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Kirsten Niehuus Shatters Glass Ceiling as First Female President of German Federal Film Board
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A watershed moment for German cinema has arrived wiht the appointment of Kirsten niehuus as president of the German Federal Film Board (FFA), marking the first time a woman has held the position.
Niehuus, an entertainment lawyer known for her sharp intellect, succeeds Bernd Neumann, a highly respected former German Minister of Culture, who has stepped down from the role.The appointment, first anticipated by Variety in May at the cannes Film Festival, signals a potential shift in direction for the powerful film funding body.
From Medienboard to the FFA: A Proven Leader
Prior to assuming her new role, niehuus served as CEO of Medienboard, the film fund for the Berlin-Brandenburg region – a significant investor in international co-productions – until this summer. Her career with the FFA began in 1999, serving as deputy CEO until 2004, before transitioning to Medienboard. Notably, Sarah Duve-Schmid, who served as the FFA’s deputy CEO until June, has now succeeded Niehuus at Medienboard, demonstrating a continuity of leadership within the German film ecosystem.
The FFA’s Expanding Role and Recent Funding
The FFA wields considerable influence within the German film industry. Last year, the organization distributed €20 million ($23.4 million) to 50 projects, supporting both production and script advancement. This funding encompassed a diverse range of films, including Joachim Trier’s “Sentimental Value” and Christian Petzold’s “Miroirs No. 3” showcased at Cannes, the box-office success “School of Magical Animals 4,” and critically acclaimed arthouse titles like Ruben Östlund’s “The Entertainment System Is Down.”
The FFA’s portfolio recently expanded at the close of last year, encompassing all federal film funding, positioning it as a central pillar of support for german filmmakers. Producers are now eligible to claim up to 30% of their local production costs – an increase from 20% for feature films and 25% for television productions – a move designed to stimulate domestic production.
Calls for Further Incentives to Attract International Productions
Despite these positive changes, industry voices, including niehuus herself, believe further legislative action is needed. Speaking to Variety in May, Niehuus argued for the implementation of an automatic production incentive scheme to better compete with countries like Hungary. “I think the industry needs an automatic [production incentive] scheme that is competitive with the other schemes, like in Hungary,” she stated. “we see lots of productions going to shoot in Hungary rather than in Germany, and we don’t see as many incoming productions from America… We are not attractive enough to the larger American productions, and that obviously hits all over Germany.”
acknowledging the challenges, Niehuus expressed cautious optimism regarding potential legislation.”fingers crossed. I mean, I hope so. Optimism is, you know … after so many years in the business, we’ve seen all kinds of miracles for better or for worse.”
The appointment of Niehuus, coupled with ongoing discussions surrounding incentives, comes at a crucial time for the German film industry.
