If you’ve ever tried to raise money for a film production, ask yourself this: how much easier would it be if the project you were pitching came with a guaranteed Cannes premiere through a curated program?

Back in February 2024, we received the following emails:

“We share your observation in the contents of your email. There are silent whispers indeed going around within the industry circle about film funding getting regulated by some decision makers themselves. These are not really expressed officially and with honesty so your email is a first to put it out there in writing. 

You may also want to investigate or at least look into the Director Factory in Cannes co-selected by a person whose company is the one also co-producing the funded short films of all the directors from the Philippines. We do not have first-hand information on how the Director Factory Phillippines are selected, but some filmmakers have expressed concerned about such conflict of interest. The producer is reported to have sought support from local government offices for film locations.

The lines are becoming very thin when people come together to forge alliances and collaborations but it’s becoming apparent that opportunities are now becoming exclusive within a circle of friends and colleagues. Please keep us anonymous as you look into this closely as we only receive information from filmmakers who come to our doors with this open information. 

A following email reads:

We are not sure about the mechanics of the Director’s Factory (and please let us know should you find out) but from what was shared by other filmmakers, Bianca Balbuena, founder of Epic Media, is part of the selection committee and co-organizer of the program. 

But at the same time, Epic Media is producing the films being mounted — [according to this source] soliciting finances from various sectors in the Philippines, including politicians. The film location of one of the films is in a resort in a remote south of the Philippines owned by a town’s Mayor. The Mayor’s family was solicited to give money in exchange of location promotion through the film. While the local government can provide manpower, logistics and location permit, it is not mandated to provide money to any private film company as it is anti-public trust. 

Maybe these things are legally done in other places, but some filmmakers believe there’s clearly conflict of interest if you’re co-organizing an international and prestigious program in Cannes to supposedly help filmmakers and young producers to stand up on their own, but for Epic Media to simultaneously manage the productions and handle financing in producing the curated films (by them) has raised concerns among some filmmakers about how best to safeguard impartiality in such high-profile programs. We are not sure though if Cannes Director Factory provides any grant support to the selected filmmakers or just a platform to launch their film when ready… reason maybe Epic Media was just trying to help… 

Dominique was not mentioned directly by the filmmakers, but some have raised questions about a possible association with Epic Media in the Philippines. At this time, we have not found evidence of such a connection.

And finally, another email reads:

The films I mentioned in our last emails will premiere soon at the Cannes’ fortnight this May. Producers (including relatives of the local politicians who gave money to the production house assigned by Cannes to produce the films) will all attend. 

At first, we didn’t know what to make of these emails. But after this year’s Cannes – where once again, the curator of the Factory program also happened to be the producer of a director with multiple films in the festival – the picture became clearer. Cannes’ Factory, according to some industry observers, has been described as resembling, allegedly, a pay-to-play model—raising concerns about equity and transparency.

pay-to-play in the world’s premiere film festival

So now, let us ask again – how much easier would it be if the project you were pitching came with a guaranteed Cannes premiere through a curated program?

Essentially, that’s what the Factory program offers – a mechanism to fund films that are guaranteed a screening at Cannes. The curator and producer of the program also serves as the producer of the films, which are often financed with public funds from the host countries. In many cases, this same producer worked with the directors as producer of their films, before the program, during the program, and continues to work with them after their participation in the Factory program, ensuring gains from the Cannes exposure which spans multiple years. The producer’s dual role – curating and producing films – has drawn attention to potential overlap between programming decisions and commercial benefit, though the model operates within festival rules.

The Uncomfortable Truth About Institutional Money and Festival Access

The Directors’ Factory program at Cannes’ Directors’ Fortnight represents a sophisticated form of what can be seen as a “pay-to-play-by-proxy” – a system where public institutions effectively purchase guaranteed festival slots through a complex web of cultural funding, private production deals, and curatorial control that concentrates unusual power in the hands of a single individual. Since its inception in 2013, the Factory has operated under a business model that, while technically legal and within festival guidelines, raises serious ethical questions about transparency, conflict of interest, and the commodification of one of cinema’s most prestigious platforms

How the System Actually Works

Created by a French producer which we will not name here, the Factory pairs eight emerging filmmakers – four from a host country and four international directors – to co-create four 15-minute short films that are guaranteed to open the Directors’ Fortnight each May. This guarantee exists before a single frame is shot, making it fundamentally different from the competitive submission process that governs most festival programming.

The funding pattern across Factory editions reveals the systematic involvement of public money. In Taiwan (2013), the Taipei Film Commission funded the program. The Nordic edition (2014) was backed by the Danish Film Institute, Finnish Film Foundation, and Copenhagen Film Fund, supplemented by equipment donations from companies seeking the Cannes exposure. Chile’s 2015 edition received support from CinemaChile and the country’s National Council for Culture and Arts. The 2024 Philippines edition was funded by the Quezon City Film Commission and other local government entities.

This creates what some describe as a “cultural diplomacy premium” – host countries and regions pay substantial sums for what they perceive as invaluable soft-power branding on cinema’s most photographed red carpet.

The Conflict of Interest at the Program’s Core

The most troubling aspect of the Factory model lies in the curators / producer dual role. The producer of the event simultaneously serves as:

• Curator: Selecting which filmmakers participate.
• Producer: Taking producer credits and retaining rights on all resulting films.
• Beneficiary: Profiting financially from projects they personally greenlit.
  
  

The pattern extends beyond the Factory itself. As we’ve seen, this producer has repeatedly leveraged her festival connections to advance the careers of specific directors she produces. Israeli filmmaker Yona Rozenkier, whom she produces, saw his films selected for Cannes Official Selection in 2019, followed by his short film screening at Directors’ Fortnight the same year, and his feature project included in L’Atelier—a program where she serves as consultant. Filipino director Arvin Belarmino followed a similar trajectory from Factory participant to Cannes competition.

The Business Model: Leveraging Prestige for Profit

This producer has been remarkably candid about the Factory’s commercial logic. As she explained: “We made the film and screened it in Cannes the first year… it worked. Since then I’ve changed the country every year… They end up with a short film in Cannes, and a Cannes stamp on their feature project”.

This “Cannes stamp” becomes a powerful fundraising tool. Local partners bankroll the shorts specifically to use the prestigious première to pitch the directors’ first features during the festival’s market, hoping the prestige will accelerate larger financing rounds. The Factory, some argue, functions more as a high-end networking and business development program than as a purely cultural exchange.

As long as powerful individuals can simultaneously control both the selection and monetization of festival programming, emerging filmmakers may find themselves navigating systems that, while legal, appear to favor those with existing institutional ties, raising broader questions about transparency, access, and how cultural prestige is distributed in today’s festival ecosystem.

A Sophisticated Cultural-Commercial Alliance

The relationship between this curator / producer and various bodies which are looking to fund films that will screen in Cannes represents more than simple co-production partnership. It constitutes a sophisticated alliance that:

1. Monetizes Cultural Diplomacy: Transforms public cultural funding into private commercial opportunities.
2. Leverages Institutional Access: Uses festival programming positions to create business opportunities.
3. Creates Systematic Pathways: Establishes predictable routes for filmmaker career advancement outside traditional merit-based selection.
4. Operates Across Multiple Territories: Develops a sustainable international business model based on institutional relationships rather than purely creative merit.
   

While not technically hidden, the full scope and financial implications of this partnership remain largely undisclosed to the public institutions providing funding and the filmmaking community competing for festival access. The relationship exemplifies how contemporary film festival culture increasingly operates through networks of institutional relationships rather than purely artistic considerations.

We would absolutely hate to publish anything which is not factual or accurate. If you find any mistake, be it a fact, or a logical error, or the interpretation of the facts presented, please contact us. All views expressed in this article are based on information provided by third parties and publicly available sources. We make no definitive claims about the conduct of any individual or organization. If you identify any factual inaccuracies, logical errors, or misinterpretations, we welcome your response and will promptly consider corrections.

SOURCES:

https://variety.com/2023/film/news/quinzaine-film-training-directors-factoryphilippines-1235803629

https://www.quinzaine-cineastes.fr/en/directors-factory-2024
https://variety.com/2024/film/news/cannes-directors-factory-philippines-1235953207/
https://www.gmanetwork.com/news/lifestyle/artandculture/908533/cannes-2024-directors-factory-philippines/story/
https://qcinema.ph/directors-factory-philippines
https://vogue.ph/lifestyle/bianca-balbuena-on-viet-and-nam-and-directors-factory/
https://cinando.com/en/Company/dw_28391/Detail
https://www.torinofilmlab.it/people/654851/Dominique-Welinski
https://www.imdb.com/news/ni64334535/
https://horsdubocal.eu/films/silig
https://www.epicmedia.ph/the-directors-factory-philippines
https://qcfilmcommission.ph/news-and-updates/quezon-city-film-commission-and-qcinema-launch-expanded-industry-programs-78th
https://www.philstar.com/entertainment/2024/11/19/2401168/after-cannes-and-qcinema-directors-factory-philippines-films-make-homecoming-premiere-dapitan
https://cinemadedemain.festival-cannes.com/en/networking/decision-makers/dominique-welinski-2/

The post Is Cannes’s Factory a pay‑to‑play scheme? first appeared on Film Industry Watch.