CNC

20 May 2013

Paris, November 28, 2012

Biarritz, September 11th, 2012

By crowning Michael Haneke's film with the Palme d'Or, the sixty-fifth Cannes Film Festival came to a close in celebration of love and fidelity, the quest for peace and serenity – all while having shaken, assailed, amused, astonished and dazed audiences and critics throughout the screenings.

CNC's World Cinema Support Scheme officially opened on Thursday, May 3rd 2012. A successful initial call for applications was launched on 3 May with nearly 90 applications from 45 countries. This includes 60 for the first college, which is reserved for films that are a director's first or second project and is managed by the Institut Français. An additional 27 applications were filed with the second college, which is reserved for experienced directors and managed by the CNC.

In partnership with the Institut Français, the CNC organized a meeting of Europe's principal funds, such as the Hubert Bals Fund (Rotterdam), the World Cinema Fund (Berlin), and the International Organization of the Francophonie (OIF).

Eric Garandeau, president of the CNC, presented the CNC's annual report to professionals in the field at the Majestic Hotel in Cannes on Tuesday, 22 May 2012. Aurélie Filippetti, the Minister of Culture and Communication, was present. Eric Garandeau warmly welcomed and congratulated the new Minister of Culture and outlined the main projects achieved by the CNC in recent years.

At the invitation of Eric Garandeau, President of the French National Center for Cinema and the Animated Image (CNC), the first meeting was held between European Film Agency Directors (EFADs), gathering all European National Centers for Cinema (CNCs), and the CACI (Conferencia de Autoridades Cinematograficas de Iberoamerica), which unites CNCs of Latin America, Spain, and Portugal.

Cannes May 20, 2012 - During its traditional meeting at Cannes, the European CNC network (European Film Agency Directors - EFAD) signed a statement addressed to the European Commission concerning the possible repercussions of its "Cinema Communication" on the sustainability of public cinema and audiovisual financial support – the essential, primary condition for the existence of European cinema.