The yearly Berlinale EFM 2014 film market took place in Berlin from 6 to 14 February. Approximately 1,200 films from 72 countries were screened at the event. This year, SOVTELEXPORT, which handles international distribution for Russia Television and Radio productions, was among the exhibitors at the Russian Cinema pavilion. Director of SOVTELEXPORT (Russia Television and Radio) Julia Matiash talked about her company’s prospects at the EFM, various projects, and international demand for Russian content.

Interviewer:
Once again, SOVTELEXPORT came to the Berlinale film market with a new catalogue of content from Russia Television and Radio. This year’s centrepiece was the television series Ash. Why are you focusing on this particular project?

Julia Matiash:
That’s simple: Ash is a true hit show. It combines a hard-hitting subject matter, brilliant performances by well-known actors, high production values, and has enjoyed undisputed success with viewers.

Interviewer:
Has promoting your company’s projects at the Russian Cinema pavilion at the Berlinale film market proved effective?

Julia Matiash:
For over 15 years, SOVTELEXPORT has taken part in every major international film and television market. We believe these national pavilions are crucial in promoting Russian films abroad. These professionally organised platforms draw attention to Russia in general, and to the Russian film industry in particular. The Berlinale Russian Cinema pavilion was organised with clear objectives in mind, based on the concrete needs of distributors and content buyers. In our experience, being part of this pavilion has always been effective: it garners prestige and new contacts, and also brings more visitor traffic. We are sure EFM 2014 will be no exception to this.

Interviewer:
What are your primary objectives when promoting your projects abroad?

Julia Matiash:
There are two objectives that we always pursue in seeking international distribution: presenting Russia in a positive as well as interesting light, and landing profitable deals. We are highly judicious in our content selection: our international catalogue is comprised of only the very best projects produced by Russia Television and Radio and other Russian studios. Our substantial experience working with major international companies has helped us formulate optimal selection criteria and develop an effective sales approach. Our strategy is to put our clients first. We pay close attention to our partners’ needs and aim for long-term partnerships. And of course we use professional promotion methods – a range of marketing communications and the latest advertising techniques – to promote our content catalogue and make it a commercial success. This approach reinforces our impeccable reputation and ensures successful international sales.

Interviewer:
Did you succeed in closing any deals with major foreign companies during the previous film markets?

Julia Matiash:
I’ll admit I love answering this question. Our content gets aired by the world’s largest networks: Сanal+, Arte, Planète (France), Rai (Italy), ВВС (Great Britain), Discovery (USA), ССТV and Phoenix Satellite (China), Axess TV (Sweden), Yle (Finland), Canal 22 (Mexico), and many others.

Interviewer:
How in demand is Russian television content around the world?

Julia Matiash:
Any quality product will find demand on the global market if it’s properly packaged. A clear understanding of the product, buyer and sales strategy is required. Russian content already lives up to international standards a lot more often than people realise. You just have to delve into it and develop a taste for it. Sometimes, we have to hone the technical side a bit, and other times, it is simply a matter of good presentation. Besides, Russian programming is often quite unique in its nature – from lavish screen adaptations of Russian classics, to diverse documentaries with exclusive footage, to original feature films made in the best traditions of Russian cinema.

Interviewer:
Which regions do you believe hold the most promise for international distribution of Russian projects?

Julia Matiash:
It is safe to say that our ambition is the whole world. Selling our content is an extremely interesting venture: every country has its own particular characteristics. Take for example, some former socialist states, where recent history can make promoting Russian films a challenge. That said, the former Yugoslavia is more receptive towards Russian content: the TV series Institute for Noble Maidens is a huge hit there. The same goes for Greece and Cyprus, where the streets empty whenever the series is on. Our most ideologically interesting sale was in the United States. Discovery purchased approximately 200 hours of our documentary content, but the network’s in-house talent refused to voice these programmes due to the fact that the content was so foreign to them.

Western Europe (Germany, France, Italy, Spain) is yet another challenging, but prestigious market, which buys content very selectively, but always on profitable terms. Granted, we also have to invest significant funds into prepping content for these clients. TV networks and distributors are primarily interested in big-budget features, such as Piranha and Kandahar, and landmark TV series, including Fyodor Dostoevsky, The White Guard and Life and Fate.

Asia – China, South Korea and Japan – is probably the most promising and fastest-growing market. Incidentally, in recent years, the New Years’ Blue Light Concert has become one of the most popular shows on China’s CCTV.

This article originally appeared in Russian on the ProfiCinema website
[http://www.proficinema.ru/questions-problems/interviews/detail.php?ID=154481]