Oscar.
Animation director Kari Juusonen also received AVEK backing for his initial films, including 2001 short Pizza Passionata, which won the jury prize for best short film at Cannes. He now directs European co-production animation features including Niko – Beyond the Northern Lights, which has sold worldwide for Global Screen this year.
Juusonen believes the initial impact would be felt by "young filmmakers, and people who make experimental and more avant-garde films," and that the knock-on effect for the Finnish industry would be very damaging.
"If you think about what kind of films we will see produced in Finland in a few years’ time, you will start to see the consequences will be massive," said the director. "AVEK is about supporting and believing in the filmmakers. Their production consultants have been experienced filmmakers; they give input that makes a lot of sense. It’s the ideal way, to start a project with them."
Juusonen hopes the Finnish government will reconsider. "The money we are talking about here is very small, but it makes a big difference for the people who work in the film industry," said the director. "We are on the brink of a great new era, with a lot of young filmmakers doing different films in the international market, and bringing in some money."
Juho Kuosmanen, whose Cannes 2021 title Compartment Number 6 sold worldwide for Totem Films, has also voiced his support for AVEK, as have international partners including Doc Society, EAVE, Nordisk Panorama and the Scottish Documentary Institute.
"Nordisk Panorama sees AVEK as a vital partner in the regional film industry," said Nordisk Panorama executive director Heidi Elise Christensen. "This funding is essential for Finnish filmmakers to create high-quality content that can compete internationally."
The Finnish government has proposed cutting copyright compensation from €11m to €5.5m across all creative industries, which would result in a 50% cut in AVEK’s funding, from €2.5m a year to €1.25m.
However, there is still the possibility of reversing or reducing the cuts, which must be ratified by the Finnish parliament before the end of the year.
Conclusion
The budget cuts proposed for AVEK have been met with widespread criticism from the Finnish film industry, with many accusing the government of "robbery" and " devastation". The cuts would severely impact the development and production of international co-productions, as well as Finnish films, and would put the country’s film industry at risk of significant harm.
FAQs
Q: What is the proposed budget cut for AVEK?
A: The proposed budget cut would reduce AVEK’s funding from €2.5m a year to €1.25m, a 50% cut.
Q: Why is AVEK essential for the Finnish film industry?
A: AVEK provides vital support to Finnish filmmakers, including development and production funding, allowing them to create high-quality content that can compete internationally.
Q: What kind of impact would the proposed cuts have on the industry?
A: The proposed cuts would severely impact the development and production of international co-productions, as well as Finnish films, and would put the country’s film industry at risk of significant harm.
Q: Are there any possibilities of reversing or reducing the cuts?
A: Yes, there is still the possibility of reversing or reducing the cuts, which must be ratified by the Finnish parliament before the end of the year.
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