Zurich: A New Dawn for Filmmakers Amidst Political Struggles
At this year’s Zurich Summit, filmmakers and industry leaders warned that political polarization and attacks on free expression are reshaping the landscape for cinema, with artists facing unprecedented pressure from governments, media, and online campaigns. Nathanaël Karmitz, chairman of French distributor mk2 and producer of The Secret Agent (https://www.hollywoodreporter.com/movies/movie-reviews/the-secret-agent-review-wagner-moura-kleber-mendonca-filho-1236220752/) and A Simple Accident (https://www.hollywoodreporter.com/movies/movie-reviews/it-was-just-an-accident-review-jafar-panahi-iran-1236222539/), argued that the link between politics and cinema has long been intertwined but is now at a critical juncture. ‘Culture is under attack and cinema is under attack everywhere,’ he said. We have less press talking about movies, yet far-right Twitter accounts systematically critique everything related to films and French cinema. In terms of audience, it’s the major voice we hear on social media—this may seem like a problem, but it is not.
Karmitz emphasized that filmmakers must confront such criticism directly rather than ignore it. He pointed out recent attempts by right-wing politicians in France to dismantle France’s CNC film funding body and privatize public television. “This is a fragile ecosystem. It’s under attack everywhere because these are the first steps toward illiberal systems,” he said. However, he remained optimistic, believing in people, companies, and artists to rise against these pressures.
Kathleen Fournier, head of production at Charlotte Street Films and producer of Julian Assange (https://www.hollywoodreporter.com/movies/movie-reviews/the-six-billion-dollar-man-review-julian-assange-doc-1236224617/), noted that the streaming era has narrowed the space for politically charged projects. “Documentaries move to streaming, but many of the political and nuanced stories didn’t leap forward,” she explained. What users find now tends to be historical, true crime, or personal stories. This shift has left filmmakers struggling to secure U.S. deals, though new opportunities exist outside the studio system. ‘There are some truly agile, wonderful, smaller boutique theatrical distribution companies who are just running with this,’ she said. ‘Conglomerates can buy up the media landscape, but humans crave stories, and there will always be those who want to create alternative streaming platforms, boutique distribution. We like stories—we’ll find our way.’
The production of The Six Billion Dollar Man, which examines the U.S. government’s prosecution of WikiLeaks founder Assange, was shaped by political pressure. Initially unafraid to include controversial material, such as former president Trump’s past comments, the filmmakers debated whether to self-censor. In the end, they chose to tell the story as intended, with as much nuance and complexity as they felt an audience could handle.
Beyond financing and distribution, risks extended beyond these areas. Fournier relocated the production to Berlin to avoid legal exposure in the UK and US, citing concerns about footage capture and journalistic protections. She moved the entire team to Berlin, saying it was inspiring, until the Gaza war disrupted the process. “We didn’t feel comfortable editing in the UK or US because of laws and protections in place,” she said. “Moving the team to Berlin was a big step—and it was very interesting, until the conflict started.”
Fournier acknowledged the challenges but stressed the importance of storytelling. “Audiences are becoming more open to global stories, showing us that good stories can still resonate worldwide,” she concluded. Film data researcher Stephen Follows urged the industry to remain vigilant, noting that the 1970s had diverse storytelling, while the 1980s and 1990s brought more complexity and simplicity. “As a business and ecosystem, the film industry is risk-averse and scared,” he said. “We need agitators to drive change.”
