The program took place over two days, 13 and 14 February 2026, in Potsdam and Berlin. It included a research conference at the Film University Babelsberg KONRAD WOLF in Potsdam, the official launch of the publication State of European Cinema 3 at the European Film Market within the Berlinale, and the consortium’s final general assembly.

Research Conference: Final Results of the CresCine Project

The first day of events, held on 13 February at the Film University Babelsberg KONRAD WOLF in Potsdam, presented the final results of the CresCine project through a series of thematic presentations dedicated to innovation, production and financial ecosystems, distribution, and the competitiveness of small European film markets. The conference was opened by Susanne Stürmer (President of the Film University Babelsberg KONRAD WOLF) and Manuel José Damásio (CresCine Project Coordinator).

As part of the session “From Domestic to International Audiences: Competitiveness in Small Markets,” one of the speakers was Dr Jaka Primorac, head of the IRMO CresCine team and researcher on the CULTMED project, who presented on domestic film audiences in small European markets.

Official Launch of the Publication State of European Cinema 3

On the second day of the CresCine events, 14 February, the official presentation of the third edition of the publication State of European Cinema 3 was held in the morning as part of the European Film Market (EFM) at the Berlinale. The publication offers the latest analyses of European film markets, with a particular focus on small markets and their development potential.

The event included panel discussions and roundtables on the future of the film industry in small European countries, with participation from project researchers and industry partners, including representatives of film agencies from the countries studied and stakeholders from European professional film associations. The event was opened by Manuel José Damásio (CresCine Project Coordinator) and Matthijs Wouter Knol, Director of the European Film Academy (EFA), a partner organisation in the project.

Final Consortium Assembly and the Future Development of the CresCine Initiative

In the afternoon of 14 February, the CresCine consortium’s general assembly was held at the European Film Academy (EFA) headquarters. The assembly addressed final reporting, plans for disseminating results, the Memorandum of Understanding, and the establishment of the CresCine Alliance as a platform for continued cooperation and promotion of the project’s outcomes. Representing IRMO as a project partner were Dr Jaka Primorac, head of the IRMO CresCine team, and Dr Aleksandra Uzelac, head of the CULTMED project and of the Department for Culture and Communication at IRMO.

The events concluded with an informal gathering marking the completion of the project.

The presentation of the publication State of European Cinema 3 is available at the following link, and a recording of the research conference can be found here. The full program of the Berlinale events is available here.

More information about the CresCine project can be found on the official website.

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According to the findings of the research finalised in 2024, Croatia has a strong production services incentive scheme that attracts foreign productions and contributes to export volume. Public support for film production and development in Croatia is relatively low, comparable to Estonia and Lithuania. The data also show low cinema attendance during the research period from 2014 to 2022, which is partly explained by infrastructural constraints and ticket prices. During the same period, domestic films achieved moderate success at international festivals, while their presence on VoD platforms has been gradually increasing. The report also highlights that domestic audiences are too small to sustain local film industries on their own in all the countries studied, and that small European countries address this challenge through different strategies.

The text in the Croatian Film Chronicle is available on the journal’s website, while the interactive portrait of the Croatian film industry (in English) is available here. The translation from English was prepared by Lucija Gegić. More information about the CresCine project and other available reports can be found on the project’s website.

Photo: Croatian Film Association

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The Box Office Simulation Tool uses historical data from the Film Industry Data Repository (FIDA) to estimate box office outcomes based on variables such as genre, language, and budget. The tool is free and can be easily accessed online. This allows users to gain insights into the potential commercial reach of films in specific European markets.

The development of the tool is based on datasets collected from several relevant sources, including TMDB, Wikidata, Cinando, Lumiere Pro, the European Audiovisual Observatory, International Showtimes, as well as festival data collected directly by the CresCine project. A particular strength of the tool lies in its strong coverage of small European film markets, which are often overlooked by comparable commercial analytical solutions.

The Box Office Simulation Tool expands CresCine’s data ecosystem by leveraging FIDA’s comprehensive data repository to create an application that industry professionals can use to find forward-looking insights into trends and projections within the European film market. In doing so, CresCine continues to strengthen its role in developing analytical tools that connect research, industry, and cultural policymaking in the field of film.

The launch of the Box Office Simulation Tool is part of CresCine’s broader effort to improve access to data and analytical resources and to support more informed decision-making within the European film industry.

The full newsletter is available here.

More information about the CresCine project can be found on the official website.

Header photo: CresCine

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Release of the State of European Film Vol. 3 and CresCine Closing Summit at the Berlinale

CresCine invites industry professionals to the CresCine Closing Summit: State of European Film 2026+, taking place on 14 February 2026 at the European Film Market, held as part of the Berlinale. The event will bring together leading decision-makers, policymakers, and key stakeholders from across the European film industry.

This exclusive session, open to 100 industry leaders only, marks the official release of the third volume of CresCine’s annual report, The State of European Film. The publication delivers research-backed recommendations developed within the CresCine project, addressing leaders across production, distribution, financing, policy, and innovation. The report focuses on the key challenges and opportunities facing European film in 2026 and beyond.

Registration for the event is available via this link.

The full newsletter announcing the summit can be accessed here.

FIDA – a new tool for film industry data

This month, CresCine also launched the Film Industry Data Repository (FIDA) – a free, interactive data platform designed to analyse European film industry data. FIDA aims to address the fragmentation of industry data by providing a centralised overview of the European film lifecycle, from festival premieres to VOD availability.

The platform currently features a VOD dashboard, allowing users to track when films enter VOD catalogues, the duration of their availability, and variations in distribution across platforms and genres. From January onwards, CresCine will release new analytical dashboards on a weekly basis, further expanding the visualisation of the European audiovisual landscape.

FIDA integrates data from multiple international sources, including IMDb/TMDB, Wikidata, Lumiere Pro, Cinando, International Showtimes, and others, combining insights on festival circulation, theatrical distribution, and digital presence. The platform is particularly valuable for small European markets, which have so far lacked comprehensive data support for distribution planning and benchmarking strategies.

The full newsletter with detailed information about FIDA is available here.

More information about the CresCine project can be found on the project’s official website.

Cover photo: CresCine

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You can access the new IRMO Aktualno issue in the Croatian language here.

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After introducing the roundtable participants and presenting the main information about the CresCine project, it was emphasized that the focus on the comparative discussion of the film industries in Denmark and Croatia came from the intent, although being aware of socioeconomic and political differences, to direct the discussion towards examples of both good practices and policy challenges from both countries from which the sectors of both countries can learn. Firstly, the basic comparative data on the production volume of feature and documentary films (minority, majority and 100% national productions) was presented, where a significant difference was noticeable in the fifteen-year research period, both in the number of titles and in the continuity of production (e.g. a large drop in the Covid-19 period for Croatia). It was also pointed out that there was an almost double difference in the number of domestically produced titles per half a million inhabitants, which was later contextualised in the discussion with data on high production and development expenditures in the case of Denmark (38.8 million EUR) and 7.1 million EUR in the case of Croatia for the period from 2014 to 2022.

The discussion then focused on three key topics – infrastructure issues, the impact of global streaming services and the issue of support for service productions. It was pointed out that there is a similarity in the number of cinemas per capita in both countries, but also in the large difference in the price of cinema tickets, where, according to the data, and when looking at the purchasing power parities, Denmark has the highest ticket prices of all the countries studied in the project. In this sense, the level of VAT on tickets is a significant factor, which for Denmark is 25%, while in Croatia the preferential VAT level is 5%. Both countries have a good territorial distribution of cinema infrastructure; however, the independent cinema network in Croatia faces challenges regarding ownership of cinema halls, which also affects film programming and continuity of work. A positive example is Biograf Klub Danmark, which has influenced the audience for domestic films, as is also evident in the data, where Danish films in Denmark account for 30.8%, while in Croatia, the audience of domestic films is significantly lower – 3.5%. According to the discussants, this success in Denmark is due to the important role of cinema infrastructure, especially in smaller cities, where the audience for domestic films is also higher on average. The importance of co-productions (whether minority or majority) was emphasised both for closing the budget, for the visibility of the film and for its wider promotion, with CresCine research data showing the great importance of minority co-productions for Croatia.

The cinema audience has still not returned to pre-pandemic levels in the whole of Europe, and the question is whether this will happen unless some key changes are made in the programming and management of cinemas themselves. Viewer habits have changed, and streaming services have an increasing influence on citizens’ habits, while young people in particular are increasingly oriented towards information and viewing content on social media. This also opened up the following  topic of the roundtable about the influence of global online platforms on the production and distribution of content from small markets, with streamers like Netflix in Nordic countries such as Denmark also investing in production, while in Croatia, they are only interested in licensing domestic content. CresCine research data indicates that the majority of Danish titles are available on one of the streamers, while only 37% of Croatian titles (data for 2023) were available. It is assumed that this share has increased in the meantime due to amendments to the Electronic Media Act, as emphasised in the discussion. However, it is important to point out that almost all SVODs come from the USA, which also opened a debate about EU initiatives and programs (i.e. the MEDIA Call for a ‘European Network of VOD Platforms and Operators’) that aim to challenge such dominance, but due to structural constraints, they are not actually aimed at small EU countries but at ‘the Big Five’ (Spain, France, Germany, the UK, and Italy). The discussion then turned to the issue of support for service productions, a program that has been implemented in Croatia for a number of years (EUR 23 million was invested in the period 2014-2022), while such a program has not been implemented in Denmark so far at all. In 2026, Denmark will open such a program for the first time, a subject of divisive debate in the Danish film community for many years. Experiences from Croatia range from positive in terms of economic benefits for the communities where the productions take place, promotion of Croatia in international frameworks, upskilling of people who work on such large productions; to negative consequences for the local film community in terms of the availability of personnel for domestic productions (whether in terms of costs or time), and the inability of domestic productions to adequately pay film workers due to their limited budgets. How the Danish film industry will react to the support program for service productions and how much it will affect domestic film production remains to be seen after the program is introduced. In the final part, which included questions from the audience, it was emphasised that, regardless of the stagnation of viewership in cinemas, cinema remains important for the entire film value chain, both as the first point (theatrical release) and an indicator of the success of distribution (including on streaming platforms) and as a place of sociability and discussion about film. Participants also emphasised that new ways are needed to reach (young) audiences, develop film culture, open up new ways of creating (cinema) experiences, and develop models that will make film a space for co-creation.

The roundtable was attended by over 60 participants from the film sector and academia from Croatia and broader Europe. The roundtable was organised in partnership with the Zagreb Film Festival and the Academy of Dramatic Arts in Zagreb, and was part of the ZFF Industry program, which serves as a platform for education and networking of film professionals in the region.

Photos from the event are available below.
Photos: Zoe Šarlija (source: ZFF).

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The event will bring together experts, researchers, and representatives of the audiovisual sector from Denmark and Croatia to discuss the current state, challenges, and opportunities for the development of the film industry in small European markets.

The roundtable will present the key findings of the CresCine research conducted within the framework of the Horizon Europe (2023–2026) project, with a particular focus on comparative insights from Croatia and Denmark. Researchers, policymakers, and film professionals will discuss ways to enhance the international competitiveness of the film industry in small EU countries.

The event is organised in partnership with the Zagreb Film Festival and the Academy of Dramatic Art in Zagreb, and is part of the ZFF Industry program, which serves as a platform for the education and networking of film professionals in the region.

The participants of the roundtable are Jakob Isak Nielsen, Lars Bjørn Hansen, Chris Marcich, and Martina Petrović, and the event is moderated by Jaka Primorac.

Jakob Isak Nielsen is Associate Professor at the Department of Media Studies and Journalism, Aarhus University, where he also served as Head of Department from 2014 to 2019. His research focuses on film and media industry studies, media production, and audiovisual aesthetics. He has written 100+ articles within these areas. He is also the co-author of Seriality in the Streaming Era (Routledge, 2025), author of Camera Movement in Narrative Cinema (PhD, 2007) and a contributor to and co-editor of books on American drama series (Fjernsyn for viderekomne, 2011) and transnational serial phenomena in the streaming era (Streaming for viderekomne, 2020). Recent research projects include CresCine – Increasing the International Competitiveness of the European Film Industry in Small European Markets (Horizon-RIA, 2023-2026); ScreenME – Screen Media Entrepreneurship (Horizon, 2019-2023); and What Makes Danish TV Drama Series Travel? (Independent Research Fund Denmark, 2014-2018).

Lars Bjørn Hansen is a Danish film producer and experienced media executive with nearly four decades in the Nordic entertainment industry. Currently Managing Director at SF Studios Production ApS, Hansen has played a pivotal role in shaping SF Studios’ operations across Denmark and Norway, also serving as Chairman of the Board at Motion Blur (Norway) and previously as Country Manager for SF Studios Norway. Before taking the helm at SF Studios Production, Hansen held key leadership roles within SF Film and SF Studios, contributing to their strategic development and international partnerships with major studios such as Twentieth Century Fox, Warner Bros., and MGM. His career also spans senior financial and operational roles at Netdoktor Group, TDC Cable TV (YouSee), and Nordisk Film Group, where he was instrumental in several successful turnarounds and company integrations.

Chris Marcich was appointed CEO of the Croatian Audiovisual Center on 1 May 2019. In December 2023, he was elected President of the Association of European Film Agency Directors, EFAD. He has been President of the Board of AGICOA, the international collective rights management organisation representing certain producer rights. As the head of the Centre, he represents and acts on behalf of the Centre, organises and runs the Centre’s activities together with its team of professionals. The primary mission of the Centre in the widest sense is to support and promote the Croatian film and audiovisual sector. The Centre also runs the cash rebate program known as “filming in Croatia”, is home to the Media Desk in Croatia and represents Croatia in Eurimages. Chris previously was the President of the Motion Picture Association’s European office in Brussels from 1995 to 2016. From 1985 to 1995, Chris held various policy and negotiating positions at the Office of the US Trade Representative, including Assistant USTR for Europe, the Middle East, and Africa.

Martina Petrović holds a degree in International Relations with a minor in Psychology. She began her career at the Croatian Ministry of Culture, where she coordinated international cultural exchange and the promotion of Croatian cinema at major festivals such as Berlinale and Cannes. In 2008, she contributed to the establishment of the Croatian Audiovisual Centre and was later appointed by the European Commission as Head of Creative Europe MEDIA Desk Croatia. She is the creator of Let’s Pitch Some Shorts!, an inclusive European training and co-production platform for emerging voices, and the founder of Series Rough Pitch – The Balkan Way, now a recognised regional hub for TV series development and industry matchmaking. She also initiated the first industry conference in this part of Central and Eastern Europe, celebrating 10 years of Croatia’s participation in Creative Europe MEDIA — a landmark gathering that brought together leading women from across the European AV sector. Recently appointed as a board member of the European Women’s Audiovisual Network (EWA), Martina is the recipient of the first Albert Kapović Award (2010) for her outstanding contribution to the internationalisation of Croatian cinema. She continues to mentor emerging talent and advise European AV companies through a wide range of organisational collaborations and professional networks.

Jaka Primorac is a Scientific Advisor at the Department for Culture and Communication, Institute for Development and International Relations (IRMO), Zagreb, Croatia. She holds a PhD (2010) in Sociology from the Faculty of Humanities and Social Sciences, University of Zagreb, Croatia. Her research interests intersect the fields of the sociology of culture, the sociology of media and communications and the sociology of work. Primorac has led and collaborated on a number of international and domestic research projects and currently she is the coordinator of the IRMO team on the Horizon Europe project ‘Increasing the international competitiveness of the film industry in small European markets’ (CresCine, 2023-2026), and collaborator on IRMO NextGenerationEU project ‘Interdisciplinary Research on Cultural and Media Policies and Practices: Developmental and Democratic Potentials’ (CULTMED, 2023-2027), and IRMO Croatian Science Foundation project ‘Digital Data, Infrastructures and Development’ (DEVELOPER) (2024-2027). She has been a Member of the Artistic Council of Croatian Audiovisual Centre (HAVC, 2016-2018). Her work has been published in international and domestic scientific journals, including Cultural Trends, International Journal for Cultural Policy, and Forum Qualitative Sozialforschung/Forum: Qualitative Social Research (FQS). Recent titles include the book ‘From Project to Project: Work and Employment in the Cultural Sector’ (BLOK; 2021) and the edited volume ‘Digital Transformation and Cultural Policies in Europe’ (with Ole Marius Hylland, Routledge, 2024).

You can register for the roundtable via the form below:

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The lecture provided an overview of research data on how young people are both the present and the future of cultural creative industries, and on the ways they are dynamically shaping creative sectors such as the film industry.

The lecture was based on the research data from the Horizon Europe REBOOT project, which focuses on understanding and emphasizing the European film industry’s (EFI) international competitiveness. The key goal of REBOOT is to explore the institutional frameworks defining the competitiveness of the European film industry and to highlight how audiences, particularly young people and children, comprehend the notion of a competitive film industry today. The research addresses existing gaps in literature, noting a scarcity of recent studies on film literacy support programs and a lack of comprehensive understanding regarding youth perceptions, preferences, and engagement with film.

The research employed mixed methods approach, utilizing a large quantitative survey with 4,453 participants (Children aged 12-18 and Young Adults aged 18-24) and qualitative insights gathered from 508 young people in focus group interviews. The research encompassed nine European countries: Austria, Belgium, Finland, France, Greece, Italy, Poland, Spain, and Turkey. The findings reveal that streaming has redefined how young people consume films. A significant majority (75.6%) prefer watching films on Video on Demand (VoD) via TV or computers, noting that streaming platforms offer a wider range of options compared to previous traditional models. Film plays a central role in their lives, with 77.6% watching films weekly or a few times per week. While VoD is dominant, cinema remains a valued and irreplaceable experience, often linked to social occasions with friends, family, or romantic partners. Young people are selective and critically aware of the film range, generally expressing satisfaction with the variety offered by streaming services. However, some youth report disappointment with newer films, perceiving them as repetitive, formulaic, and driven merely by profit. For young people, emotional attachment, inspiration, and connection are the most important things in films, and they are drawn to engaging plots and characters from different backgrounds. Comedies are their most preferred genre (61.8%).

Regarding preferences, young people generally recognize differences between European and US films. US films have become the standard reference point for many young European audiences due to wide availability and popularity. While European films are sometimes criticized for having lower production values, slower pacing, and being less commercial or spectacular, youth also perceive them as artistic, biographical, and thoughtful. Many believe European cinema is of higher quality precisely because it is less commercial and less propagandistic, offering deeper storytelling that may require more analytical engagement from the viewer. The dominance of American content is reflected in the list of the top 15 youth’s favourite films, which consists mostly of long-standing, modern mainstream American box-office hits and franchises, such as Harry Potter, Interstellar, and Star Wars. The research found that European films lack sufficient visibility and promotion outside their country of origin among young people.

Furthermore, prof. Sarikakis highlighted the emergence of youth as creators. Almost a quarter of young people (23.1%) produce and share video content online. This signals a new filmmaking paradigm where young people are democratizing video and filmmaking education through autodidactic models and everyday equipment, primarily smartphones (79.2%). They share their content on social media platforms like TikTok, Instagram, and YouTube, often producing material in English for greater accessibility. However, young people express interest in professional work while simultaneously reporting barriers to filmmaking, such as the lack of proper equipment, resources, and institutional connections.

In conclusion, prof. Sarikakis underlined several policy recommendations for fostering competitiveness of the European film industry, based on the REBOOT project research results. These include urging the European Commission to increase the visibility of European films on social media by collaborating with content creators and influencers. It is also suggested that the Commission fund streaming services that prioritize European content for youth, foster the annual production of films aimed specifically at young audiences in national industries, and incorporate comprehensive film education into compulsory schooling across European State Members. Finally, the European film industry must embrace and adopt the democratic filmmaking paradigm now employed by young creators.

The discussion after the lecture touched upon the gaps between audiovisual policies and practices at both national and European levels, the need to design new models of youth involvement in film production, and the issue of expanding film education programs and strengthening support for youth filmmaking. In addition to the issues of methodology and methods used, and the challenges of conducting such complex research at the European level, the need for a broader understanding of the concept of media governance (beyond the institutional approach) was also discussed, as was the need for greater communication of scientific research data not only to the industry, but also to other stakeholders.

The moderator of the event was Dr. Jaka Primorac from the Department of Culture and Communication, IRMO.

On the website of the The Culturelink Centre Repository, content related to Culturelink Guest Lecture Series by Prof. Sarikakis can be found: https://kultura.irmo.hr/culturelink-en/repository/

The lecture was organised in collaboration with the CresCine project, on which you can find out more at: https://www.crescine.eu/

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Small European Films: Challenges and Drivers of Change for Distribution and Exhibition

This report analyses film ecosystems in seven small European countries – Croatia, Denmark, Estonia, Flanders (Belgium), Ireland, Lithuania, and Portugal – and categorises them across four orientations: cultural resonance (domestic audience focus), artistic film (festival-oriented content), export (international market access), and production services. Key challenges shared across these countries include engaging local audiences, achieving international visibility through festivals, and gaining access to streaming markets. Despite being small and linguistically specific markets, the drivers of change include the growing importance of co-productions, festival successes, and the increasing role of digital distribution channels. You can access the report here.

Strategies for Building a Sustainable Arthouse Cinema in Europe

This report examines how European arthouse cinemas can become more sustainable in the face of new social, ecological, and market challenges. It highlights environmental sustainability, capacity-building for professionals, innovative financing and distribution models, and strengthening the cultural role of cinemas. Pilot projects conducted in seven countries aim to develop guidelines that will enhance visibility and competitiveness in small markets, while safeguarding artistic quality and cultural diversity. The full report is available here.

Rethinking Effective Marketing Strategies for Films Coming From Small European Markets

This study explores how to design more effective marketing strategies for films from small European markets. Traditional approaches, typically designed for larger markets, often fail to adapt to contexts with limited resources, audiences, and infrastructure. The report emphasises the importance of innovative, locally adapted solutions – ranging from the use of social media and digital campaigns to partnerships with festivals and cultural institutions – to ensure that films from smaller film industries reach wider audiences. You can access the report here.

Blockchain’s Role in Transforming Europe’s Film Industry

Blockchain technology is explored as a potential solution to persistent issues in the film industry, including rights management, revenue distribution, and licensing processes. Case studies illustrate how the sector is already experimenting with smart contracts, tokenisation, and new models of film financing. While adoption is still in its early stages and faces both regulatory and technical challenges, the report recommends the development of shared standards, a clearer legal framework, and support for small production companies so that blockchain can become a realistic tool for a more transparent and efficient European film industry. The full report is available here.

Further information on the CresCine project is available on the project’s official website.

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The lecture will provide an overview of how young people are both the present and the future of cultural creative industries, dynamically shaping creative sectors such as the film industry. Existing literature on the role of children and young people as young audiences and consumers underlines the lack of studies capturing youth’s voices and providing a comprehensive understanding of young people’s perceptions on preferences, interests and challenges, regarding film consumption and engagement with film-related interactions, which range from film clubs to filmmaking itself. To address this gap, the current REBOOT project study uses mixed-methods, combining survey data of 4.453 responses and focus group interviews of 508 young people aged 12 to 24 from nine countries: Austria, Belgium, Finland, France, Greece, Italy, Poland, Spain and Türkiye.

The findings of the study point out that young people’s preferences are associated with emotional attachment and films with which they can feel related and connected and evoke strong emotional responses, inspiration and personal projection. Young audiences value complex and alternative film narratives, nostalgic films related to their childhood and authenticity over artificial storytelling. Additionally, young people are not restrained to film consumption but rather adopt an interactive approach to film by generating conversations via sharing film-related cultural perceptions and experiences on social media platforms. Similarly, platforms like Letterboxd provide space for active engagement in a collective meaning-making of the movie.

A further layer of interaction with films is young people’s engagement with video- and even filmmaking. Film production is a multifaceted process combining from the one hand, skills development and professional exploration and expanding on the other hand, to creativity boundaries, identity discovery, self-expression and social engagement. Finally, young people are shifting learning paradigms towards the democratisation of video and filmmaking education through autodidactic models and everyday equipment, such as smartphones, generating an informal, alternative and self-motivated creative path.

This lecture is organised in collaboration with the CresCine project, on which you can find out more at: https://www.crescine.eu/

The lecture will be held in English. Please sign up to attend the lecture by September 22, 2025, to kultura@irmo.hr.

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