Flanders cinema is experiencing a surge in international recognition, highlighted by its strong presence at prestigious film festivals and a growing reputation for artistic excellence. This momentum is largely attributed to the robust support system within the region, particularly the Flanders Audiovisual Fund (VAF) and the Screen Flanders Economic Fund, which empower filmmakers to pursue unique visions and reach global audiences.

Earlier this year, the Belgian region of Flanders marked a significant achievement by returning to the Berlinale competition after a 45-year absence with Anke Blondé’s film “Dust.” This was followed by Emmanuel Macchia and Valentin Campagne, the leading actors in Lukas Dhont’s “Coward,” receiving a joint Best Actor award at the Cannes Film Festival. “Coward,” a drama, is now set to feature at the Toronto International Film Festival (TIFF) and has been chosen as Belgium’s official Oscar entry, marking the third consecutive time Dhont’s work has been selected for the Oscars, following his critically acclaimed films “Girl” and “Close.”

Adding to Flanders' representation at TIFF is “Le Faux Soir,” the latest historical thriller from Oscar-nominated director Michaël R. Roskam, known for “Bullhead.” This film will have its world premiere in the Special Presentations program. Both “Coward” and “Le Faux Soir” benefited from the support of the Flanders Audiovisual Fund (VAF) and the Screen Flanders Economic Fund. Roskam emphasizes the critical role of Flanders' support system, stating that it is indispensable for creating auteur-driven or commercially viable arthouse cinema in Belgium's smaller market. He values the VAF's provision of not just funding but also creative liberty, allowing directors and producers to prioritize artistic integrity over purely commercial pressures, fostering experimentation and the development of a distinct personal voice.

The selection processes for funding in Flanders are known for being rigorous and highly competitive, ensuring that supported films adhere to elevated standards. Michiel Dhont, the producer of “Coward,” expresses pride in Belgium's creative talent and the support it provides. He reflects on the honor of presenting “Coward” at Cannes and the positive international reception it received, eagerly anticipating its market opportunities at TIFF. He views global festivals as crucial for expanding visibility and creating new avenues for Flemish productions.

Both “Coward” and “Le Faux Soir” are notable for being co-productions between Belgium’s two regions, receiving backing from both the Flanders Audiovisual Fund and the Fédération Wallonie-Bruxelles. While “Coward” is primarily a Flemish production, “Le Faux Soir” is largely a Walloon project, illustrating a model of national collaboration. This joint support reinforces the idea of these films as fundamentally Belgian, a goal consistently pursued in their productions. Michiel Dhont also acknowledged the increased ambition of “Coward” compared to Dhont’s previous works, necessitating additional financing through equity funding and television presales.

Karla Puttemans, the director of the Flanders Audiovisual Fund (VAF), highlighted the fund's strategy of leveraging its compact size to forge close, trust-based relationships with filmmakers, acting as both a public funder and a promotional agency. This approach deeply resonated with Filip Anthonissen, whose Flemish short film “Melk” made history by becoming the first animated film to win Locarno’s Pardino d’Oro for best international short film, subsequently heading to Toronto. Anthonissen, who transitioned from video installation to film, found a VAF program that allows animation students to apply for funding without a producing partner to be instrumental. This program, offering coaching and workshops, significantly lowered barriers to entry, providing the initial development capital and confidence needed to approach producers.

Anthonissen's experience at Locarno further underscored the advantages of working in Flanders. He noted a stark contrast with filmmakers from other countries who often self-funded projects with very limited resources, appreciating the comprehensive financial and developmental support he received. He praised the VAF’s trust and support once a project is approved, despite the demanding application process.

Looking forward, Flemish filmmakers are keenly aware of the need to attract local audiences back to cinemas to watch national films. Puttemans emphasized that Flemish audiences are particularly drawn to films recognized at major festivals, underscoring the importance of international presence for boosting domestic awareness. Connecting with and elevating Flemish talent on a global scale remains a key objective for producers like Michiel Dhont. He and Lukas Dhont, following their successful collaboration on “Close,” established their production banner, The Reunion, in 2021, supporting diverse projects. Dhont asserts that while some stories are deeply rooted locally, others have universal appeal, and both types of narratives are vital. Encouraging theater attendance, he believes, fosters a collective experience and generates momentum for films like “Coward,” both domestically and internationally. Roskam concurs, advocating for innovative methods to bring audiences back to theaters, emphasizing cinema’s role as a cultural experience, an educational tool, and a shared tradition. He believes that Flemish and Belgian cinema has much to offer globally, citing the remarkable talent, ambition, and originality of filmmakers across the country, which warrants continued support and promotion both at home and abroad.