Cinema in Portugal in Good Health But External Challenges Remain

The Horizon Europe project Crescine, led by Lusófona University, highlights that Portugal leads in the number of cinema screens and film releases, yet domestic films struggle with low market share and penetration in foreign markets.

Films from small cinema-producing countries like Portugal face fierce competition in audience engagement, influencing the type of films produced and screened. The European research project "CresCine" investigates strengths and challenges of small European film industries, aiming to enhance their competitiveness.

Portugal: a cinematic nation with limited visibility

Among the seven countries/regions studied in CresCine, Portugal shows high numbers of screenings and cinema screens. However, Portuguese films have a marginal market share (one of the lowest in Europe) and struggle for international exposure. VOD platforms offer an alternative to traditional screening. Portuguese comedies, though fewer in number, enjoy disproportionate popularity compared to dramas, which dominate about 85% of the production from 2014 to 2022, as per the report "Small European Film Markets: Portraits and Comparisons". For instance, six out of eight most popular films in Portugal during this period are comedies.

Challenges of small European film markets under scrutiny:

The European project "CresCine" delves into challenges faced by small film-producing markets. Led by Manuel José Damásio from Lusófona University, the project is funded by the EU's Horizon Europe research program (Grant: 101094988). It assesses the economic and cultural significance of local film industries in seven small countries/regions: Ireland, Denmark, Estonia, Lithuania, Portugal, Croatia, and Flanders, Belgium.

Seven diverse markets amid industry upheaval

Their commonality lies in inadequate domestic audiences to sustain local film industries, yet their strategies to address this differ. Jakob Isak Nielsen from Aarhus University, leading the report, suggests diverse strategies, including cultural resonance, exports, production services, and artistic endeavor, each accompanied by distinct legitimacy factors.

The choice of markets reflects not only geographical diversity but also stark differences in cinematic cultures. The Baltics witnessed significant transformation post-Soviet era. Ireland and Croatia attracted foreign productions, boosting their economies. The report highlights festival recognition discrepancies among markets.

It tracks the development of these markets amid streaming expansion, COVID-19's impact, and economic recession. Cathrin Bengesser notes challenges in global streaming services' representation of small-market films, impacting European cinematic diversity.

Access to the "Small European Film Markets: Portraits and Comparisons" report

The Crescine website provides detailed insights into seven small film markets. Its 67 interactive data visualizations enable customized market comparisons and trend tracking. Designed for industry professionals and policymakers, it offers comprehensive film production, distribution, and reception data, facilitating cross-market analysis and performance comparison.

More information on CresCine research project

The CresCine research project, running from 2023 to 2026, is funded by the EU's Horizon Europe program (Grant: 101094988). It addresses the European Commission's call for research on Cultural and Creative Industries' potential as innovation drivers. With a €4 million grant, the consortium comprises 16 research and industry organizations from 10 countries. For further details on participating organizations and project outcomes, visit the Crescine website.

Contact Details

Inquiries About the Performance of Portuguese Cinema

• Manuel José Damásio (Lusófona University)
  mjdamasio@ulusofona.pt
• André Rui Graça (Lusófona University)
  andre.graca@ulusofona.pt

Inquiries About the Report "Small European Film Markets"

• Jakob Isak Nielsen (Aarhus University)
  jakobisak@cc.au.dk
• Cathrin Bengesser (Aarhus University)
  cbengesser@cc.au.dk

Project Inquiries

• Manuel José Damásio (Lusófona University)
  mjdamasio@ulusofona.pt
• Leticia Morais (Storytek Innovation and Venture Studio Tallinn)
  leticia@storytek.eu

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Funded by the European Union (Grant number: 101094988). Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Research Executive Agency. Neither the European Union nor the European Research Executive Agency can be held responsible for them.

Project DOI: 10.3030/101094988