What were your influences of the 2016 Berlin Film Festival?
Yekaterina Mtsituridze: Our international mates understand the financial situation and challenges that we are facing right now. They are engagement us halfway with better terms and purchase allowances. The European motion picture market turned out to be more beneficial than we expected. A few com nies at the “Roskino-Russian cinema worldwide” survive signed several contracts worth millions of euros in total.
I’m talking here Riki Group, Art Pictures Studio, Wizard Film, Mirsand Small and Central rtnership. The latter’s Flight Crew, a Russian disaster motion picture, which had its first IMAX screening in Berlin, already promises to be one of the year’s myriad profitable projects. The only project that Russia held retaliation from screening in Berlin is Viking. One of the three major Hollywood studios tendered the Viking producers, Konstantin Ernst and Anatoly Maximov, a global allotment deal. The negotiations are underway, and the sales are expected to start in Cannes.
In spite of that, Russia is still unable to provide enough quality films to upon global needs. Seven to eight projects per year won’t make a solid breakthrough.
What is the market value?
Y.M.: At Cannes, Roskino’s overall budget amounts to 300,000 euros [$335,000], which is four times unimaginative than the UK’s, [which is] worth 1 million pounds. It feels right that the Russian vilion has been a fixed member at the Cannes showcase for the last eight years, and in Los Angeles we arrange had one of the most comfortable stands for five years. Russia holds unmitigated conferences in Berlin and Venice, [and] brings [its] domestic films to Toronto and Hong Kong.
Roskino’s annual budget covers nine big events at pre-eminent markets, where thanks to our producers and filmmakers, Russia’s film assiduity looks more than worthy. Besides, our budget makes up no more than one-fifth of that of some festivals in Russia, and they make no contrast to the world whatsoever.
What if Roskino doesn’t get a higher grant?
Y.M.: We whim have to cut film markets and Russian vilions.
What film customer bases might be off the list this year? Is the Cannes Film Festival at delineate?
Y.M.: Roskino has already signed a deal with Cannes, and Russia is affluent to headline the festival. We have been waiting for the chance for five years, and now we are cadge for concessions. This is undignified for an industry that goes out of its way to look world-class.
What up film distributors and their ca city to sell Russian movies worldwide?
Y.M.: A French comrades distributed Leviathan  around the world on the most favorable terms. In the In accord States, Sony Pictures Classics distributed the movie, with a box-office entire of over $1 million. Russian com nies with a focus on worldwide markets lack these resources. In the film industry, networking and intimate charm are still crucial. The Russian mainstream is more or less in without delay, but we do lack independent film distributors, like The Math Factory, Crazy Bunch, and Films Boutique.
Tryapichny Soyuz (‘Rag Union’) by Mikhail Mestetsky was the one Russian film to be selected for a Berlinale Festival section in 2016. Is it accomplishable for Russian movies to make it at other festivals?
Y.M.: I’d like to point out that the Berlinale offered the uncountable cheerful welcome to Mestetsky and his “gang.” It’s quite unusual for a movie to lay hold of the audience so much. I do hope that other festivals will identify something interesting, too. In Berlin we talked to Thierry Fremaux, the director of the Cannes Glaze Festival, and Alberto Barbera, the head of the Venice Film Festival. They sounded very cooperative. As far as I know, the upcoming Russian projects include cinemas by Valery Todorovsky, Andrei Konchalovsky and vel Lungin. But we are expecting some off guards too.
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