San Sebastian Film Festival

72nd San Sebastian Festival - 20/28 September 2024

72SSIFF - 20/28 September 2024

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Z365" or "Festival all year round" is the new strategic point of the Festival in which converge investigation, accompaniment and development of new talents (Ikusmira Berriak, Nest); training and cinematic knowledge transfer (Elías Querejeta Zine Eskola, Zinemaldia + Plus, Filmmakers' dialogue); and investigation, disclosure and cinematic thought (Z70 project, Thought and Discussion and Research and publications).

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(07/10/2024 - 09/16/2024)

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(2024/01/15 - 2024/06/17)

Film submission - Culinary Zinema

(2024/01/15 - 2024/06/17)

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(2024/05/10 - 2024/06/17)

Loterías Short Films

(2024/04/30 - 2024/06/17)

Nest - Film School registration

(2024/06/03 - 2024/07/03)

Film Library

(07/10/2024 - 09/16/2024)

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(06/03/2024 - 07/03/2024)

WIP Europa - Entry Form

(06/03/2024 - 07/03/2024)

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Europe-Latin America Co-Production Forum - Entry Form

(04/15/2024 - 06/17/2024)

Zinemaldia Startup Challenge - Entry Form

(04/16/2024 - 05/31/2024)

Ikusmira Berriak - Entry Form

(07/02/2024 - 09/02/2024)

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Ikusmira Beriak - Entry Form

(07/02/2024 - 09/02/2024)

Youth Jury

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(08/01/2024 - 08/09/2024)

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2016. 64th Edition

Home Festival Diary

AUDIENCES IN MOTION: YOUTH AUDS, MEASURING SUCCESS

Monday, September 19th, 2016

San Sebastian’s European Film Forum, entitled Audiences in Motion, had a practical bent, examining best-case practices and strategies for reaching youth and international audiences, and how to measure success. That is a matter of urgent concern. The theatrical film market share for non-national European films in the European Union is around 10%, compared to up to 70% for American films, said Martin Dawson, deputy head of unit at the European Commission’s Media Program.

Also “People under 30 have a tendency to avoid traditional media like cinemas and TV,” reflected keynote speaker Stefan Schmitz at Avalon, a Madrid-based production-distribution

house.

The most obvious way to target younger users is via the web. At a first round table, Marianne Furevold-Boland, a producer at Norwegian public broadcaster NRK, presented “Shame,” a NRK web series featuring five teen girls. It hit 1.26 million users by the end of its second

season. One key was “real time” release: If a party happened on Friday night, the episode featuring it bowed on a Friday night.

RTVE, Spain’s nationwide public broadcaster, has created a VR version of its cult time-travel drama, “El Ministerio del Tiempo,” and a Spanish “Life in a Day,” with all of its contents webcast, he added.

France’s Camille Lopato explained how she has opened a 17-seat VR cinema. Its clients are increasingly young people seeking the experience of watching VR. The main challenge: the lack of VR content.

Digital has redefined the attainment and valuation of distribution success, said Felipe Ponton,

director of development at Telefonica’s Movistar Plus, at a second panel on data analytics.

“Notoriousness” and a qualitative customer assessment” are two new criteria, he argued.

For VOD platforms, editorialising and branding are key to gaining and retaining audiences, observed Tania Sutherland, at Mubi.

If there is a European audience for European series and films, this could be a matter of language, added Arturo Guillen, at audience measurement company Comscore.

JOHN HOPEWELL