– New films by Miguel Gomes, Jasmila Žbanić, Florian Zeller, Guillaume Gallienne and Alain Gagnol are among the selection
Director Miguel Gomes, whose project Savagery has been supported (© 2024 Fabrizio de Gennaro for Cineuropa – fadege.it, @fadege.it)
The results of the third Eurimages Project Evaluation Session of 2025 have just been announced. Further to recommendations made by independent experts meeting online, the Executive Committee of the Fund has decided to support the co-production of 33 feature films, including 10 documentaries and 5 animations, for a total amount of €9 696 000. Of the 33 co-production projects supported during the session, 12 are to be directed or co-directed by women. This represents 29.38% of the total funding awarded.
The films supported include the new work by acclaimed directors such as Portugal’s Miguel Gomes (Cannes Best Director winner for his latest film Grand Tour [+see also:
film review
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interview: Marta Donzelli, Gregorio Pa…
interview: Miguel Gomes
film profile]), whose long-gestating project Savagery (Portugal/France/Brazil/Italy), based on Euclides da Cunha’s Backlands, The Canudos Campaign, a non-fiction account of the war between Brazilian soldiers and a group of religious followers in the 1890s, has now received €500,000, after a first support back in 2020 (read news); Bosnia’s Jasmila Žbanić (winner of the Golden Bear for Grbavica [+see also:
film review
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interview: Barbara Albert
interview: Jasmila Zbanic
film profile]), whose new effort Quo Vadis, Aida? – The Missing Part (Bosnia & Herzegovina/Netherlands/France/Austria/Germany/Poland), a sequel to her European Film Awards winner and Oscar nominee Quo Vadis, Aida? [+see also:
film review
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interview: Jasmila Žbanić
film profile], has received €500,000; as well as France’s Florian Zeller (The Father [+see also:
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interview: Florian Zeller
film profile], The Son [+see also:
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film profile]), whose new title Bunker (France/Spain) also received €500,000.
Other established filmmakers that have received funding for their new projects are Angolan-Portuguese director José Augusto Octávio Gamboa dos Passos (known as Zézé Gamboa) with €390,000 for Aleluia (Portugal/France/Cabo Verde); Austria’s Wolfgang Fischer with €380 000 for Southwest (Germany/France/Austria); Spain’s David Pérez Sañudo with €500,000 for Bilbao 1983 (Spain/Belgium); Latvia’s Juris Kursietis with €266,000 for Tabita (Latvia/Netherlands/Lithuania); Romania’s Daniel Sandu with €300,000 for The Cherubs (Romania/Bulgaria); Hungary’s Mihály Schwechtje with €150,000 for Democracy Work in Progress (Hungary/Germany/Czechia); and Turkey’s Berkun Oya with €400,000 for Thank you Charlotte (France/Greece).
The supported second fiction features are Sound of Silence (France/Greece) by Greece’s Joyce Nashawati (Blind Sun [+see also:
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film profile]), with €400,000; Hautefaye (France/Belgium) by France’s Vincent Le Port (Bruno Reidal [+see also:
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interview: Vincent Le Port
film profile]), with €390,000; Diamond Shitter (aka Nollaig) (Ireland/Switzerland/UK) by Irish actress Antonia Campbell-Hughes (It Is in Us All [+see also:
film review
interview: Antonia Campbell-Hughes
film profile]), with €300,000; 100 Thousand Turkish Liras (Switzerland/France/Kosovo) by Turkey’s Nazlı Elif Durlu (Zuhal [+see also:
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film profile]), with €280,000; and Another Journey without Women (Fall of Man) (Germany/Denmark/France/Sweden) by Denmark’s Illum Jacobi (The Trouble with Nature [+see also:
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film profile]), with €127,000.
The supported first fiction features are March 14th (Spain/Belgium/Lithuania) by Spain’s Alberto Gross Molo, with €320,000; The Place of Eternal Summer (Italy/Belgium) by Italy’s Maddalena Ravagli, with €300,000; and The Outsider Within (France/Belgium) by France’s Zoé Cauwet, with €150,000.
As for the supported documentaries, the titles are The Whale Mystery (Norway/Denmark/Sweden) by Norway’s Tonje Hessen Schei, with €306,000; My Father the Iceman (Poland/Denmark) by Poland’s Łukasz Kowalski, with €150,000; The Standard Man (Sweden/Poland/Denmark) by Sweden’s Erik Lavesson and Tomas Stark and Poland’s Weronika Mliczewska, with €150,000; Orsoq – Seasons of Solitude (Denmark/Finland) by Denmark’s Inuk Silis Høegh, with €140,000; Sanda Dia (Netherlands/Belgium) by the Netherlands’ Miriam Guttmann, with €130,000; The City that Ate Souls Away (France/Belgium) by France’s Diane Sara Bouzgarrou and Thomas Jenkoe, with €110,000; Silence of the Lams (Ireland/Finland) by Ireland’s Ciarán Deeney, with €100,000; Home Court (Greece/Bulgaria/Netherlands) by Greece’s Elpida Nikou and Rodrigo Hernandez, with €90,000; Welfa(i)re (Czech Republic/Slovakia) by Czech Republic’s Adéla Komrzý with €85,000; and The Horsemen of the Apocalypse (Norway/Germany/Sweden) by Norway’s Lene Berg, with €54,000.
Regarding the financed animation films, there are five titles in this session: Cyrano (France/Luxembourg/Italy) by France’s Guillaume Gallienne (Me, Myself and Mum [+see also:
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film profile]), with €500,000; Dog My Cats! (France/Belgium/Canada) by France’s Alain Gagnol (A Cat in Paris [+see also:
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film profile]), with €500,000; Fleur (France/Denmark) by France’s Rémi Chayé (Long Way North), with €500,000; DinoGames (Spain/Belgium) by Spain’s Carlos Fernández and Lorena Ares, with €388,000; and Millie and the Secret of the Crocodile (Sweden/Denmark/Netherlands) by Denmark’s Esben Toft Jacobsen, with €340,000.
