“We’re the OG of Co-Production Markets”: Rotterdam Industry Head Marten Rabarts on IFFR Pro 2025

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The specialized section of the Rotterdam Film Festival, known as IFFR Pro, is currently in full action, marking the start of the year’s primary film market. Unlike other markets that primarily concentrate on big-budget films featuring A-list actors, IFFR focuses on projects and filmmakers beyond the mainstream. This aligns with its origins in the 42-year-old CineMart, often referred to by the new director of IFFR Pro, Marten Rabarts, as “the original of co-production markets.” Rotterdam tends to support cinematic endeavors from regions where the independent film industry is either small or virtually non-existent.

Key features of the 2025 CineMart lineup (for more details, see below) encompass: “Enkop (The Soil)” by Angela Wanjiku, a contemporary western filming in the turbulent Kenyan ranches, and “Something Strange Happened to Me” directed by Dmytro Sukholytkyy-Sobchuk, which delves into themes of grief and trauma amidst ongoing conflict. The selection also showcases an increasing apprehension within the LGBTQ+ community, with movies like Cheryl Dunye’s “Black Is Blue”, a future dystopian narrative focusing on trans identities.

The Hubert Bals Fund (HBF), a significant player in the global independent film scene, significantly contributes to the Rotterdam market. Many films funded by HBF can be found in this year’s official selection, as well as in Darkroom, IFFR Pro’s platform for works-in-progress. This year, there is a special emphasis on Georgia, a region where filmmakers face challenging political and financial situations under the pro-Russia Georgian Dream party.

This year, IFFR Pro will not only feature project showcases, but it will additionally host the 25th edition of Rotterdam Lab – a five-day program focusing on networking and mentoring for up-and-coming producers. Furthermore, plans are underway for a brand-new Writers and Directors Lab, scheduled to debut in 2026, to enhance the current Producers Lab offerings.

In an interview with The Hollywood Reporter, Rabarts elaborates on Rotterdam’s unique selling point as the pioneering co-production market committed to backing exceptional, pressing, and artistically flawless cinema. This includes offering assistance to filmmakers globally who face challenges. According to Rabarts, the projects they seek are those where the cinematic voices stand out, and the narratives they wish to share are urgent and compelling – a combination that is essential every time.

How does the Rotterdam’s IFFR Pro stand out, or excel, compared to similar industries in terms of its unique approach or superior performance?

Your question is quite insightful! We’ve been pondering over the same thing – what sets Rotterdam apart? One key point to note is that Rotterdam was where the concept of co-production markets was first introduced. You could say it’s the pioneer in this field, and its innovative approach has been replicated globally, with Rotterdam often providing support for these new markets. Being the first, Rotterdam faced a great deal of pressure due to its limited capacity. However, by fostering other markets, it has successfully eased some of that strain.

Currently, our focus is on finding our niche within the existing range of offerings. We’ve been emphasizing a return to Rotterdam’s roots, which involve championing experimental filmmakers, LGBTQ+ filmmakers, and filmmakers in peril. This year, our selection process has been guided by a sense of urgency and the necessity for compelling narratives. The chosen works must be artistically robust, yet we also take into account the significance of these works in a world that seems to be ablaze with issues.

This method is adaptable based on my global encounters with experts from the entertainment industry – producers, screenwriters, and filmmakers – who seek to channel their assets, be it time, money, or creativity, towards ventures that are impactful and could positively transform the world.

This year, there’s been a significant emphasis on social justice issues, as numerous films explore the emergence and persistence of authoritarian regimes, both contemporary and historical, as well as the vulnerable communities affected by them. Moreover, there’s been an increase in projects that depict bleak near-future dystopias, which seem to mirror the unease within the artistic community about our potential future trajectory.

How does the shift towards right-wing administrations within European politics, especially the emergence of such governments, influence the movie business and collaborative production platforms?

Your insight is spot-on! The European film industry relies heavily on financial aid from the government, and if political parties cease backing forward-thinking productions, it significantly complicates their creation. This shift in circumstances exerts pressure on markets like Rotterdam, as they strive to maintain their progressive ethos amidst the strain.

In a more favorable position compared to some organizations, we’re spared from the necessity of self-censorship, which could be detrimental for us. Our funding from the Dutch government is distinct from the government itself, so we haven’t experienced any compulsion to alter our stance as advocates for liberal voices. Globally, we’ve been cautious in identifying projects that might face challenges in their native lands. For instance, this year, we chose three films from Georgia for our Darkroom program, a section dedicated to works-in-progress. We were drawn to these projects and felt it was important to offer additional support to Georgian filmmakers.

“What are the recent shifts in the need for collaborative financing methods, and what keeps them important?” (Informal and easy to read)

Co-financing models have significantly changed over time, particularly with American producers showing growing interest in co-productions, unlike 15 years ago. Today, European soft money and co-production systems are interconnected, making it unusual to find a European film that isn’t co-produced. The financial tools and agreements facilitate a beneficial atmosphere for co-productions, which is why markets like ours are essential.

Globally, there’s a growing curiosity about various financing approaches, particularly those used in regions such as the USA, Asia, and India, which have distinct funding mechanisms. To cater to this interest, we are arranging workshops in our labs to instruct content creators from these areas about European soft money and co-production agreements, and reciprocally. This initiative aims to ensure a fair starting point when they interact with the market.

What’s new at IFFR Pro this year?

As an enthusiast, I’m thrilled to share that we’re broadening our ongoing projects hub, the Darkroom, by accommodating a total of 12 intriguing projects, among which are two captivating Virtual Reality experiences. Additionally, preparations are underway for a groundbreaking initiative called the Business of Art Lab, slated to debut in 2026. This innovative platform will primarily serve creative professionals—writers, directors, and visionaries behind moving image productions—by offering insights into the business aspects of filmmaking, including intellectual property, income streams, and financing. This knowledge is crucial because while many producers excel in these areas, a significant number of artists often lack this expertise. Acquiring this understanding can significantly impact their interactions with producers and the broader business world.

Beyond our current efforts, we’re also developing a unique platform for filmmakers facing challenging circumstances – those who are stateless or living in exile. This initiative aims to give these filmmakers a stage to share their compelling narratives and interact with potential producers, regardless of whether they already have a producer or financial backing. This marks a notable shift from the conventional co-production market model that typically demands a producer, a script, and initial funding.

What effect has the transformation of video streaming services had on the funding and circulation of art house and avant-garde movies?

Art-house film creators have historically needed to think outside the box when it comes to funding and disseminating their projects. The emergence of streaming services initially sparked a buying spree, but this trend has since subsided. Nevertheless, the cinematic journey for many art-house films now incorporates the festival circuit, where entry fees can become a substantial source of income.

Over time, European investors are moving their resources towards fewer films of superior quality rather than a larger quantity. There’s an increasing alignment between us and the Hubert Bals Fund, which backs projects that align with our shared goals. This year, we have six films backed by the Hubert Bals Fund in our lineup, and this partnership could expand further.

Are there any standout projects in this year’s selection that you’d like to highlight?

As a passionate gamer immersed in the world of cinema, one production that truly grabs my attention is “Black is Blue” by the talented queer filmmaker, Cheryl Dunye. Known for her captivating work on hit TV dramas like “Bridgerton” and “Queen Sugar”, she’s now diving back into her roots with this heartfelt project – a thought-provoking near-future dystopian film that delves deep into the complexities of trans identities. It’s an intriguing blend of her artistic vision and commercial prowess, and there couldn’t be a more fitting stage for her than Rotterdam.

Another project, titled “Unidentified Actress,” hails from the acclaimed Indian director Ashim Ahluwalia. Known globally for his esteemed filmmaking career, with previous works gracing the screens of Cannes and Venice, this film forms part of a trilogy. Despite having substantial backing within India, Ahluwalia seeks international co-producers to broaden its reach in global markets.

What is your perspective on how festivals can contribute to the deconstruction of colonial influences in filmmaking, and help amplify genuine voices from nations outside the West?

This problem revolves around the potential influence of Western standards on international films at festivals. There’s a concern about imposing Western aesthetics on movies from other parts of the globe. This year, we’re organizing a panel talk to delve into how festivals can promote genuine artistic expressions without being restrictive. The aim is to create an environment where filmmakers from areas such as Southeast Asia, Latin America, and Africa can showcase their unique works on a global platform without feeling the need to adapt to Western preferences.

How do you feel about how strict governments affect movie-making, specifically focusing on Argentina and similar nations?

In countries such as Argentina, the surge of authoritarian rule significantly altered the landscape of filmmaking. Remarkably, some Argentinian projects have no financial backing from their own nation, a striking fact considering Argentina’s illustrious cinematic heritage. One example we see this year is “Faust” by Jasmine López, which is being produced by a German company due to the local production system’s decline. This film tackles the shift from populism in Argentina and the impact of American involvement in Latin America, offering insights into Argentina’s history during the last 50-60 years.

Final thoughts?

Rotterdam has consistently been recognized for its dedication to cinema that is pressing, captivating, and artistically flawless. In today’s context, it seems more crucial than ever to remain steadfast in our origins and keep backing filmmakers who possess extraordinary narratives. The work we engage in encompasses both the artistic aspect and the urgency of the tales, and we are resolute in offering a stage for these perspectives.

IFFR Pro Selection

CineMart 2025

  • 100 Thousand Turkish Liras, Nazlı Elif Durlu, Turkey, Germany
  • Adiós, amor, Zaida Carmona, Spain
  • Black Is Blue, Cheryl Dunye, United States, Germany, Greece
  • Cape of Pleasures, Marcelo Gomes, Cao Guimarães, Brazil, Uruguay
  • Corte Culebra, Ana Elena Tejera, France, Panama
  • Enkop (The Soil), Angela Wanjiku Wamai, Kenya, Netherlands
  • Eziko, Babalwa Baartman, Jenna Cato Bass, South Africa
  • Faust, Jazmín López, Germany, Argentina
  • Four Seasons in Java, Kamila Andini, Indonesia, Singapore
  • How Melissa Blew a Fuse, Una Gunjak, Bosnia and Herzegovina, Croatia, Serbia
  • Inbetween Worlds, Diana Cam Van Nguyen, Czech Republic, Slovakia
  • Marseille, Yim Brakel, Netherlands
  • Meat, Rioghnach Ni Ghrioghair, Ireland
  • Sentinel, Carl Joseph E. Papa, Philippines
  • Something Strange Happened to Me, Dmytro Sukholytkyy-Sobchuk, Ukraine
  • The March of the Sunflowers, Erik Ricco, Brazil
  • The Price of Gold, Eugen Jebeleanu, Romania
  • The Uganda Project, Daniel Mann, France, UK
  • Strange Root, Lam Li Shuen, Mark Chua, Singapore, Indonesia
  • Unidentified Actress, Ashim Ahluwalia, India, Germany

CineMart Immersive 2025

  • The Dreams of Time, Jeissy Trompiz, Venezuela, Spain
  • Hyperdam, Floris van Laethem, Netherlands
  • One Charming Night, Robin Coops, Netherlands
  • Strata, Lilian Hess, Luxembourg

Darkroom

  • The Art Patron, Julia Thelin, Sweden, Denmark
  • Bayaan, Bikas Ranjan Mishra, India
  • Bloques Erráticos, Thomas Woodroffe, Chile, France, Argentina
  • Dry Leaf, Alexandre Koberidze, Germany, Georgia
  • The Great Orator, Daniel Ernst, Netherlands (immersive)
  • La hiedra, Ana Cristina Barragán, Ecuador, Mexico, France, Spain
  • Kaktarua, Yudhajit Basu, Prithvijoy Ganguly, India, Taiwan
  • Last Night I Conquered the City of Thebes, Gabriel Azorín, Spain, Portugal
  • The March, Leo Erken, Frieda Gustavs, Netherlands, Ukraine (immersive)
  • Sorella di Clausura, Ivana Mladenovic, Romania, Serbia, Italy, Spain
  • Tear Gas, Uta Beria, Georgia, France, Germany
  • Wild Dogs Don’t Bite, Rati Oneli, Georgia, Luxembourg

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2025-02-02 12:56