
Following a hard-fought presidential campaign that saw incumbent, Maia Sandu, triumph over a phalanx of Kremlin-backed candidates in November 2024, Moldova is positively vibrating with good energy. The positivity and good humour were keenly felt at CinemaHora, the film industry forum hosted in Chisinau at the end of November 2024, by the National Film Center of Moldova (CNC), Moldova’s national film agency. Delegates, panellists, and speakers from across Europe gathered for a diverse series of discussions, screenings, and Q&As, and a thought-provoking series of talks.
The CNC’s coordination team had the gathering running with military efficiency, while its director, Valentina Iusuphodjaev, consummately martialled a warm and collegiate feel to the entire event. Ms Iusuphodjaev commented , “For many foreign guests, CinemaHora was not only a professional platform for sharing, learning and networking, but also a first opportunity to discover Moldova and its culture.”
Iusuphodjaev is acutely aware of how important the CNC’s work is in the Republic’s journey from Soviet Socialist Republic to EU member state, an attitude that aligns particularly relevantly due to a recent second referendum that saw the Republic’s desire to join the EU passed into law.
“For Moldova right now, cinema is much more than entertainment, more than a cultural product – it is an issue of national security. Our TVs are dominated by Russian TV series, local cinemas offer quite austere lists of European film titles. Film has a socially transformative power and can be a resilient touchstone in the hybrid war we are in. The CinemaHora Forum is one of our actions to get closer to European culture and embrace European values and practices.”
Many of CinemaHora’s VIP guests and panellists spoke in glowing terms about the event. Thanos Stavropoulos, manager of the AGORA Industry Forum at Thessaloniki International Film Festival, told Celluloid Junkie, “The event was vibrant and very engaging. The guest list was well-curated, and each professional was creatively engaged in the activities and discussions. Moldova’s cinematic horizons are looking hopeful and full of youthful ambition and energy!”
“The number of co-productions increased significantly during the latest years, but we need to create a sustainable funding system in the country,” Iusuphodjaev added. “We have to implement a European model of film financing which would guarantee us more financial and creative autonomy and power, that will allow us to become more attractive, more competitive and stronger in telling our own stories.”
Sergiu Prodan, Moldova’s Minister for Culture, discussed this model in an exclusive Celluloid Junkie interview in 2024, and the ministry has delivered on its promises for ‘sin taxes.’ “Finally, a 1% levy on lottery and gaming was agreed with the Ministry of Culture and Parliament,” said Iusuphodjaev.
Film, cinema, and television are firmly at the forefront of Moldova’s new PR campaign, with the calibre of attendees at its forums and festivals ably demonstrating that Europe is fully prepared to engage with a buoyant and newly energised Chisinau. A swift glance at Moldova reveals a rapidly modernising economy governed by progressive democrats who believe in the European dream and know that cinema is the prime medium to promote this dream abroad.
“We have started to harmonise national legislation; we joined the European Coproduction Convention, the Convention for the Protection of Audiovisual Heritage, a Strategy for Creative sector was adopted, and just recently, after 10 years, we finally succeeded in adopting Regulations for The National Film Archives,” explained Iusuphodjaev, “But there is still a lot to do. And to move on we need to change not only national policies, but also invest in skills, infrastructure, education, development, and digitalisation.”
Iusuphodjaev concluded earnestly, “The filmmakers and creative people have made their choice already, as they realised the partnership with the West gives a diversity of opportunities, both creative and economic. I have to say that they are more dynamic than policies and reforms. The process of changing an old system with still a lot of soviet-type bureaucracy takes time. But the vector is clear.”
Moldova has arrived at a clear European mindset with a substantially valuable offer to the film and media community. To borrow a quote from “The Big Short”; I may be early, but I’m not wrong.
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