[ad_1]
– The nationwide funding physique, the Slovak Audiovisual Fund, has responded with a particular scheme to assist cinemas and has transferred funds into scholarships
107 Moms by Peter Kerekes, probably the most profitable Slovak movie of 2021
The second yr of the pandemic had an much more dire influence on the Slovakian movie trade than the annus horribilis of 2020. Certainly, the nation’s audiovisual trade produced 26 feature-length movies in whole in 2021, in comparison with 28 in 2020. Ten films had been directed by first-time filmmakers. Of the 14 live-action fiction options, 4 had been made as 100% Slovak or Slovak majority co-productions: Peter Kerekes’ award-winning docudrama 107 Moms [+see also:
film review
trailer
interview: Peter Kerekes
film profile], the interval drama Kryštof [+see also:
film review
trailer
film profile], and two romantic comedies, Jakub Kroner’s And a Completely satisfied New 12 months 2 and Good Strangers by Zuzana Marianková. The Czech Republic was probably the most frequent companion when it comes to co-producing, concerned in 57% of the entire variety of movies, together with Jan Prušinovský’s Emma in Love, Olmo Omerzu’s Chicken Atlas [+see also:
film review
trailer
interview: Olmo Omerzu
film profile], Václav Kadrnka’s Saving One Who Was Lifeless [+see also:
film review
trailer
interview: Václav Kadrnka
film profile] and David Ondříček’s Zátopek [+see also:
film review
trailer
interview: David Ondříček
film profile]. Relating to documentary movies, seven out of the entire of ten accomplished films had been made as 100% Slovak or Slovak majority co-productions, together with the non-public essay on the Roma Holocaust by Vera Lacková How I Grew to become a Partisan [+see also:
interview: Vera Lacková
film profile], Miro Remo’s high-octane probe into the lifetime of two car-racing fanatics At Full Throttle [+see also:
film review
trailer
interview: Miro Remo
film profile], Barbora Sliepková’s visible city sonata Traces [+see also:
film review
trailer
interview: Barbora Sliepková
film profile] and Lucia Kašová’s portrait of a lonely mariner, The Sailor [+see also:
film review
trailer
film profile]. Regardless of solely collaborating in two animated tasks, each of those proved very profitable. Along with raking in pageant laurels, My Sunny Maad [+see also:
film review
trailer
interview: Michaela Pavlátová
film profile] was nominated for the Golden Globe for Finest Animated Movie, the primary nomination for a Slovak-Czech movie because the class was added in 2006, and Even Mice Belong in Heaven, the most important and most costly stop-motion movie in Czech historical past, was nominated for a César Award.
Slovak theatres had been closed for 173 days – ie, 47.4% of the yr – and bought 2,037,942 tickets (down 13.82% on final yr), with box-office takings declining by 11.56% (€12,351,764). Home theatres hosted the identical variety of movies as in 2020: 648 films, with premieres accounting for 171 of them. The movies had been dealt with by 13 home distribution firms. CinemArt SK (39), Continental Movie (23), the Affiliation of Slovak Movie Golf equipment and Movie Europe (20) introduced probably the most premieres into native darkish rooms. Essentially the most-visited movie by the home viewers was the animated flick Paw Patrol: The Film (107,306 admissions), adopted by the Slovak romcom Good Strangers (106,252 admissions) and the newest James Bond instalment No Time to Die [+see also:
trailer
film profile] (104,292 admissions), whereas the second-most-visited home movie turned out to be The Auschwitz Report [+see also:
trailer
interview: Peter Bebjak
film profile] (39,063 admissions). In whole, Slovak movies had been seen by 201,629 viewers (as in opposition to 775,487 in 2020 and 1,075,129 in 2019) in 160 cinemas with 273 screens (in 2020, these figures stood at 159 cinemas with 261 screens). US productions in Slovak theatres attracted 71.47% of theatre-goers, whereas the share of home movies in cinemas fell from 31.79% (2020) to 9.89% (2021).
The Slovak Audiovisual Fund was compelled to answer the disaster triggered by the pandemic. In collaboration with the Ministry of Tradition, the fund supplied a particular assist scheme for cinemas totalling €1,582,000 and likewise transferred cash to scholarship funds (the assist, price €278,000, was the biggest sum so far). Moreover, the fund supplied €9.6 million to prop up audiovisual tradition and €5.6 million in assist of the home audiovisual trade. In 2021, the fund registered 63 new tasks, which shall be accomplished between 2022 and 2024. The variety of registered tasks elevated by 40%, whereas the variety of supported tasks grew by 116%. Among the many tasks that acquired backing of greater than €100,000 are Jonáš Karásek’s Invalid (see the report), Iveta Grófová’s Emma and the Demise’s Head (see the information), Zuzana Kirchnerová’s The Caravan (see the information), Matěj Chlupáček’s Daybreak (see the information), Tomáš Klein’s A Delicate Man (see the information), Martina Buchelová’s Lover, Not a Fighter (see the information), Mira Fornay’s Heroine’s Journey (see the information), and Petr Kazda and Tomáš Weinreb’s No one Likes Me (see the information). In 2021, 12 Slovak tasks vied for Eurimages assist, with six of them receiving stated backing, amongst them Emma and the Demise’s Head, Of Undesirable Issues and Individuals (see the information), The Caravan and Cristina Grosan’s Unusual Failures, which could have its premiere on the upcoming Venice Movie Pageant (see the information).
The complete “Report on the Slovak Audiovisual Scenario in 2021” could be accessed right here.
[ad_2]
