Live Editorial

Keynote by Rikke Flodin2024-06-28T18:28:36+02:00

Keeping up with Children as an Audience

“Keeping Up with Children as an Audience” by KIDS Regio and PUBLIKUM provides in-depth insights into the media consumption habits of children across Europe, based on extensive qualitative and quantitative data from twelve countries. It highlights differences and similarities between countries, focusing on how children aged 7-11 perceive films, their preferences for genres and characters, and their viewing habits. Both individually and in social contexts such as family and school, the report reveals children’s definitions of film, preferred content and interactions. These findings are intended to help filmmakers and media professionals create relevant and engaging content for this dynamic young audience, thereby increasing the cultural diversity and potential of European children’s films.

Definition: What is policy?2024-06-28T15:24:06+02:00
  • Julianne FordeTailored Films (Ireland)
  • Sebastian Markt, Berlinale Generation (Germany, Global)
  • Ariel Bianucci, EFAD (Europe)
  • Jo MühlbergerEuropean Film Promotion e.V. (Europe, Global)
  • Nora Lakos, Cinemira Hungary (Europe)
  • Heleen Rouw, Stichting Cinekid Amsterdam The Netherlands (Europe, Global)
  • Petra RockenfellerFTB H. Pesch & Co. ohg – LICHTBURG FILMPALAST Oberhausen (Germany)
  • Klemen Dvornik, FERA – The Federation of European Screen Directors (Slovenia, Europe)


In a world where children films‘ policy is undefined, Denmark saved the day.

  • Elisabeth WenkGerman Children’s Media Foundation Golden Sparrow (Germany, Austria, Switzerland)
  • Jure BušićJaka produkcija (Croatia, Slovenia, Serbia, Montenegro, Italy)
  • Charlotte Appelgren, CineRegio (Association of Film & AV Funds) (Europe)
  • Manuel Fioroni, European Audiovisual Observatory (Europe)
  • Markus Görsch, Mitteldeutsche Medienförderung (Germany)
  • Becky Parry, European Children’s Film Association (United Kingdom)
  • Jeanette SchjervaFilm i Skåne AB (Sweden)
  • Noémie LevadouxEuropa Cinemas (France, Germany, Austria, Liechtenstein)


Moving towards something together.

  • Mikk GranströmNGO Black Nights Film Festival (Baltics)
  • Annelie Zapfe, Representation of the free State of Thuringia to the EU (Thuringia, Germany, Europe)
  • Ivana Đurašković, Film Centre of Montenegro (Montenegro, Europe)
  • Radka Hoffmanová, Young Film Fest, Visegrad Young Film Days, Kino Kavalírka (Czechia, Germany, Slovakia, Hungary, Poland)
  • Eszter LányiNational Film Institute Hungary (Hungary)
  • Magda Wylężałek, Young Horizons Industry (Poland)
  • Manu GuddaitBerlinale – European Film Market (International, Europe)
  • Pantelis Panteloglou, European Children’s Film Association (Greece, Europe)


Storytelling for politicians inspired by „Game of Thrones“.

  • Martin Blaney, Screen International (DACH countries, Eastern Europe)
  • Julia KrättliZürcher Filmstiftung (Switzerland)
  • Signe Zeilich-Jensen, Freelance (The Netherlands, Europe)
  • Mariella Harpelunde Jensen, Buster Filmfestival – Fonden De Københavnske filmfestivaler (Nordics)
  • Janne VierthSwedish Film Institute (Sweden)
  • Heike Meyer-Döring, Creative Europe Desk NRW c/o Film- und Medienstiftung NRW (Germany, Europe)


Don’t get lost in the jungle. Bring a map.

  • Edita Bilaver, Kids meet Art (Croatia, Europe)
  • Petra SlatinšekJavni zavod Kinodvor (Slovenia)
  • Godefroy Vujicic, ASSOCIATION PICTANOVO (France)
  • Kristina Trapp, EAVE (Europe)
  • Marta JodkoInternational Young Audience Film Festival Ale Kino! (Poland, Europe)
  • Terje André Nymark, North Norwegian Film Centre (Norway)
  • Margret AlbersEuropean Children’s Film Association (ECFA) (Europe)
  • Christoph Schweitzer, Thüringer Staatskanzlei (Germany)


Policy – from vision to mission accomplished …to be continued…

  • Katharina Albrecht, Akademie des Österreichischen Films (Austria)
  • Julia Tal, AG Kinderfilm (Switzerland, Europe)
  • Michael Harbauer, SCHLiNGEL – IFF for Children & Young Audience (International)
  • Vėjūnė Dūdėnienė, Skalvija Cinema Center (Lithuania, Baltics)
  • Victoria ThomasLondon Film School /Republic of Story (Europe, Sub Saharan Africa)
  • Petri Kemppinen, Good Hand Production (Northern Europe, Europe)
  • Carolina Mancini, Cineuropa (Italy, Europe)
  • Catarina Ramalho, PLAY (Portugal)


Start them young.

  • Alfred Sesma Siuraneta, Drac Màgic – Pack Màgic (Spain)
  • Gudrun SommerDOXS RUHR (Germany, Europe)
  • Tamara KolaricDublin City University (Europe)
  • Rebecca Hartung, Pluto Film Distribution Network GmbH (Global)
  • Rüdiger Hillmer, Förderverein Deutscher Kinderfilm e.V. (Germany, Switzerland)
  • Elin Algreen-PetersenThe Cross Media School of Children’s Fiction (Denmark)
  • Christine EloyEuropa Distribution aisbl (Europe, Global)
  • Rikke FlodinPUBLIKUM / Will & Agency (Europe)


With power comes great responsibility for the next generation.

  • Nína RichterReykjavik International Film Festival – RIFF (Iceland)
  • Mark HighamEuropean Film Academy (Europe)
  • Maria Papasotiri, THESSALONIKI FILM FESTIVAL (Greece)
  • Thomas HailerAkademie für Kindermedien / Nordic Film Days Lübeck (Germany, Nordics, Baltics)
  • Mirja FrehseCreative Europe Desk Berlin-Brandenburg (Germany)
  • Pauline Durand-Vialle, FERA – Federation of European screen Directors (Europe)
  • Hilde Steenssens, Filem’On (Belgium, Europe)
  • Marlena Gabryszewska, Arthouse Cinemas Association (Poland)


Policy is us – a vision of film for children made real.

Input Sessions “Strategy & Structure”2024-06-28T16:29:30+02:00
  • Petra Slatinšek

  • Slovenia

Film in School Curriculum Slovenia

How can film education be integrated into school curricula?

This input session will explore the process of integrating film education into the school curriculum in Slovenia. It will detail the steps taken by an advisory group to develop and implement a successful plan for the Ministry of Culture and in second step, Ministry of Education. The session aims to share valuable insights and strategies that might be applied to similar initiatives in other regions.

  • Rebecca Hartung
    PLUTO FILM Distribution Network

  • Europe

HOW I LEARNED TO FLY – A pan-European Distribution Campaign

What steps or innovative approaches could further increase the international reach and success of children’s films in today’s competitive market?

A case study on the children’s film HOW I LEARNED TO FLY by Radivoje Andrić (RS/HR/BG/SK 2022) from the perspective of the world sales company Pluto Film.
A key component of the film’s success has been its strategic presence at various film festivals. After its world premiere at BUFF in Sweden, the festival strategy was designed to focus on children’s film festivals to maximise exposure and appeal to its core audience. Already during its festival career, the film demonstrated its potential to travel beyond its home market and to connect with international audiences.
An integral part of the film’s journey was the application for MEDIA Films on the Move by the sales agent, planning a pan-European campaign involving multiple film distributors. Pluto Film structured this application precisely by using Audience Design as innovative methodology for bringing together the involved distributors at an early stage in collaborative online-workshops. Here, the target audiences in different territories were detailed, common release dates planned, and the marketing strategies and promotional activities across different countries coordinated.
Although the application wasn’t supported by MEDIA at the end, it helped with the detailed planning of the distribution campaign and provided evidence of the film’s potential to succeed on a European and global scale.
Overall, the info session highlights the approach required to bring a children’s film to global audiences, showcasing the importance of strategic planning, collaboration, and leveraging available resources to achieve success in the international film market.
  • Mariella Harpelunde Jensen
    BUSTER Film Festival

  • Denmark

Learnings from the most perfect Filmlaw for Children and Youth in the World

How can the European funding systems help sustain new Film talent, stories and reach the young audiences in local European languages mirroring the present, past and future of the young generations?

In 1997 Danish lawmakers revised the National Film Law. A groundbreaking feature in the new law was § 11. “At least 25% of the funding reserved for production of feature, short and documentary films – was to be reserved for films for children and youth”. The law still persists, but the media landscape has changed. How can we learn and build from this great political achievement on children’s cinema 27 years later?

  • Magda Wylężałek
    Young Horizon

  • Poland

Rebranding Young Horizons

How do you brand to appeal to a diverse audience of all ages?

After 9 years, the Kids Kino IFF was renamed Young Horizons IFF. A new name, identity, visual key and way of communicating have been created to reach a wider audience and new generations who have completely different expectations and no longer want to be identified as children.

  • Vejune Dudeniene
    Skalvija Cinema Center

  • Lithuania

Revitalizing Non-Commercial Family Film Viewership in Europe

What role can film festivals and distribution programs play in shaping the future of non-commercial family film viewing?

Non-commercial cinemas and film festivals in Europe face an aging audience and competition from multiplexes and streaming platforms. In Lithuania, family screenings are among the least attended, with high costs and competition leading regional cinemas to favor commercial content. This trend risks the disappearance of essential educational and artistic children’s films.

  • Tamara Kolarić
    University of Dublin

  • Europe

Thinking about (European) Audiences?

When working on a film project, what do you consider as the ‘metrics of success’ you’d want to achieve with it?

European co-productions are usually the most ambitious European films, combining multiple sources of financing and targeting both transnational audiences and critical acclaim. However, their success with audiences is often quite limited in terms of numbers.
Based on Tamara’s recently co-authored paper (2024) with colleague Petar Mitrić, she invites the Forum participants to consider why this is so—what are the sources of this audience challenge—and offer one approach to thinking about what can be done about it from the perspective of audience design. Tamara identifies, drawing primarily on literature in theatre studies, four different groups of target audiences for European co-productions—average spectators, emancipated spectators, spect-actors and emancipated spect-actors—and offers a framework for understanding what mobilizes these audience groups to seek out and view films. Tamara aims to demonstrate—together with the participants and building on their input—how the framework used could be applied to other films: what different film projects’ points of connecting with the audiences may be, as well as who their audiences could be, and how they might want to think about this during the production and distribution processes.
Tamara’s focus as a researcher is primarily on the social impact of cinema, its memory impact in particular; but intends to show how this is not at all separate from thinking about its potential audiences.
  • Jeanette Schjerva
    Film i Skåne

  • Sweden

  • Petra Rockenfeller
    AG Kino Gilde

  • Germany

Building networks for cinemas and lift up the young audience – a joint mission

How can we build a participant-driven network and what can we learn from similar networks?

In Sweden, during the pandemic a small group of commissioners in the swedish regions started to form a network for cinemas. The network children´s cinema was born. To broaden the film selection and to help them to level up their work around lifting and create increased participation for children and young people was their mission. Now, 58 cinemas strong, and with a tight relationship between the cinemas and the distributors the network are also including festivals and invites municipalities with interest in school cinema screenings to take part of some parts of the network. And we plan to be even bigger.
In Germany, several initiatives were implemented during the pandemic through the federal NEUSTART KULTUR programme, drawing on the structure of the three cinema associations.
Under the leadership of AG KINO Gilde, which supports 370 independent art-house cinemas and 40 distributors, three key projects for the future were launched: two CINEMA VISION conferences and several INNOVATION LABS, where cinemas and distributors worked together.
In addition, the JUNGES KINO initiative, led by the Municipal Cinema Association, focused on involving young cinema fans in film series and events. Over 33 cinemas developed projects within nine months, supported by film agents and grants of up to 4,000 euro. The initiative inspired more than 70 cinemas and fostered an ongoing exchange of ideas for young audiences.
The aim of these activities was to bring the film industry together to discuss and reform structures with new ideas. The result is increased cooperation and innovative approaches to film marketing at cinema level.
Discovery: Stakeholders & Resources2024-07-04T09:52:24+02:00
Dream: Title Story2024-06-27T20:02:27+02:00
Input Sessions “Process”2024-06-28T16:27:08+02:00
  • Christine Eloy
    Europa Distribution

  • Europe

One efficient recipe to keep Children’s Films circulating and reaching a broader audience internationally

How can we create a safe environment for film publishers and distributors to keep promoting Children’s Films and distribute them on as many channels as possible?

Educational rights are key for the independent distribution and promotion of Children’s Films. It is not about taking profit from the schools and their pupils, but rather an economic necessity to ensure the circulation and access to these films. This session will be an opportunity to discuss how these rights can help to bring these films to a larger audience and create curiosity among the youth for independent content from a very young age – while also respecting the investment done and the risk taken by the various players within the film value chain.

  • Julia Tal (AG Kinderfilm)
    Working Group children’s Film

  • Switzerland

  • Pantelis Panteloglou (ECFA)

    European Children’s Film Association
  • Europe

  • Margret Albers (FDK)
    German Children’s Film Association

  • Germany

Lobbying for Children’s Film – The power of collective work

How can collaboration enhance awareness in the industry, networking and financial backing?

Two national and one European association report on how they are working to have a positive impact on the film industry when it comes to young audiences. How can the positive results of national efforts be used as a model for other countries? How can international cooperation provide a ground for common solutions to common challenges?

  • Dr. Rüdiger Hillmer
    German Children’s Film Association

  • Germany

Feature Films for the 6-8 year olds

Why is it crucial to develop live-action films specifically tailored for children aged 6 to 8, and what steps should the industry take to address this need?

The working group “Spielfilme 6-8,” part of the Förderverein Deutscher Kinderfilm e.V., focuses on addressing the scarcity of live-action films targeted at children aged 6 to 8. To understand the current landscape and formulate actionable solutions, the working group engaged in comprehensive discussions with various stakeholders within the film industry, including broadcasters, producers, cinema operators, media educators, and the children themselves. These discussions revealed a keen interest and perceived need for such films but also highlighted substantial challenges in production, such as financing and a market dominated by animation and established franchises.

  • Jeanette Schjerva
    Film i Skåne

  • Sweden

Learnings from the quest to implement the UN Convention on the Rights of the Child

Is it possible to implement UNCRC into an institution? How far can you take it and what do you need to begin the work?

Starting in 2021, the team began investigating how the Convention on the Rights of the Child affects all parts of Film i Skåne and how they can use it in the development of various collaborations with external actors, especially with regard to young people’s opportunities to influence content and initiatives and how to strengthen the structures in the long term for young people’s encounter with the film industry at local and regional level. Film i Skåne currently has two certified children’s rights strategists. But how did they get here and what can everyone do to be even better?

  • Nína Richter
    Reykjavik International Film Festival

  • Iceland

Lobbying for UngRIFF (e. YouthRIFF): Navigating Children’s Film Policy in Iceland

How can we adapt existing policies to better support cultural projects like children’s film festivals?

Exploring the journey of lobbying for UngRIFF, Iceland’s children’s film festival founded in 2023. Discussing how to adapt current policies and strategies for funding cultural projects and addressing the somewhat ethical questions that may arise. Providing insights and strategies for effective policymaking in the cultural sector.

  • Victoria Thomas
    ARTEF Anti Racism Taskforce for European Film

  • Europe

Barriers to entry versus Barriers to success

How can we identify and remove systemic barriers to success, to ensure greater representation in the European film industry?

This input session will feature research on the unintended consequences of current structures in creating systemic discrimination faced by underrepresented groups in the European film industry. It will examine how the norms become barriers that limit, for example, their eligibility for awards and participation in film festivals. The session will also look at how similar systemic issues affect children’s films, which are often poorly recognised.

  • Becky Parry
    KIDS Regio/European Children’s Film Association

  • Europe

European Children’s Film: What counts?

What quantitative data about children’s film is accessible and how can we use it to lobby for children’s film?

KIDS Regio has led an important exchange of information between ECFA and the European Audiovisual Observatory. Headline insights from this exchange will be shared in this session, including data on production numbers in different European countries, film releases and audiences. Participants are invited to discuss what further research, data and analysis is needed to lobby for the future of children’s film.

  • Pauline Durand-Vialle
    FERA Federation of European Screen Directors

  • Europe

Life as a Film Lobbyist in Brussels

 Where Are the Currents Shifting?

The political landscape in Brussels has evolved significantly in recent years, culminating in the recent European elections. The influence of US entertainment and major tech companies has notably affected European film industry advocates. What implications does this hold for the upcoming European Commission and the future of cultural policies in Europe?

Inspirational Dialogue2024-06-28T18:28:17+02:00

Inspirational Dialogue with Edita Bilaver & Petri Kemppinen

“If we want things to change, we need to take responsibility.” That’s one of the key conclusions that emerged from the KIDS Regio Forum Inspirational Dialogue between Edita Bilaver of Kids meet Art and Petri Kemppinen of P1 Kemppinen & Good Hand Production on the second and final day of the Forum. Both were also very clear about their expectations for the next steps. Today is not the end; it is the beginning. The 60-plus participants should engage with all of the 6,000-plus stakeholders involved in the field of children’s films in Europe – from producers and funders to festivals, and, last but not least, regional and national politicians. “We should be more bold,” Bilaver concluded. “We need to present our case in a more professional manner rather than an emotional one.” Kemppinen added: “We need to provide them with data, facts, and evidence.”

Destiny: Building Bridges2024-06-28T18:25:59+02:00

Stay tuned for the Report published during Cinekid for Professionals
on 31 October 2024.

Nach oben