Film Production Guide

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1 Industry Film Production Guide 2008

2 Industry Film Production Guide 2008

3 Jakkolwiek do o ono wszelkiej starannoêci, by wszystkie informacje zawarte w tej publikacji by y dok adne i aktualne, mo e si zdarzyç, i w wyjàtkowych przypadkach, w szczególnoêci adresów, numerów telefonów itp. mogà wystàpiç nieêcis oêci. W razie zauwa enia takiego przypadku prosimy wszystkich u ytkowników tej publikacji, jak równie firmy w niej wymieniane, o poinformowanie wydawcy w celu wprowadzenia poprawek do nast pnych wydaƒ Film Production Guide Poland. Altough utmost care has been applied to ensure that all information in this publication is correct at time of print, it is possible that in certain cases such as addresses or telephone numbers, a certain inaccuracy could arise. If such should occur, we kindly ask all readers of this publication to notify the publisher in order to introduce necessary corrections in later editions of the Film Production Guide Poland. Published by

4 Table of Contents Introduction 5 Polish Law: Business law 9 Obligations of entrepreneurs 9 Film production 10 Autonomous production 10 Cooperation with a Polish partner 10 Additional financing of the film production 11 Who can apply? 11 The amounts 11 Fees and taxes 12 Work permits 12 Filming permits 12 Health insurance 12 Film production insurance 12 Film Industry: Polish cinema today 15 funding / production / distribution / exhibition / National Film Archive / film schools / copyright law / film events / guilds and unions Film production in Poland Cinema attendance in Poland Institutions and companies 23 State and public institutions 23 Offices of European support programmes 24 Television broadcasters 24 Related institutions 28 Organizations and associations 29 Film producers 36 Film services 54 Film stock 54 Studios and soundstages 54 Equipment rental 54 Equipment sales 57 Lighting equipment 58 Set design, costumes, props 59 Stunts and special effects 60 Picture and sound editing services; Sound libraries 61 Animation and CGI 64 Scanning, telecine, digital intermediate 66 Stock processing 66 Subtitling, dubbing, voice-over services 66 Company Index 89 Film archives 67 Casting 67 Catering 68 Transportation 68 Animal training 68 Film score 69 On-set services 70 Special and underwater photography 71 Motion control 71 High-speed photography 71 Aerial photography 71 Steadicam 71 Legal assistance and film production Insurance 71 Film distribution companies and agencies 72 Cinemas 77 Schools 80 Festivals 83 Film media 86 Polish Film Institute New film law 95 Sources of financing for the Polish Film Institute 95 Programmes of Polish Film Institute 96 project development / film production / dissemination of film culture / promotion of Polish film abroad / development of cinema infrastructure and film distribution / vocational training MEDIA Programme 113 Film City 114 Subsidy application 100 Film awards for Polish films and filmmakers 108 Coproductions with Polish participation 112 Projects with Polish Film Institute subsidies 112 English-Polish dictionary of film terms 117 3

5 Introduction Christopher Doyle on the set of Warsaw Dark, produced by Ozumi Films Guy Ferrandis 4

6 Introduction Introduction David Lynch on the set of Inland Empire in Łódê Everything you always wanted to know about the Polish film industry but were afraid to ask Or rather you could not find the right source of information. Not anymore. We proudly present you with the new and updated edition of the Film Production Guide Poland Archiwum Camerimage This Guide was designed to help you to make the right use of the opportunities Poland has to offer in the area of filmmaking. It presents a complete and comprehensive overview of the country and its audiovisual sector providing every film professional be it a producer, investor, director, art director or casting director with quick and easy access to all the necessary practical information on locations, the legal framework of film production and co-production opportunities, addresses and contacts of companies in all fields of filmmaking, hotels in every area of Poland, data on the market down to the exact hours of sunrise and sunset at every month of the year. Katyn, dir. Andrzej Wajda, produced by Akson Studio. Nominated for foreign language Academy Award in

7 Introduction This volume is devoted to the industry. If are you looking for money for your production or, alternately, thinking about a good place to invest, here you will learn how the Polish financing system works, what the legal and financial regulations are and whom to contact to obtain information and help in order to make your Polish venture successful. Even if you need a few hundred extras to play striking workingmen one day and Napoleonic soldiers the next, or a symphonic orchestra and a choir of a hundred voices to perform and record your music. It can all be done here. How? You can find out through this Guide. As of 2005, Poland has a modern cinema law and new system of support, which not only boosts domestic production but also remains open to ideas coming from any part of the world. The Polish film industry today offers not only its talents, but also a variety of opportunities for successful collaboration: prime, often undiscovered locations, state-of-the-art technical facilities, skilled teams in every department of production and post-production, many experienced production companies specializing in international projects and a well-developed system of public support. Discover Poland as the right place for your next film. Roman Polaƒski at the Polish Film Institute stand, Camerimage 2007 Archiwum Camerimage Mikołaj Jaroszewicz, Hugh Gordon Peter & the Wolf, dir. Suzie Templeton, co-produced by Se-Ma-For. Nominated for short animated film Academy Award in

8 Film Production Guide 2008 Poland Polish Law Poland 7

9 Polish Law The Fight for the Bible Pioneer, dir. Sean Grundy, produced by MS Films Mateusz Skalski/mskalski.pl 8

10 Polish Law Polish Law entrepreneur is any person, organization or non-corporate organizational unit with legal capacity conducting economic activity on its own, while economic activity is defined as professional (permanent and professional activity, as opposed to occasional and amateur), subordinated to the rules of profitability and profit, repeatable and resulting in economic turnover. Poland is a rapidly developing new member of the European Union and a major recipient of foreign direct investment in Central and Eastern Europe. Its current industrial growth rate is around 15%. For good economic reasons and through measures taken to encourage inward investment, Poland has benefited from large-scale investment from Western Europe, the United States and a number of Asian countries and elsewhere In a 2006 report published in the Financial Times Poland ranked 5 th among top investment destinations worldwide. Its central geographical location, large territory and population of nearly 40 million are attracting a growing number of foreign investors. Thanks to dynamic political and economic changes in recent years Poland has taken a major leap forward in virtually every sphere of life including the media. Poland has become a popular destination for foreign documentary film crews and feature film producers. Business Law The process of rapprochement between Poland and Western Europe gained impetus in time with Poland s political and economic transformation, culminating in EU accession in Thanks to modern regulations, European standards and guaranteed equal rights for foreign businesses, non-polish film-makers do not require any special permits. Entrepreneurs from Member States of the EU and EFTA may engage in economic activity on the same terms and conditions as Polish entrepreneurs. Entrepreneurs from elsewhere are restricted to the following legal forms: joint-stock company, limited liability company, limited partnership or limited joint-stock partnership; they can also take over or acquire shares in these listed forms of entities. Poland Guide 2008 Film Production Obligations of Entrepreneurs Carrying on economic activity requires prior registration in the Register of Entrepreneurs of the National Court Register (Krajowy Rejestr Sàdowy) or in the Economic Activity Registry (Ewidencja C C C DziałalnoÊci Gospodaczej) In order to perform economic activity in Poland, an entrepreneur is obliged to: obtain a tax identification number (NIP) at the appropriate tax office and for use in official business (official correspondence, company seals etc.), obtain an identity number based on the type of activity (REGON) at the Statistical Office, register the business with and pay contributions to the Social Security Office (ZUS) when employing staff, Foreign entrepreneurs, regardless of their country of origin, can operate freely in the film industry in Poland without any additional formalities resulting from their origin. The basic legal framework is provided by the Act on Freedom of Economic Activity of 2 July Pursuant to this Act, an 1. see: Act of 2 July on Freedom of Economic Activity, Polish Official Journal (Dziennik Ustaw Dz.U.) 2004, no. 173, item C C C open a bank account and use it for all business related transactions, file monthly returns and pay taxes (i.e. VAT, income tax, advances on payroll tax etc.) to the local tax office, file financial statements and statistical reports as required by appropriate regulations. 9

11 Polish Law The entrepreneur must observe rules of fair competition (as set by EU regulations, which prohibit monopolistic practices, concentrated (cartel) practices, dumping pricing policies, illegal concentration etc.), follow regulations determining the terms and conditions of economic activity (in particular, health and safety, public ethics and environmental protection) and, where required by law, employ only properly trained and skilled professionals. Film Production The basic legislation for film production is the Cinematography Act of June 30, 2005 (Polish Official Journal 2005 No 132 item 1111). Poland is also a signatory of the European Convention on Cinematographic Co-production of October 2, The State supports the film industry in Poland. There are public grants given for film production, selected festivals and events, developing archives, education and professional training, as well as for promotion of the Polish film industry abroad. The key organization in the film industry is the Polish Film Institute, set up under the Cinematography Act. The Cinematography Act regulates issues related to the financing of film production (feature, documentary and animation) and project development. It sketches out the basic legal framework for the functioning of the film market and provides clear legal definitions of selected industry terms e.g. producer, co-producer, film production and film services. Other important Polish film production regulations are e.g.: Regulation of the Minister of Culture dated 27 October 2005 on the co-financing of cinematography undertakings by the Polish Film Institute 2 and the Regulation of the Minister of Culture dated 24 November 2005 on the means of audit of entities with reference to the use of additional project funding 3. Also applicable will be general rules of Polish civil law and copyright law e.g. when formulating and signing option agreements, or obtaining intellectual property rights to music and songs used in films. There are no legal impediments for foreign entrepreneurs in terms of autonomous economic activity in Poland, including the field of film production, even for a single project. A producer from an EU Member State will, however, naturally come across a number of formalities to fulfil. Patience and forward-planning become key factors when planning to establish some sort of cooperation with a Polish co-producer, contributing financially or bringing the promising option of acquiring non-returnable public funds, because (as elsewhere) public institutions require some time to assess additional project funding applications, in terms of both content (script value assessment) and finances. Autonomous Production When undertaking autonomous production (i.e. without a Polish counterpart) a foreign producer must first register its economic activity based on the same regulations that apply to Polish businesses. Tax is a separate issue. Foreign entrepreneurs must set up a Polish office; hire qualified legal representatives and an accounting service provider. This does not imply release of the foreign entrepreneur from liability for legal and financial decisions. Under Polish fiscal regulations (the Tax Ordinance Act and income tax laws), as a business entity the foreign entrepreneur is responsible for any transgressions. Cooperation with a Polish Partner Film production in Poland is much easier and more convenient when cooperating with a Polish business partner. Such cooperation can take two forms either a service order or co-production, for applicable projects and on condition that the foreign producer does not lay claim to exclusive distribution rights. A Polish partner can be helpful in obtaining funding from various public and private sources. Aside from essential business confidence strengthened by a written contract and ease of communication, the Polish partner should be able to provide fast budgeting, prepare the shooting schedule and index of production resources, present organizational options for the pre-production, principal photography and post-production stages, and should also be familiar with the film service and technology market and respective financial alternatives (e.g. stock 2. see: Regulation of the Minister of Culture dated 27 October 2005 on the co-financing of cinematography undertakings by the Polish Institute, Dz.U. 2005, no. 219, item 1870; with later amendments: Dz.U. 2006, no. 50, item 366 and Dz.U. 2006, no. 78, item see: Regulation of the Minister of Culture dated 24 November 2005 on the mode and method of audit with reference to the use of additional project funding, Dz.U. 2005, no. 242, item

12 Polish Law vs. magnetic film), not to mention a fully-functioning head office, qualified staff and the all-important personal contacts. The most common form of operating in the film industry is a limited liability company (Polish abbreviation: sp. z o.o.). Every company must submit an annual balance sheet and make various other filings with the National Court Registry, e.g. regarding changes of address of the company, management board members, rules of representation etc. This data is publicly available and can be helpful in assessing a company s credibility. A well-constructed co-production agreement should regulate at least the following matters: the budget, financing of the production, management of the co-production, ownership rights (chain of title is an issue of crucial importance) and matters related with negatives, credits and so forth. Additional Financing of the Film Production Additional financing may be available, on application, from the Polish Film Institute or Eurimages Fund. In the Polish Film Institute, projects are judged by film experts on the following criteria: artistic, cognitive and ethical values, meaning for national culture, supporting Polish traditions and the Polish language, enriching cultural diversity in Europe, expected effects of the planned undertaking and, finally, the financial and economic terms of the project s realization. For Eurimages, the criteria are slightly different. The following aspects of the projects are important: artistic merits, experience of the director, the producers, the artistic team (authors, scriptwriter, casting, etc.) and the crew members, circulation potential of the project, its commercial potential, artistic and/or technical co-operation between the co-producers, degree of confirmed financing and the European character of the project. Additional project funding from the Polish Film Institute can be granted in the form of subsidies, loans or warranties, while financial support from Eurimages takes the form of a conditionally repayable interest-free loan. Who Can Apply? Important issues in applying for co-production finance are the number and origin of the co-producers, the character of contributions (purely financial or otherwise) and the share (in percentage terms) of individual contributions to the film budget. Eurimages financing can be applied for by any natural or legal person governed by legislation of one of Eurimages Fund s member states whose principal activity consists in producing cinematographic works. There must be at least 2 co-producers from two different member states of the Fund. Co-producers from countries outside of the Eurimages Fund are accepted too, but their combined percentage participation may not exceed 30% of the total co-production budget; Poland Guide 2008 Film Production Financing from the Polish Film Institute is also available to non- Polish individuals or legal entities carrying on cinematographic activities, so long as they are from an EU or EFTA member state (excluding Switzerland). The Amounts The maximum percentage of funding available in relation to the overall budget is as a general rule 50% of the total budget, when funding comes from the Polish Film Institute. It is a maximum 15% of the total production cost (no more than ) from Eurimages (for films with total production costs below 1.5 million financial support shall not exceed 20%). The Polish Film Institute processes additional project funding applications within the framework of the relevant operational programme four times a year. On average, the assessment procedure lasts about three months; however, the entire period between application approval and signing of the contract may exceed six months. In relation to applications, foreign producers are required to appear at meetings in Poland. 11

13 Polish Law Fees and Taxes Certain fees are levied on foreign producers undertaking film production in Poland, regardless of the form of cooperation with Polish business partners. The most important of these are as follows: C C C C advance on personal income tax (initial charges made upon payment of wages); VAT on invoices from goods and service providers; social security contributions on employment contracts and mandate contracts; advance on corporate income tax (if any) Other occasional fees and taxes include legal fees (e.g. when signing certain lease contracts; notary charges; court registry fees), bank fees (bank transfers, loan servicing etc.), real estate taxes (where applicable), local costs (e.g. permits for aerial photography or entry to national parks), and others. Work Permits No work permit is required from EU or EEA citizens. Unless otherwise stated in international agreements, production crew members from other countries must obtain a work permit from the regional voivod (Polish: Wojewoda) authorities. Certain professionals including musicians and actors (up to 30 days) are allowed to work in Poland without any additional permits. Filming Permits Generally, it is possible to film in any location. The most common solution is to sign fixed term lease agreements with clearly stated conditions of use. Unless specified in a fixed tariff, rent is negotiable. Permission often has to be obtained from property owners or local authorities before filming can commence (and they have the right to refuse). It is highly recommended to apply for any permits well in advance, as certain procedures need to be finalized 30 days prior to shooting. Official procedures may be time-consuming, for instance for permission to film in the street. When applying, the producer must attach a plan for traffic reorganization and cordoning off of the area. When planning to shoot in decrepit buildings or in ruins, a positive safety report must be commissioned for persons accessing the area in order to obtain a permit to film. Health Insurance All EU and EEA citizens are covered by public health insurance in Poland. Film Production Insurance Completion bonds are generally uncommon in Poland. During production, the film crew and equipment must be covered by third party and accident insurance, for which most insurance companies in Poland offer a wide range of services. State Aid The State can provide entrepreneurs with public aid only on terms and in forms clearly stated in separate provisions. Public aid must be granted in particular with respect to the rules of fair competition and equal rights. Text prepared in cooperation with the Salans law firm, winner of the 2007 International Law Office Client Choice Awards. 12

14 Poland Film Production Guide Poland Film Industry 13

15 the Pomeranian Film Foundation Polish filmmakers at the 2006 Polish Film Festival in Gdynia 14

16 Polish Cinema Today The year 2005 saw the introduction of the Act on Cinematography in Poland and the launch of the Polish Film Institute. The new film law determines the extent of State involvement in film production and other areas of the industry. This resulted in a rapid increase in the number of films being produced in 2006 and in inducing the interest of foreign filmmakers in co-productions and film services in Poland. The Polish Film Institute actively promotes Polish cinema on the international level. A foreign film producer, festival manager or international project coordinator looking for Polish partners should turn to the Polish Film Institute for financial consulting and assistance in contacting interested parties. Funding The Polish Film Institute has an annual budget of over 25 million EUR, partially funded by a 1.5% levy imposed on TV, cinema and cable operators. The Polish Film Institute awards grants not only for film production, but also other fields of the industry, including film promotion, dissemination of film culture, professional training and film distribution. In 2007 the Polish Film Institute granted over 15 million EUR for film production alone. In 2008 this quota will increase to almost 18 million EUR. In most cases, the Polish Film Institute grants funding up to 50% of the total production budget. Poland participates in the two foremost European programmes for supporting the audiovisual industry Eurimages and the European Union s MEDIA 2007 programme. Warsaw is home to Media Desk Poland, which assists producers in completing forms and settling the accounts for projects supported by MEDIA. A foreign producer seeking Polish production partners has a wide range of possibilities. There are a number of businesses specializing in film production services. Most of them focus on a particular field be it feature, documentary or animation production. Although the majority of players in the film industry consists of private businesses, among them most production, distribution and exhibition companies, there is also a number of State-owned film establishments, a unique element of the structure of the Polish film industry. These regional organizations, currently undergoing ownership transformation, include some of Poland s largest film studios, small-scale animation studios and film production units 1. However the ownership structure is not at all a key factor, as all Polish private and public entities are eligible for public funding. Poland Guide 2008 Film Production Production The Polish market of film-related services is well-developed and many producers choose to make use of existing facilities, which saves them the cost of investing in developing their own production base. There are numerous companies that specialize in services for various stages of production, from casting, lighting equipment and special effects to editing, sound production and finally subtitling. Only a few major studios have complex facilities, offering everything from soundstages to editing services. Distribution The film distribution and exhibition market is slightly more concentrated, with approximately a dozen key players. Most film distribution companies have a complex approach to their film product, dealing with everything from cinema distribution to television sales and the DVD market. Polish independent film distribution companies have also recently been increasing their involvement in film production, contributing to the film budget and subsequently acquiring picture rights. This form of co-production has proven very effective and will undoubtedly continue to gain in importance. One of the key investors in film is Polish Television (Telewizja Polska SA). It is to date the largest film producer in Poland. However, commercial TV channels, including Canal+, TVN and occasionally Polsat and HBO Polska also participate in film production. 1. In Polish terminology film production companies are often referred to as Studios (Polish: Studio filmowe), whereas film studios are commonly known under the term Wytwórnia. 15

17 The Polish distribution market itself is dominated by Hollywood studios and their affiliates UIP, Forum Film (Buena Vista International), Imperial CinePix (20 th Century Fox) and Warner Bros. Apart from these major players, there are a few local companies that play a key role in the market. Two of them deserve special mention, the first being Interfilm an independent distribution company that reached blockbuster success with Jan Pawe II / Pope John Paul II (2006) and a number of local romantic comedies. The second company is Gutek Film, credited with familiarizing Polish audiences with the works of some of the world s most prominent filmmakers, including Lars von Trier and Pedro Almodovar. In 2007, the Association of Polish Filmmakers and several leading film producers jointly founded a foundation known as Film Polski. It was established to promote Polish films in Poland and abroad, but also to handle their distribution.the first film distributed by Film Polski was Twists of Fate by Jerzy Stuhr. Exhibition The number of cinemas in Poland today is approx. 700, of which 59 are multiplex cinemas and another five are IMAX. In recent years the number of multiplex cinemas has been increasing steadily. Unfortunately this brought on the inevitable drop in the number of single-screen cinemas, although funding from the Polish Film Institute can help improve their situation in the future. Thanks to participation in the EUROPA CINEMAS framework, some cinemas in major cities are able to focus on arthouse films, while the mainstream multiplex venues focus on first run pictures. Exhibition of arthouse films is also being developed through the Arthouse Cinema Network (Sieç Kin Studyjnych), financed by the Polish Film Institute and run by the National Film Archive. In 2007, a record 13 new multiplex cinemas were opened throughout Poland. In 2008 only 6 multiplexes will be opened in Poland's major agglomerations - the market is now saturated and investors are more interested in launching cinemas in smaller cities. Cinema City, Poland's leading chain of cinemas, opened five multiplexes in 2007, but will only open another two in 2008: one in Zielona Góra and another in Bydgoszcz. Helios Film Centre has plans to launch two large cinemas in Białystok and two smaller ones in Płock and Dàbrowa Górnicza. While not planning any launches this year, Silver Screen is also working on four projects in smaller cities. They are to be opened within a few years. National Film Archive The Polish National Film Archive (Filmoteka Narodowa) is located in Warsaw. It is in fact the largest film archive in Poland, collecting and preserving film prints, and running a large library of cinematic literature and press. Film Schools Education for film professionals is one of the fastest growing segments of the film industry in Poland. Apart from the two leading schools: the renowned National Film Television & Theatre School (PWSFTiT) in ódê, the Radio and Television Department of the Silesian University (Uniwersytet Âlàski) in Katowice and several prestigious acting schools, young filmmakers can also study film-related fields at most art schools and universities. Copyright Law The key industry collective rights organization in Poland is the Association of Polish Filmmakers, actively cooperating with respective parties abroad and representing film directors, cinematographers, set designers and writers. Another authors association is ZAiKS, representing mostly writers and composers. Copyright management organizations are increasingly effective in securing royalties; however internet piracy remains a major problem. Film Events There is a growing number of film festivals, educational programmes and other activities aimed at developing film culture in Poland. The largest international film festivals in Poland are the Warsaw Film Festival, Era New Horizons in Wroc aw and the documentary Krakow Film Festival. The national Polish Film Festival takes place annually in Gdynia and is a week-long presentation of recent film production in Poland. Apart from the major events, there is certainly more happening on the smaller, regional scale. Most major cities make efforts to be actively involved in film events, which could be useful for foreign festival coordinators seeking cooperation with Polish partners that could help obtain EU funding for their projects. 16

18 Guilds and Unions The key professional organization in Poland is the Association of Polish Filmmakers (SFP) and the National Chamber of Audiovisual Producers (KIPA); however there is also a considerable number of actor guilds and trade unions for film professionals. For an index of the film industry in Poland see the business directory section of this chapter. In November 2007 the Polish director Andrzej Maleszka received an Emmy award for his television series The Magic Tree. Over 20 features, 20 documentaries and eight animated films produced in Poland received awards at film festivals around the world. (see list of awards on page 108) Film Production In Poland An Overview The years 2000 to 2004 saw a significant decrease in the number of feature film productions in Poland. Although the official number was over 20, these were mostly low-budget indie productions or TV movies. The low number of feature productions was the result of a shortage of public funding. The new Film Law and the launch of the Polish Film Institute led to reversing this trend and marked an increase in film production over the last two years. By 2006, feature film production in Poland increased to almost 40 films per year. These are mostly medium-budget productions of approximately 800,000 EUR. A low-budget feature debut usually costs approx. 300,000 EUR. The biggest budgets in recent years went to high-profile epic productions based on classic novels. These include Quo Vadis (21 million EUR), Ogniem i mieczem / With Fire and Sword (6 million EUR), PrzedwioÊnie / The Spring to Come (5.8 million EUR) and Pan Tadeusz (3.4 million EUR). These pictures were largely film versions of national epics and as such were virtually guaranteed to be a box office success. The films made today are modestly budgeted, set in the present day and dealing with modern issues and universal values. In 2006 these included The Collector by Feliks Falk, Saviour s Square by Krzysztof Krauze and Joanna Kos-Krauze and Day of the Wacko by Marek Koterski, in 2007 Hania by Janusz Kamiƒski, 33 sceny z ycia by Małgorzata Szumowska, Fur by Tomek Drozdowicz, Twists of Fate by Jerzy Stuhr and many others. Awards and Nominations With a budget of approximately 4.2 million EUR, the historic Katyn by Academy Award winner Andrzej Wajda was undoubtedly the main event of 2007 in Polish cinema. Katyn, produced by Akson Studio and the Polish-British co-production by Se-Ma-For entitled Peter & the Wolf (with a budget of 2.7 million EUR) have been nominated for the 2008 Academy Awards. Recent years have also marked the success of many up-andcoming filmmakers. It is these young people that are changing the face of Polish cinema today. Debut features have often become popular with cinema audiences, but also gained critical acclaim, winning awards at Polish and international festivals. Pr gi / The Welts from Magdalena Piekorz, Oda do radoêci / Ode to Joy from the trio of Anna Kazejak-Dawid, Jan Komasa and Maciej Migas, Warszawa by Dariusz Gajewski, Symetria / Symmetry by Konrad Niewolski, Edi by Piotr Trzaskalski and most recently Z odzysku / Retrieval, Poland s 2006 Oscar entry from S awomir Fabicki are all superb examples of such films. One of the most promising filmmakers is Andrzej Jakimowski. His two first feature films (Zmru oczy / Squint Your Eyes and more recently Sztuczki / Tricks) received a considerable number of awards at Polish and international film festivals. Another acclaimed recent Polish feature is Rezerwat / Preserve by Łukasz Palkowski. When looking at mainstream production, it is impossible to overlook the key role played by romantic comedies, which often reach blockbuster success at the box office and later on the DVD market. Recent hits include Dlaczego nie! / Why not!, Nigdy w yciu! / Never ever!, Tylko mnie kochaj / Just Love Me, Ja wam poka! / I ll Show You! and Francuski numer / French Number. Early 2008 will bring several new premieres, including Jeszcze raz, Rozmowy nocà, Mała Wielka MiłoÊç / Expecting Love and Nie kłam kochanie. Poland Guide 2008 Film Production The introduction of the new Film Law and the international activity of the Polish Film Institute helped to increase interest of foreign filmmakers in Poland as a potential partner for co-production. In 2005 alone six films were co-productions, a further eight in 2006 and currently eleven more are in production. Poland has participated in the production of Strike by Volker Schlöndorff, Nightwatching by Peter Greenaway, John Kent Harrison s Pope John Paul II and most recently in the newest feature from Ken Loach (It's a Free World...). 17

19 Cinema Attendance in Poland Current trends in the Polish cinema market are similar to those in other European countries. The biggest box office and attendance success goes to Hollywood blockbusters that reach similar status worldwide. However, much like in other countries of Central Europe (Hungary, Czech Republic) the past year marked a significant rise in admissions to local films. In Poland these were mainly mediumbudget romantic comedies. One thing unique in Poland is the incredible popularity of film biographies of Pope John Paul II (three Top 10 box office hits of ) and of films considered historically significant The year 2005 marked a global decrease in cinema attendance, with an almost 30% drop in Poland when compared to the record year Although the number of films released in cinemas increased to a record 224, this found no reflection in attendance or revenue. Total admissions were at 23.3 million, revenues at million PLN (approx. 103 million USD). The share of European films in the market also reached an unprecedented 23%, with a record number of 72 premieres. This was a result of Poland's entry into the European Union and subsequent MEDIA funding for film distributors. As for Polish films, there were 24 premieres that year (more than in two previous years), however none reached blockbuster status. This was to change in The biggest film of 2005 was rather unexpectedly the made-for-tv movie Karol. Człowiek, który został papie em / Karol: A Man Who Became Pope, with almost 1.9 million viewers. Eight of the Top 10 films of 2005 were Hollywood productions was a much better season for the cinema market in Poland. Admissions increased by about 30%. Nine Polish films had an attendance of over 200,000 viewers, whereas in 2005 no single Polish feature achieved such results. Again, the largest cinema success was held by made-for-tv movies. Apart from 2005's Karol: A Man Who Became Pope, two other TV movies about the Polish pope reached blockbuster status, filling slots 2 and 3 of the Top 10 list. The Top 20 list included 12 children's movies and three Polish features (two of them in the Top 10). Polish features held a share of 16% of total admissions (compared to 3.4% in 2005). The number of releases increased slightly to 236, including 27 Polish titles. Six of the Top 10 films were made in Hollywood The year 2007 brought a further increase in cinema attendance and an ever growing popularity of Polish films. Total admissions reached the level of 32.6 million, and the Top 3 films included two Polish features Katyn (2.74 million viewers) and Testosteron / Testosterone (1.36 million). A record five Polish films made it into the Top 10. They varied in genres from historical dramas (Katyn) to comedies (Testosterone and RyÊ), romantic comedies (Dlaczego nie! / Why Not!) and crime (Âwiadek koronny / State Witness). In addition, the record-breaking Katyn was screened on 189 prints, whereas State Witness, the last on this list, had a mere 81 prints. The success of Andrzej Wajda's Katyn is unquestionable. This was a film awaited by the entire Polish audience. Its results placed it in the Top 10 of most popular movies since The only other films to achieve such high attendance in 2007 were movies for young audiences, including three animated films. The biggest hit was Shrek the Third, others included Harry Potter and the Order of the Phoenix, Ratatouille, Pirates of the Caribbean: At World's End and Bee Movie. Polish Cinema Tomorrow In mid-2007 the first digital cinema was opened in Poland. This number soon increased and several cinemas also introduced digital 3D technology. Market analysts are certain that the development of digital cinema will be very dynamic and by 2013 nearly half of the cinemas in the world will be digital. Digital technology in the cinema means not only better quality, longer print life and considerable savings for film distributors. It will also influence a further development of the cinema market and film selection. It is estimated that the share of Polish films in the market will continue to increase. More mainstream productions are expected, while artistic cinema will continue to receive support from the Polish Film Institute. Early 2008 will see the release of four romantic comedies, one period movie, one drama and even a horror film a genre absent from Polish cinema for years. 18

20 BOX OFFICE 2007, No TITLE DISTRIBUTOR COUNTRY B.O. PLN ADMISSIONS PRINTS RELASE DATE 1 SHREK THE THIRD UIP US KATY ITI CINEMA PL TESTOSTERON ITI CINEMA PL HARRY POTTER AND THE ORDER OF THE PHOENIX WARNER GB/US DLACZEGO NIE! INTERFILM PL PIRATES OF CARIBBEAN: AT WORLD'S END FORUM FILM US RATATOUILLE FORUM FILM US ÂWIADEK KORONNY ITI CINEMA PL RYÂ FORUM FILM PL WARNER US BEE MOVIE UIP US PERFUME: THE STORY OF A MURDERER GUTEK FILM/MAX FILM D/F/ESP SURF'S UP UIP US MR BEAN'S HOLIDAY UIP GB/F/D/US NIGHT AT THE MUSEUM CINEPIX US/GB DIE HARD 4.0 IMPERIAL CINEPIX GB/US TRANSFORMERS UIP US U PANA BOGA W OGRÓDKU VISION PL ARTHUR ET LES MINIMOYS MONOLITH F DEJA VU FORUM FILM US BOX OFFICE 2007, POLISH FILMS Poland Guide 2008 Film Production No TITLE ENGLISH TITLE DISTRIBUTOR B.O. PLN ADMISSIONS PRINTS RELASE DATE 1 KATY KATYN ITI CINEMA TESTOSTERON TESTOSTERONE ITI CINEMA DLACZEGO NIE! WHY NOT! INTERFILM ÂWIADEK KORONNY STATE WITNESS ITI CINEMA RYÂ RYÂ FORUM FILM U PANA BOGA W OGRÓDKU GOD'S LITTLE GARDEN VISION SZTUCZKI TRICKS KINO ÂWIAT JASNE BŁ KITNE OKNA SKYLIGHTS SPI TRYPTYK RZYMSKI THE ROMAN TRIPTYCH MONOLITH WSZYSTKO B DZIE DOBRZE ALL WILL BE WELL ITI CINEMA all statisctics for the period of source: 19

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