A programming-led panel at NEM Dubrovnik came out against the concept of quotas for the amount of European content that should be commissioned by streamers and broadcasters.
Chris Marcich, CEO, Croatian Audiovisual Centre, President, Association Of European Film Agency Directors and President, Agicoa said he didn’t see Croatia featuring on a list of countries benefitting from increased investment. “We have almost no, no benefit from, from the Directive, at least not in terms of investment,” he said during Europe’s Audiovisual Future: Do We Have The Necessary Conditions To Succeed?
“We have seen Netflix put an effort into acquiring titles and making them visible. And that’s one of the reasons why I complimented them in terms of the spirit of the Directive … We have one of the major streamers arguing that they have no obligation to do anything in Croatia, but they’re widely available, widely subscribe to, and they do nothing for us.”
The 30% European content quota for streamers in Europe, is mandated by the EU’s Audiovisual Media Services Directive (AVMSD). It requires streaming services to ensure at least 30% of their catalogue consists of European works. This applies to services like Netflix, Prime Video, and Disney+ operating across Europe. The quota aims to promote European cultural diversity and support local filmmakers.
However, it was clear the panel was not convinced, at least from the perspective of local platforms operating in the relatively small markets of Central & East Europe.
Vanda Rapti, EVP, Viaplay Select & Content Distribution, Viaplay Group said that by placing the quota onto the international streamers they were forced to become more relevant in the market, which was the SP of the local players. “At the same time, it has led to investment in European works and I think actually many streamers, especially the big ones would have done it anyway in order to grow because that is action driving their business.”
Branko Čakarmiš, Strategic Advisor, Pop TV was direct: “Quotas in general are stupid things”, he said.
“Actually, I guess it’s hurting us because why we are pushing our big competitors to throw money in European works. That’s part of our identity. And they’re increasing the cost by affecting for us because the Americans can always come with a better budget for the series and that’s automatically increase the cost for the local players.”
