{"id":209901,"date":"2025-03-27T12:14:28","date_gmt":"2025-03-27T11:14:28","guid":{"rendered":"https:\/\/iffr.com\/en\/?p=209901"},"modified":"2025-03-27T12:14:36","modified_gmt":"2025-03-27T11:14:36","slug":"blog-pulling-focus-dutch-production-talent-goes-global-and-ai-is-part-of-the-future","status":"publish","type":"post","link":"https:\/\/iffr.com\/en\/blog-pulling-focus-dutch-production-talent-goes-global-and-ai-is-part-of-the-future","title":{"rendered":"Pulling Focus: Dutch production talent goes global \u2013 and AI is part of the future"},"content":{"rendered":"\n

On Tuesday 4 February, IFFR Pro turned the spotlight on Dutch cinema\u2019s evolving place in the world during Pulling Focus: NL 2025<\/a>. The morning explored how Dutch producers continue to excel in international co-productions, proving that strategic collaboration is key to global success. By the afternoon, the conversation pivoted toward the future, as AI developers showcased tools that could fundamentally reshape filmmaking. Explore the day\u2019s key takeaways below.<\/p>\n\n\n

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Dutch talent in focus: probably the best co-producers in the world?<\/h2>\n\n\n\n

The Dutch Focus day launched with an inspiring conversation between director Ena Sendijarevi\u0107 and actress Ren\u00e9e Soutendijk, led by Locarno\u2019s Giona Nazzaro. Their multi-award-winning collaboration Sweet Dreams<\/em> set the stage for a day spotlighting Dutch creative talent, bridging acclaimed mastery and bold new voices. Following this, the morning\u2019s panel, Probably the Best Co-Producers in the World?<\/em>, pulled Dutch talent further into focus.<\/p>\n\n\n\n

With Dutch producers consistently landing slots at Sundance, Cannes, Venice and Locarno, the industry is proving that smart collaborations lead to global impact. Marten Rabarts, head of IFFR Pro, kicked things off, saying: \u201cThere\u2019s an irony to the question mark in the title, but in my opinion, you\u2019re going to meet the best co-producers in the world.\u201d But what makes them so successful? Moderator Jacobine van der Vloed of ACE Producers and the panellists agreed: it\u2019s a mix of trust, transparency and a deep understanding of the creative and financial ecosystem.<\/p>\n\n\n\n

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Ena Sendijarevi\u0107 and Ren\u00e9e Soutendijk with moderator Giona Nazzaro<\/figcaption><\/figure>\n\n\n\n

Key takeaways from world-class producers<\/h3>\n\n\n\n

\u201cFind producers who speak to your personality and trust,\u201d advised Ellen Havenith from PRPL, who co-produced Amanda Nell Eu\u2019s Tiger Stripes<\/strong>. \u201cLegal agreements help, but when conflicts arise, relationships matter.\u201d Co-producing is not just about financing \u2013 it\u2019s about creative exchange. Havenith shared how a seven-country co-production for a Cannes-premiering title meant contributions far beyond money: \u201cTo me, equality in the co-production is what\u2019s important. We all bring in different elements; the prosthetics were made by a Dutch artist, the music came from Indonesia \u2013 it\u2019s about much more than just financial structures.\u201d<\/p>\n\n\n\n

Transparency emerged as a non-negotiable. \u201cBe honest about what you can really provide \u2013 and what you can\u2019t,\u201d stressed Erik Glijnis of Lemming Film, co-producer of Mikko Makela\u2019s Sebastian<\/strong>. In the end, co-production is a long game. \u201cYou\u2019re building bridges that last long after the film,\u201d said Ineke Smits of GoGoFilm, co-producer of IFFR-title Holy Electricity<\/strong> by Tato Kotetishvili, reflecting on her long-term collaborations with Georgian filmmakers. And while success stories are great, ACE Producers\u2019 Jacobine van der Vloed reminded the room that learning from failures is just as crucial: \u201cThe mistakes teach us more than the wins.\u201d<\/p>\n\n\n\n

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Ineke Smits and Erik Glijnis <\/figcaption><\/figure>\n\n\n\n

Despite its small size, the Netherlands has much to offer. \u201cWe may not have mountains or deserts,\u201d said Denis Vaslin of Volya Films, who co-produced Wang Bing\u2019s monumental Youth: Trilogy<\/strong>, \u201cbut we have strong VFX, a talented crew base and robust funding opportunities.\u201d Reflecting on Dutch producers\u2019 role in supporting politically urgent films, Vaslin noted, \u201cIt\u2019s crucial to amplify critical voices in today\u2019s world. We need to keep producing opposition films.\u201d<\/p>\n\n\n\n

Artificial intelligence as a new creative frontier<\/h2>\n\n\n\n

If co-productions represent Dutch cinema\u2019s present, AI could very well shape its future. But how does AI fit into a film industry built on human creativity? The panel Harnessing AI for Film<\/em> brought together filmmakers and AI experts to explore its impact \u2013 where the possibilities are thrilling, and a little unnerving. Showcasing real-world applications, the session made a case for where AI can enhance our storytelling and industry.<\/p>\n\n\n\n

AI as a creative tool, not a threat<\/h3>\n\n\n\n

Matthew Blakemore, CEO of AI Caramba!, had a clear message for the filmmaking community: AI is not replacing human creativity \u2013 it\u2019s amplifying it. \u201cAI is not destroying creativity because AI is a tool for creatives. They only deliver the best results when they are used by creatives.\u201d<\/p>\n\n\n\n

Blakemore demonstrated how rapidly AI tools are evolving, showcasing a selection of multi-tool AI films packed with high-quality video and audio content. He emphasised AI\u2019s power to eliminate time-consuming production tasks, allowing filmmakers to focus on storytelling. In fact, generative AI has been shown to boost worker performance by 40% \u2013 a significant shift in an industry where efficiency and budgets are constant concerns.<\/p>\n\n\n\n

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Harnessing AI for Film panel with Matthew Blakemore (left)<\/figcaption><\/figure>\n\n\n\n

Joshua Dedman of Olsberg SPI provided a broader industry perspective on AI\u2019s impact, emphasising that skill shortages are a critical challenge. \u201cAcute skill shortages exist, driven by high demand,\u201d Dedman noted, particularly in the UK, where AI expertise is scarce. This has created fierce competition for talent, with professionals frequently moving between countries and industries.<\/p>\n\n\n\n

He also suggested that while AI is automating technical and administrative tasks, artistic roles may be the least affected \u2013 at least for now. Directing, screenwriting, and acting still rely on human intuition and storytelling instincts, making them harder to automate. However, the shift AI represents is unprecedented in scale. Dedman reminded the audience that the film industry has always adapted to new technologies, from sound and colour to digital editing. \u201cThe film sector is defined by innovation, and this is the next frontier.\u201d<\/p>\n\n\n\n

Expanding filmmaker\u2019s toolkits<\/strong><\/h3>\n\n\n\n

AI isn\u2019t just theoretical \u2013 it\u2019s already shaping films screening at festivals. Take filmmakers Ana Giralt Gris and Jorge Caballero, whose film The Rock Speaks<\/strong> screened in the IFFR Tiger Shorts Competition. The filmmakers trained AI models to match their own artistic aesthetic, using the technology to enhance, rather than dictate, their film\u2019s visual language.<\/p>\n\n\n\n

 \u201cMostly what we are trying to do with this very powerful technology is understand what we can do with it,\u201d said Giralt Gris. AI allowed them to create sequences that would have been impossible with traditional methods, opening up new storytelling approaches. Caballero highlighted its potential: \u201cAI allows you to access places you can\u2019t access \u2013 your mind, your memories, the past, and the future.\u201d<\/p>\n\n\n\n

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Film still: The Rock Speaks<\/strong><\/figcaption><\/figure>\n\n\n\n

Beyond experimental shorts, AI is also helping filmmakers tackle logistically challenging projects. Another case study examined how AI-assisted filmmaking made a film about mining in the Congo possible, an area difficult to access safely. By generating archival-style footage and reconstructing environments, AI is unlocking new ways to visualise narratives that might otherwise be out of reach due to budgetary, ethical, or logistical constraints.<\/p>\n\n\n\n

A shift in perspective<\/strong><\/h3>\n\n\n\n

Despite initial scepticism, panellists framed AI as a paradigm shift in filmmaking rather than a fleeting trend. As Caballero noted, \u201cThere\u2019s a layer of misunderstanding around AI. Filmmakers often feel like they\u2019re \u2018cheating,\u2019 but when they shift their perspective, a whole new world opens up.\u201d<\/p>\n\n\n\n

Moderator Sten-Kristian Saluveer closed the panel with a reflection on the polarised nature of AI debates: \u201cQuite often, we judge things by their face value, but as we\u2019ve seen today, AI is a technology that will reshape our industry. It will change the way we do things, and we must adapt, upskill and learn. At the same time, AI is an incredibly powerful tool \u2013 one that can provide political and identity agency and bring extraordinary images to the screen.\u201d<\/p>\n\n\n\n

Rather than seeing AI as a threat, the conversation at IFFR suggested that it is, in fact, a powerful collaborator \u2013 one that could strongly define the future of filmmaking. One resounding sentiment among all panellists was: Filmmakers who approach AI with curiosity rather than fear will gain the most from it.<\/p>\n\n\n\n

\u2013 by Roxy Merrell<\/em><\/p>\n\n\n\n\t

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A list with articles<\/h2>\n\t\t\n\t\t
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