The selection committee of the Film Fund Luxembourg’s national audiovisual support programme has confirmed it will be backing a number of new domestic productions. In particular, production support for this year accounts for €3.1 million and will contribute to the making of two fiction films – namely, Stefan Ruzowitzky’s Hinterland (€1.6 million), produced by Amour Fou Luxembourg, and Gérard Corbiau’s Saving Mozart (€1.5 million), staged by Deal Productions.

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In 2019, a total of €741,295 will be earmarked for the development of eight fiction films, two animated movies, one documentary, one TV series and one VR animated series. The fiction films benefitting from the agency’s grants are Donato Rotunno’s Les jours sucrés (€10,000, produced by Bidibul Productions), Thierry Besseling’s Le baiser (€30,000, Red Lion), Eileen Byrne’s Bille & Zottel (€15,000, Paul Thiltges Distributions), Michale Boganim’s Borough Park (€30,000, Paul Thiltges Distributions), Karoline Kox’s Die Liebhaberinnen (€60,000, Amour Fou Luxembourg), Jacques Molitor’s Kommunioun (€60,000, Les Films Fauves), James McAleavey’s Beckett and the Little Giant (€60,000, Red Lion) and Atiq Rahimi's Les échelles du levant (€30,000, Red Lion).

Nicolas Steil’s Droneland (€120,000, Iris Productions) is the TV series selected to receive development support, and the only feature documentary in the list is Fabrizio Maltese’s Three Lakes (€86,295, Joli Rideau Media). Meanwhile, the two animated films chosen are Thierry Schiel’s Quantric (€60,000, Iris Productions) and Federico Milella’s The Defects (€120,000, Fabrique d’Images). Moreover, domestic firm a_Bahn (which is currently developing the transmedia project Ghostdance – see the news) will be in receipt of €60,000 for the development of Marc Robinet’s Amnesia, a VR animated series.

Finally, production support for 2019 has been granted to three additional fiction films – namely, Christophe Honoré’s Musique de chambre (€1.2 million, Bidibul Productions), Donato Rotunno’s Io sto bene (€2,618,000, Tarantula Luxembourg) and Keren Yedaya’s Red Fields [+lee también:
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