Cinema & Video International met Daniela Elstner, Managing Director of Unifrance, at the opening of the 16th edition of Rendez-Vous in Rome.
As the industry navigates consolidation, shifting distribution models, and growing competition from global players, the event offered a timely opportunity to discuss the role of European cinema, its international circulation, and the evolving strategies behind its promotion, bringing together authors, producers, and industry professionals at a moment of profound transformation for the sector. With over 70 years of history, Unifrance’s relevance lies in its heritage, the diversity of its output, its ability to adapt institutionally, and its role as a unifying platform for the entire industry.
Considering the current global industry landscape, with increasing consolidation among major groups and the dominance of large franchises, how can an organization like Unifrance remain central in promoting independent European content?
I think this is not only a question about Unifrance, but about how independent production can survive and continue to provide the films we promote. France has a very strong system that supports a wide diversity of productions—animation for children and adults, documentaries, feature films, genre films. This diversity is key. It allows us to offer a broad range of content and to remain relevant.
Another important aspect is adaptation. The merger of Unifrance with the organization promoting television content was a strategic move. It allows us to support both large companies and smaller independent players under one roof. We can work with major companies, but also help smaller producers and sales agents. At the same time, we are open to all players, including platforms like Netflix or Disney, if they want to collaborate with us on promotion. This flexibility is part of our response to a rapidly evolving industry.
Do you think Unifrance can play a role in fostering connections between different sectors—film, TV, animation, gaming—and encouraging more transmedia storytelling in Europe?
Unifrance is an association with more than 1,000 members, and one of its strengths is that it creates a space where all these professionals can meet without pressure. It’s often the only place where people from different parts of the industry can sit together and discuss how to be stronger internationally, rather than focusing on internal differences.
But we also need to go beyond our own sector. It’s essential to engage with other cultural industries—video games, design, museums, publishing. The more we connect across sectors, the stronger we become. We’ve already experimented with initiatives like a festival inside Minecraft, which shows how we can expand our reach and explore new audiences.
How do you see the relationship between European storytelling and large-scale global successes?
We need to stop putting films into rigid categories. What matters is that strong films—whatever their origin—can travel and succeed. If one European film performs well internationally, it benefits the entire ecosystem. I don’t think we should oppose different types of content. A film like Anatomy of a Fall shows that a more “arthouse” project can reach a wide audience.
How can European films remain culturally specific while also being accessible to international audiences?
This is part of the magic of cinema. Films don’t always need to be designed for international success from the beginning. Sometimes unexpected films resonate globally—like Parasite. We should trust our creative voices more. At the same time, awareness of audiences is growing. Filmmakers understand that connecting with viewers is essential, but we should not lose authenticity in the process.
Do you think increasing marketing budgets is the key to improving the international performance of European films?
It’s not only about increasing budgets—it’s about being more strategic and inventive. Coordination between producers, sales agents, and distributors is essential, especially on a European level. Compared to the U.S., where releases are often coordinated globally, European films are still released over long periods, sometimes up to two years. This creates challenges.
We should aim for more coordinated releases when possible, while adapting strategies to each territory.
It’s a complex balance, especially with factors like awards campaigns and overlapping release windows.
How would you describe the current relationship between the French and Italian industries?
The relationship is very strong and historically important. There are many co-productions and institutional collaborations, and there is a genuine appreciation between the two countries. Italy is one of the key markets for French films in Europe, alongside Germany and Spain. We also try to encourage direct exchanges between professionals, such as inviting Italian directors to participate in discussions and screenings. These initiatives help foster collaboration and mutual understanding.
Do you think there are still opportunities for European audiovisual content in the United States?
The U.S. is a challenging market, but also a very important one. It’s less about market share and more about presence. Even if individual films have limited theatrical results, they gain visibility across platforms—SVOD, TVOD, and other channels. It’s essential to maintain a strong presence through festivals, university programs, and initiatives like Young French Cinema. The audience is there, especially among younger generations and academic communities.
What about opportunities beyond major hubs like New York and Los Angeles?
There is definitely potential in smaller cities, but there are also structural challenges. Distribution in the U.S. is complex, especially for independent European films. Negotiating rights with multiple sales agents can be difficult for smaller exhibitors. The issue is often logistical rather than audience-driven. There is interest from audiences, but the system makes access complicated. This is something we need to continue working on.
Latin America has been a particularly successful market for French cinema. How was this achieved?
This success is the result of long-term engagement. French cinema has always had strong support in countries like Mexico and Argentina. Over time, local initiatives—such as touring festivals—have taken ownership of this relationship, which is the ideal outcome. Affordable ticket prices and strong local partnerships also play a role. It’s about building sustainable ecosystems rather than short-term success.
What is your view on genre cinema and its development in France?
France has always supported a wide range of genres, and that diversity is its strength. Some filmmakers, like Luc Besson, have built strong international brands, which helps certain projects travel globally. But overall, success depends on many factors—different genres perform differently across territories. Animation, for example, performs very well in certain markets. The key is to maintain diversity and adapt to each audience.
Do you think the 2025 market figures were influenced by the Hollywood strikes, and what are your expectations for 2026?
Yes, the strikes had an impact, particularly on theatrical releases. However, French films remained relatively stable globally. We are now seeing a strong recovery, with promising titles and a solid pipeline. Cinema is resilient. There may be fluctuations year to year, but overall, I remain optimistic about the future.
The Rendez Vous in Rome, organized by the French Embassy in Rome / Institut Français Italy, co-organized by Unifrance, is aimed at promoting the New French Cinema and fostering the dialogue between France and Italy. Iconic French actress Isabelle Huppert was the guest of honor of this 16th edition. She was also the protagonist of La Femme La Plus Riche Du Monde by Thierry Klifa, presented Out of Competition at the 2025 Cannes Film Festival.
