Tatino Films: Structure and Operations

Tatino Films is a Paris-based company that established itself as a significant player in European cinema development. The company operates four major development initiatives with substantial public funding::

1. First Cut Lab (established 2015): A post-production workshop for films at the editing stage. According to the company’s website, “200 films from 50 countries have so far benefited from First Cut Lab.”
2. Pop Up Film Residency: A mentorship program for filmmakers in development, operating across multiple European locations.
3. Full Circle Lab (launched 2021): A comprehensive development program in France’s Nouvelle-Aquitaine region.
4. Pop Up Series Incubator (launched November 2024): A television development program offering €10,000 grants to five selected teams, explicitly “co-financed by the European Union and supported by La Région Grand Est and the Karlovy Vary International Film Festival.”
   

Each program receives public funding. The Full Circle Lab is financially supported by “the Agency Alca Nouvelle-Aquitaine and the Lot-et-Garonne Department”, creating a significant footprint in publicly-funded film development.

Leadership Network: Key Personnel and Connections

At the center of Tatino’s operations is founder and CEO Matthieu Darras, whose professional biography reveals a substantial network of festival connections. Darras has simultaneously held multiple influential positions in the European film festival circuit:

• Member of the feature film selection committee for La Semaine de la Critique (Cannes)
• Consultant for the Venice Film Festival
• Delegate for the San Sebastian Film Festival
• Artistic Director of Bratislava Film Festival
• Artistic Director of TorinoFilmLab until 2018

This concentration of roles across major European festivals creates connections between development, funding, and selection processes.

The Consultant Network: Festival Integration by Design

Using EU financing and public funds, the company staffs its various initiatives by recruiting key figures from within the European film industry – producers, festival programmers, jury members, heads of distribution companies and employees, and individuals affiliated with public film funds across different countries. These influential professionals are then appointed as selectors, advisors, or jurors within Tatino’s own programs. For example, the Tatino team includes several individuals with direct ties to major film festivals:

• Wim Vanacker serves as Editorial Consultant for First Cut Lab while simultaneously holding a position on the Official Short Film Competition Selection Committee at Cannes.
• Julie Marnay (Program Manager) previously managed short film selection at Cannes Critics’ Week.
• Naomi Levari (Editorial Consultant) is identified as a producer and development executive at Black Sheep Film Productions.
• Anastasia Hoppanova (Team Member) is identified on LinkedIn as “Writer, Director, Creative Producer.”
  

Tatino’s programs are explicitly integrated with festival structures:

• The Pop Up Series Incubator culminates in “a two-day industry showcase on 7 and 8 July at the Karlovy Vary International Film Festival.”
• First Cut Lab originated “in collaboration with When East Meets West” in Trieste in 2015 and maintains this relationship.

The EU Funding Connection

Tatino’s newest venture, Pop Up Series Incubator, exemplifies how EU cultural funding flows through these networks. According to Cineuropa’s reporting, the program is “co-financed by the European Union” and will select five teams to receive €10,000 grants each.

Similarly, Full Circle Lab receives backing from multiple public entities including “the Agency Alca Nouvelle-Aquitaine and the Lot-et-Garonne Department.”

Favoring Friends, Shutting Out Others

This far-reaching influence across the European—and by extension, global—film industry enables key individuals to promote friends or those seeking their favor, while systematically excluding others. Filmmakers without access to these networks may find themselves blocked from opportunities, not because of merit, but because they are unknown, inconvenient, or simply out of favor for reasons that may be personal, political, or entirely arbitrary. This dynamic fosters an environment where gatekeeping is based less on artistic value and more on proximity to power.

Expansion and Growth

Despite questions about potential conflicts of interest, Tatino continues expanding its influence. The November 2024 launch of Pop Up Series Incubator represents its move into television development with fresh EU funding.

According to reporting on the Full Circle Lab launch, the program immediately secured notable industry figures including Alexis Hofmann, head of acquisitions at Bac Films, creating additional industry connections.

Wim Vanacker’s Multiple Roles

The case of Wim Vanacker illustrates the interconnected nature of roles in the European film industry. Vanacker serves as Editorial Consultant for Tatino’s First Cut Lab while simultaneously holding a position on the Cannes Film Festival Short Film Competition Selection Committee.

Vanacker previously served as Head of Script Department at NISI MASA (now known as “European Short Pitch”). Reports have raised questions about potential conflicts of interest during his tenure there, particularly regarding connections to Belgian producer Ben “Bekke” Vandendaele.

Alleged example for Abuse of Power

A widely discussed, an example of an alleged potential abuse of power involves the controversy surrounding the awarding of the 2019 Cannes Short Film Palme d’Or. The winning film notably featured individuals connected to this tightly knit network, raising concerns about favoritism and conflicts of interest within the selection process. The award went to a film produced by the producer of a jury member in the competition, and was not disclosed to anyone at the time.

A Complex Industry Ecosystem

These paint a picture of a European film development landscape characterized by interconnected roles and relationships. Tatino Films has succeeded in establishing a significant presence across multiple development programs with substantial public funding. The company’s key personnel maintain connections across major festivals and funding bodies, raising legitimate questions about potential conflicts of interest in an industry largely supported by public funds. However, without additional verification, specific statistical claims about selection advantages and anonymous industry testimonials cannot be confirmed.

Why This Concentration of Power Harms the Film Industry

When the same small circle of individuals controls development funding, mentors projects in progress, and sits on festival selection committees, the industry’s gatekeeping mechanisms collapse into a single opaque funnel. Public money meant to nurture a plurality of voices is effectively filtered by insiders who can steer resources toward their own professional networks, crowding out emerging filmmakers without comparable access. This erodes trust in both funding bodies and festivals, deters risk-taking by reinforcing prevailing tastes, and ultimately narrows the diversity of stories that reach audiences. Left unchecked, such overlap converts healthy competition into institutionalized favoritism, undermining the cultural and economic vitality that public film support is intended to protect.

Sources:

https://lithuanianshorts.com/en/news/script-consultant-wim-vanacker-theres-something-satisfying-about-nourishing-new-talents-and-discovering-new-voices

https://www.semainedelacritique.com/en/nextstep-consultant/matthieu-darras_107

https://www.aol.com/tatino-films-launches-full-circle-175703289.html

https://cineuropa.org/en/newsdetail/470688

https://www.popupseriesincubator.com/about-us

https://www.linkedin.com/company/tatino-films

The post Tatino Films – coming soon first appeared on Film Industry Watch.

Kekatos has been mentioned on our site multiple times in connection with various scandals. These include allegations of manipulating the circumstances of his short film’s Palme d’Or win – specifically that the short was produced by the producer of a jury member on the awarding committee – as well as involvement in alleged corruption at the Greek Film Center, which included project readers awarding funding to themselves, and alleged accusations of toxic on-set behavior from fellow Greek filmmakers. Such reports describe alleged public firings, the alleged removal of properly earned credits (including that of a co-writer), and the appropriation of Greece’s LGBT community for personal gain, despite Kekatos himself not being a member of that community. The film’s producers were Eleni Kossyfidou (producer of jury member Panos H. Koutras) and French producer Guillaume Dreyfus. The controversy includes what seems like a concealment of Eleni Kossyfidou being the film’s producer until two years after the festival has ended. Kekatos was also recently removed from being the head of the committee selecting the Greek film to the Oscars, for the same reasons.

Kekatos’s Palme d’Or win in 2019 left many observers shocked, as the short itself, according to numerous sources, was deemed undeserving not only of the award, but even of participation in the competition. It later emerged that Wim Vanacker, a Cannes committee member who is also mentioned repeatedly on our site in connection with various controversies, had been a Jury Member and guest of Kekatos at a 2018 film festival that Kekatos organized in Greece, a full year before being invited to Cannes, by the same committee Vanacker servers in.

A voice recording of Jury member Panos H. Koutras recounting in his own words how he “pushed the other films out of consideration” is available here. By eliminating the competition Koutras ensured that the film produced by his own producer, will win the award. For all we know, someone might have been paid to include Kekatos’s new film in the program. With this kind of track record, who knows?

By featuring Our Wildest Days in their Generations program, the Berlin Film Festival appears to tacitly endorse these alleged behaviors. This decision further erodes public confidence in an industry that has been in decline for years – not just because of evolving audience tastes and technological changes, but also due to a pervasive culture of nepotism and corruption that undermines artistic integrity and drives audiences away. Instead of showcasing talented filmmakers whose work is genuinely deserving, the festival is seen as supporting allegedly corrupt figures who have advanced their careers through personal connections and manipulations of the industry, as detailed on our site.

The allegations referenced in this article are based on publicly available information, individual testimonies, and third-party sources. Nothing contained herein should be construed as definitive proof of wrongdoing, nor as legal, financial, or other professional advice. All opinions expressed are those of the respective sources. Readers are encouraged to conduct their own research.

About Vasilis Kekatos

Vasilis Kekatos is a Greek film director best known for his short film The Distance Between Us and the Sky, which won the Cannes Palme d’Or for Short Film in 2019. He later directed Our Wildest Days, his first feature, which was invited to the 2025 Berlinale.

Kekatos has been repeatedly mentioned in connection with alleged irregularities and favoritism within European film institutions. His name appears in reports concerning alleged conflicts of interest surrounding his Cannes win – including the participation of individuals linked to his producers – and in discussions of alleged governance issues at the Greek Film Center.

Further reading:

Conflict of Interest Taints 2019 Cannes Palme d’Or Award for The Distance Between Us and the Sky by Vasilis Kekatos

Alleged Corruption and Decadence at the Greek Film Center (FULL ARTICLE)

Wim Vanacker & Vassilis Kekatos – a two way relationship dating back to 2018

The post Berlinale Invites Greek Director Vasilis Kekatos, Sparking Industry Outrage first appeared on Film Industry Watch.

Before we delve into the details of this article, we want to remind our readers of a simple yet crucial fact: every year film festivals receive thousands of submissions. The most prestigious ones can receive as many as 15,000 submissions annually. As you go through the information below, please keep these staggering numbers in mind. We also remind our readers that the European film industry is financed by public funding worth hundreds of millions of Euros per year.

Consider this: how is it that, amid thousands of submissions from filmmakers, writers, directors, and producers, it’s always the same few who seem to be chosen repeatedly for various festivals or labs, and who secure funding opportunities? Meanwhile, the vast majority struggle to make a mark in the industry, with many not even having their films viewed. To quote one commenter, “If you think any film festival watches all the submissions, I have a bridge to sell you.”

IMPORTANT NOTE: Please note that this article is not meant to be an ad hominem attack on any specific person. The individuals mentioned below and their positions in various organizations are used as examples for the way that the film industry operates. The positions, roles and professional relationship between individuals are public information. Sources are provided throughout the website. If you would like to report any inaccuracy please do not hesitate to contact us. Our aim is to improve and democratize the film industry by analyzing the way its institutions are set-up. In order to do so, we must list those organizations and the people who work for them or with them, and their relationship with each other. Also, to be clear, there are certainly much bigger fish in the swamp than the individuals listed below but we publish information which is available to us and which was brough to our attention. If you can disclose further information about other individuals or organizations, please contact us.

Is the Integrity of the European Film Industry Compromised?

Our argument is that the integrity of the European Film industry is highly compromised in that a loose affiliation of organizations which are run by the same or connected people use their power and influence in order to control the distribution of resources among themselves and those who are close to them, akin to a syndicate. To be clear, Film Industry Watch does not accuse the people mentioned below of belonging to a syndicate, but simply that the way the industry is set-up, is akin to one. Critics claim that the consequences of this structure, while not illegal, are highly immoral, and work to the detriment of the film industry as a whole, as well as its artistic output. 

The diagrams below serve as a visual illustration of the various organizations and individuals discussed in our articles and the intricate web connecting them. These charts reveal a highly insular system where influential figures in the industry engage in a sort of musical chairs or a revolving door: they occupy multiple roles, in different and multiple organizations, enabling them to further their own agendas and interests. This system not only creates barriers to entry for newcomers but also signals to others within the network their willingness to utilize their influence and reciprocate favors, benefiting those within this closed circle.

The charts below list individuals and organizations as examples of how the system operates. They show the relationships between decision-makers, producers, and the organizations that made the selection such as festivals, labs and film funds. These charts reveal that the producer of a chosen project is working with, or for, the selecting organization, the examples being Dominique Welinski (multiple organizations) , Melissa Malinbaum (Cannes short film section), and Ben Vandendaele (for NISI MASA).

The reason that these relationships – producer / decision maker – are highlighted in the examples below is that they are publicly documented. Other types of connections, like close friendships, commercial interests, or even bribes, are much harder to uncover due to their secretive nature. However, the bottom line remains the same – the selection, funding, and awarding of a project is rarely based on artistic merit, with the real reason being family connection, financial interests, friendships etc.

In festival selections and film funds public financing, in 90% of the cases, merit isn’t the main criterion. We can state these numbers with some confidence because, as we know, in all major festivals, submissions are not viewed. Only about 5-10% of feature film submissions and 1-2% of short film submissions are actually considered for selection from the total number of entries, based on direct recommendations from members of the network to the selection committee members. In national film funds, the numbers are similar, with about 5-10% of submitted projects actually being considered, with the financed projects making about 1%, with very little consideration to their actual merit. In some funds all the projects will be read and scored but in most cases those scores will not be taken into consideration. We will post proof of these claims in the near future.

This is not to say that it is absolutely impossible to break into the industry. However, you absolutely must “know someone” or “be someone” to enter into the pool of films or projects that will be considered. Without some connection to those people within the network, your project does not stand any chance because it will simply not be read or viewed. [Read this article about the Munich Film Festival for an example, as well as the Sundance may not be watching all submissions post] 

The following charts detail individuals and the organizations they work for, their positions, and how their positions has effected selection of projects they’ve been involved with, both within the organization and within the film ecosystem as a whole.

The first case is of producer Dominique Welinski who holds a multitude of roles in the industry. She works for the Cannes Film Festival, curates the Factory program at Cannes’ Director’s Fortnight, selects projects for Cannes’ L’atelier, works at the Jerusalem Film Lab, is a Jury in the Jerusalem Film Festivals, and served as a decision maker for the Torino Film Lab. She is also the Producer of Israeli Director Yona Rozenkier. For some whatever strange statistical anomality, Rozenkier has participated in ALL of the above events or programs and even had TWO films screened in Cannes in the same year (2019). Note that Welinski is the curator of the Factory, so she had invited her own director to the program PLUS had arranged for his short film to be in the Official Competition, while the other 7000 people who had submitted films don’t even get their films watched.

We ask the reader to be reminded of the first paragraph of this article where we discuss the fact that each year thousands of films are submitted to these festivals or programs (about 7000-10,000 short films to Cannes, where Rozenkier’s short was selected). Does anyone believe that this is a coincidence and that the selection of Rozenkier’s projects in these events was by chance, rather due to the fact that his Producer is working for or with these organizations?

Further more, Rozenkier has recently been awarded funding for his next feature film by the Israeli Film Fund which is currently headed by Noa Regev. Noa’s previous job was the Artistic Director of the Jerusalem Film Festival, which Dominique Welinski works with and for, and which had selected for screening both of Rozenkier’s features.

Here it is important to explain that Dominique Welinski’s strength as a producer is not only in the roles and positions that she holds in these events, for the sole purpose of influencing ** selections of projects which she produces herself (such as Rozenkier’s films) but rather that these selections send a clear “signal” across the ecosystem that selection in these festivals and programs is highly dependent on personal networks and contacts. NO OTHER FOUL PLAY IS IMPLIED.

** Influencing in this regard simply means by the virtue of being a position holder in an important organization. No foul play needed, nor implied by us, in order to achieve this “influence.” It is achieved simply by holding an important role within the industry.

It could be imagined that Noa Regev, as the head of the Israeli Film Fund, would seek favors** with Welinski, hoping that Welinski would help films financed by the fund throughout the ecosystem.

The fact that Yona’s and Welinski’s two shorts were selected in Cannes in the same year, where Welinski works as an adviser, send a very clear signal across the network – success and selection in festivals and various programs are highly dependent on who you know, and the favors** you pay them. On the flip side, those in the industry also know that they should “watch out” to stay on good terms with Welinski’s, and other gatekeepers, or they might be ‘blacklisted’ and their careers tarnished.

** in the form of social currency – NO FAUL PLAY IS IMPLIED. It is not implied that actual currency is being exchanged.

The following chart further details the connections between Welinski and Regev across three distinct organizations. Firstly, at the Jerusalem Film Lab, Welinski serves as an adviser, and it was here that Rozenkier’s project was chosen and received an award.

Secondly, the Jerusalem Film Festival, under Noa Regev’s leadership as Artistic Director, selected both of Rozenkier’s feature films. This festival also hosts the pitching event of the Jerusalem Film Lab mentioned above.

Lastly, the Israeli Film Fund, now led by the same Noa Regev, recently granted Yona 2,000,000 Shekels (more than 500,000 Euro) for his next feature film production, funding that was given to only three films out of more than one hundred projects.

The intricate and overlapping relationships among these individuals and organizations are strikingly apparent. At this point it should be becoming increasingly evident why we argue that the structure of the European Film Industry more closely resembles that of a syndicate than a that of thriving healthy industry.

The following chart focuses on the Cannes Film Festival, highlighting the roles of selection committee members Wim Vanacker and Melissa Malinbaum. The following might be confusing, which is why a full chart has been provided below:

In 2017, ‘Gabriel’ by Oren Gerner, a short film produced by Melissa Malinbaum, was chosen to the festival. This selection came a year after the film’s participation in NISI MASA in 2016, during which time Wim Vanacker, ALSO a Cannes selection committee member, was its Artistic Director (if you’re confused already, use the chart below.)

The subsequent year, as Artistic Director Vanacker selected ‘The Silence of the Dying Fish’ by Vasilis Kekatos. In the following year, Kekatos’s ‘The Distance Between Us and the Sky’ entered the Cannes’ Shorts Official Competition. This film later won the Palme d’Or. It was later revealed that Eleni Kossyfidou, the film’s producer, had a longstanding professional relationship with Panos H. Koutras, a jury member on the awarding committee. Additionally as we’ve previously reported Kekatos had invited both Vanacker and Kossyfidou to be jury members at his own SEA NEMA Film Festival in 2017.

Here, we once again observe a glaring conflict of interest that extends over years and across various organizations.

Any credible professional in the film industry would recognize that the selection of a film produced by a committee member for festival participation constitutes an undeniable conflict of interest that should have never taken place. We again remind our reader that while Cannes selects only 8-10 short films per year, they receive between 7000 to 10,000 submissions. NISI MASA, too, received dozens of submissions each year. To assume that the above detailed narrative is some kind of a coincidence is preposterous. (If you believe that it is a coincidence, please contact us, we have a brand new bridge to sell you)

We reiterate that all the information mentioned above is publicly available and accessible online. We argue that the majority of films and projects chosen for these events benefit from a high degree of favoritism that bears little relation to their artistic merit. Although it is straightforward to establish connections in the aforementioned cases, many such relationships remain concealed from public view and may be impossible to uncover without insider knowledge. We also repeat that this article is not meant to be an ad hominem attack on any specific person.

The next chart delves deeper into NISI MASA. Here we explore the case of producer Ben Vandendaele, a close friend of Wim Vanacker, who at the time served as Nisi Masa’s Artistic Director. This chart illustrates Vandendaele’s recurring success in getting his projects selected at NISI MASA events year after year, showcasing a pattern that raises questions about the nature of these selections.

In 2016, two of the films selected, ‘Deer Boy’ and ‘The Hoarder,’ were produced by Vandendaele. This pattern continued into 2017, with the selection of another two Vandendaele productions, ‘Hunt’ and ‘The Nipple Whisperer.’

The trend persisted in 2018 and 2019. In 2018, ‘Vengeance Of The Vixens,’ a film produced by Vandendaele’s company, was chosen, during a period when he was also consulting for the organization. In the following year, the film ‘Creatures,’ again a production under Vandendaele, was selected, while he maintained his consultancy role.

Importantly – some of these films are listed as having Vandendaele as their producers, others have “Bekke Films” listed as the production company, without Vandendaele’s names attached to them. However, “Bekke Films” is Vandendaele’s company, one and the same. This has been done, allegedly, to hide these facts, and perhaps to circumvent the NISI MASA rules that allow for only one project from the same producer to be selected each year. If such actions remind you that of a syndicate, almost like a mafia, you are not alone in these thoughts.

Vandendaele’s multifaceted involvement in the 2018 NISI MASA event is particularly noteworthy. Not only was he a producer of a selected film, but he also played a dual role as a consultant to the organization. Furthermore, he was involved in the decision-making process that led to the awarding of a Distribution Award to another project. Coincidentally, a film he produced was also an award recipient during the same event.

The connections extended to jury members as well. In 2017, Daria Vlasova, a member of the jury, was associated with a film represented by Bekke Films, Vandendaele’s company. Another jury member, Jérôme Nunes, had known ties to Vandendaele. Additionally, two films connected to jury member Marija Fridinovaitė were selected in the same year.

A particularly concerning instance of potential conflict of interest involved jury member Ola Jankowska. Vandendaele’s distribution company handled her film ‘Deer Boy,’ while she was serving as a jury member at the event.

The circumstances surrounding the award win for ‘Vengeance of the Vixens’ in 2018 also raise questions. The film, produced by Bekke Films (owned by Vandendaele), won an award at a time when Vandendaele was serving as a consultant for the event. This succession of events, involving repeated selections, multiple roles, and connections to jury members, suggests a pattern that goes beyond mere coincidence, just as all the other examples which we mentioned above.

It’s commonplace for individuals to work with various companies or organizations throughout their careers, and it’s not unusual for their paths to intersect with others. However, when you put all of these instances together as in the chart below, a closer analysis of these interactions uncovers a troubling pattern, a deeply ingrained network of relationships among certain individuals and organizations which is overly incestuous. This network is problematic because it fosters a culture of mutual back-scratching, where favors and advantages are exchanged freely, blurring the lines between personal, professional interests and artistic merit. What’s more alarming is the blatant nature of these entanglements; there’s little to no effort to conceal these conflicts of interest, indicating that such practices have become normalized and accepted within their circles. This situation raises significant concerns about integrity and fairness, suggesting a corrupt system where personal connections trump professional and ethical standards. These corrupt relationships are between festival organizers, film fund decision makers, sales agents, producers, directors, and finally the governmental agencies which fund them which accept the way in which the system is set-up, funding it with hundreds of millions of Euros each year, public tax payers money that ends up in the pockets of few, who guards their positions and access to resources, stifling access to newcomers and reducing the quality of the industry’s artistic output.

While contacts between different individuals and organizations within an industry is natural, we believe that in the examples detailed in this report the lines have been crossed. The current state of the European Film Industry is highly compromised due to the work of certain rotten apples that poison the system as a whole, without many of the industry members, and certainly not the public, realizing it.

We ask our readers to continue to share with us information about the industry so it can be analyzed, published and distributed to the public and the bodies that fund these organizations.

Further Reading:

SOURCES:

https://www.screendaily.com/news/nadav-lapid-project-yes-among-five-israel-film-fund-winners-exclusive/5182483.article

https://www.screendaily.com/news/jerusalem-film-festival-crowns-pitch-point-winners/5131282.article

https://jff.org.il/en/article/33752

https://www.festival-cannes.com/en/f/parparim/

https://www.torinofilmlab.it/people/705237/Yona-Rozenkier

https://www.festival-cannes.com/en/2017/l-atelier-2017/

https://popupfilmresidency.org/2020/01/13/pop-up-film-residency-in-athens/

https://www.cannescourtmetrage.com/en/actualites/cannes-2020-the-short-films-competition 

https://pro.imdb.com/title/tt8296610/ 

https://www.festival-cannes.com/en/f/gabriel/

https://www.imdb.com/title/tt10214916/

https://www.imdb.com/title/tt8791506/

https://www.imdb.com/name/nm3187519/

https://www.imdb.com/name/nm3267450/

https://en.wikipedia.org/wiki/The_Distance_Between_Us_and_the_Sky

https://www.imdb.com/name/nm1179406/ – Listed as a Producer in Yona’s films.

https://www.festival-cannes.com/en/2017/l-atelier-2017/

https://cineuropa.org/en/newsdetail/372414/

https://variety.com/2020/film/global/torinofilmlab-scriptlab-1203490498/

https://www.torinofilmlab.it/people/654851/Dominique-Welinski

The post Is the Integrity of the European Film Industry Compromised? first appeared on Film Industry Watch.

As detailed in Wim Vanacker, Ben Vandendaele – NISI MASA conflicts of interests, Kekatos had participated in NISI MASA with his 2018 short film “The Silence of the Dying Fish”, which was produced by Kossyfidou as well, when Vanacker served as Artistic Director of the organization. According to the 2018 news article linked below, Kekatos had invited Vanacker to serve as Jury member in a festival that he had organized and lead on Kefalonia Island, a festival which had been held for four years, but did not take place since Kekatos’ win in 2019.

Jury members for festivals typically receive payment for their service. At the very least, they are invited to the festival with personal expenses paid, with all travel and accommodation costs covered by the organizers. In other words, Kekatos allegedly compensated Vanacker, a member of the Cannes Film Festival selection committee, a full year before Kekatos’s film ‘The Distance Between Us and The Sky’ was chosen for the Cannes Official Selection, to then win the Palme d’Or under controversial circumstances, as the film’s producer had a longstanding professional relationship with one of the Jury members.

This revelation sheds additional light on the web of connections and potential conflicts of interest within the festival’s selection process, the award given to the film, and the normalization and prevalence of such relationships in the industry.

We remind our readers the case of Mélissa Malinbaum – a Cannes selection committee member who had produced a short film selected to the festival, and Dominique Welinski who holds multiple roles as well, as a producer and decision maker, in what seems like a conflict of interest at the festival and the industry at large.

Continue to – Power, influence & control over the European industry.

Our organization is dedicated to unveiling the true decision-making processes and power dynamics within the film industry. The chart below provides a comprehensive summary of these elements. Our goal is to democratize access and provide talented, emerging young filmmakers with the opportunities they rightfully deserve to succeed in the industry.

SOURCES:

https://popaganda.gr/art/seanema-open-air-film-festival-2018/

https://filmfreeway.com/SeaNemaOpenAirFilmFestival

https://cinemadedemain.festival-cannes.com/en/2020/cannes-2020-the-short-films-competition/

The post Wim Vanacker & Vassilis Kekatos – a two way relationship dating back to 2018 first appeared on Film Industry Watch.

NISI MASA, now called “European Short Pitch”, plays a significant role in promoting emerging professionals within the European film industry.

Over the years, concerns have been raised regarding potential alleged conflicts of interest, as highlighted in the example below. Additionally, it is important to consider the below information in the context of the numerous projects that are submitted annually for consideration – dozens of projects, if not more – which renders the below data a statistical impossibility, and indicates, allegedly, at favouritism and nepotism.

It is also important to recognize that the organization benefits from public funding provided by the European Union. This is not a private organization. It is funded with public tax payers money.

A series of potential conflicts of interest and favouritism within the NISI MASA organization, particularly involving an individual named Ben “Bekke” Vandendaele, the owner of Bekke Films and distribution company RADIATOR IP Sales. Here’s a breakdown to clarify the situation:

1. Repeated Selections of Ben Vandendaele’s Productions:
   • In the 2016 NISI MASA event, two films were produced by Ben Vandendaele, “Deer Boy” and “The Hoarder”.
   • In the 2017 NISI MASA event, two films produced by Ben Vandendaele, “Hunt” and “The Nipple Whisperer,” were selected.
   • In 2018, another film produced by Vandendaele’s company, “Vegeance Of The Vixens,” was selected, while he was working as a consultant in the organization.
   • In 2019, he again produced a film selected in the program “Creatures”, while again working as a consultant in the organization.
     
2. Multiple Roles in the Same Event:
   • In 2018, Ben Vandendaele played multiple roles:
     • He was a producer of a selected film.
     • He acted as a consultant to the organization.
     • He was involved in awarding a Distribution Award to a different project.
     • At the same time, he received an award for a film he produced.
       
3. Connections to Jury Members:
   • In 2017, Daria Vlasova, a jury member, was involved in a film where Bekke Films, owned by Vandendaele, was the agent.
   • Jury member Jérôme Nunes had connections to Ben Vandendaele.
   • In the same year, two films connected to jury member Marija Fridinovaitė were selected.
     
4. Potential Conflict of Interest with Jury Member Ola Jankowska:
   • Ben Vandendaele’s distribution company handled Ola Jankowska’s “Deer Boy,” while she was a jury member at the event.
     
5. Award Win Under Questionable Circumstances:
   • In 2018, “VENGEANCE OF THE VIXENS,” produced by Bekke Films (owned by Ben), won an award while Ben was also serving as a consultant.
6. Selection of a project produced by a fellow Cannes committee member:
   • GABRIEL Oren Gerner – Israel / France, produced by Melissa Malinbaum from Why Not Productions, which was later selected to the 2018 Official Selection in Cannes, where both Melissa Malinbaum & Wim Vanacker are members of the selection committee. In other words, a film produced by a fellow committee member, was selected to the festival.
     
7. Selection of film by a director / producer duo, later to be involved in a major controversy:
   
   • Notably, Wim Vanacker serves on the Selection Committee for the Cannes film festival. In 2017, the film “The Silence of the Dying Fish” by Vasilis Kekatos of Greece, produced by Eleni Kossyfidou of Blackbird Production, was selected for participation in NISI MASA. Then, in 2019, another film by Vasilis Kekatos, The Distance Between Us and the Sky, also produced by Eleni Kossyfidou, was not only selected for Cannes but also won the prestigious short Palme d’Or. However, this achievement is shadowed by the conflict of interest arising from the fact that one of the jury members, Panos H. Koutras, has a longstanding professional relationship with Eleni Kossyfidou – she has been his producer for over 10 years. Meaning the winning film was produced by the producer a the jury member, in an undisclosed conflict of interest.

The above situations raises concerns about conflicts of interest and favouritism, where the same individual or their connected entities are involved in multiple roles such as a producer, distributor, consultant, and award-giver or recipient, potentially influencing the selection and award processes. This can undermine the integrity of the competition and the fairness of the selection and awarding processes.

Please note that Wim Vanacker and Ben Vandendaele are both from Belgium.

Raw information:

NISI MASA	Short film jury 2017
	Antoneta Alamat Kusijanovic (Croatia)
	Aristotelis Maragkos (Greece)
	Daria Vlasova (Russia)		Thanked for help on this film for which Ben Vanderdaele/Bekke Films was co- producer and sales agent http://www.deerboy.pl/en
	Marijana Verhoef (Serbia)
	Marija Fridinovaitė (Lithuania)		Film by her previous? production company was selected. previousy worked with producer of another selected film
	Ola Jankowska (Poland)		Thanked for help on Deer Boy, for which Ben Vandendaele is sales agent
	Eoin Maher (Dublin)
	Franco Dipietro (Italy)
	Gábor Osváth (Hungary)		His own film was selected
	Tom Floyd (N Ireland)
	Wim Vanacker (Dublin)
	Thelyia Petraki (Greece)
	Jérôme Nunes (France)		Connected to Bekke Films. Got a “thanks” credit on “Joy Palace” which was co-produced by Bekke Films. https://www.facebook.com/BekkeFilms/posts/973830642665937 Bekke Films shared a Page — feeling excited with Jerome Nunes and 4 others at Vlaams Audiovisueel Fonds. May 15, 2016 · Brussels, Belgium ·
	Koen de Jongh (Netherlands)
	Kostas Tagalakis (Greece)
	Final selection short film 2017	Producer
	Aya– Samuel Sultana, Stephanie Sant (Malta/France)	Shadeena Entertainment Martin Bonnici (TLF decision maker 2012)
	Blood Group – Daan Bunnik (Netherlands)	Bunnik’s own Production company: PRPL
	Encountering Samir– Rand Beiruty (Jordan/Germany)	None	Won ESP grant from Interforum Berlin 2016: https://www.interfilm.de/en/festival2016/interforum/script-pitch.html
	Fluid Border– Joana Vogdt (Germany)	Fayal Omer, Miko Film (Hamburg) & Joana Vogdt (Berlin)
	Golden Minutes– Saulius Baradinskas, Titas Laucius (Lithuania)	Viktorija Seniut (Viktoria Films), Martynas Mickenas (Baltic Productions) Co-Producer: Mirta Puhlovski (Slavica Film)	JURY MEMBER Marija Fridinovaitė worked for Baltic Productions. She also worked for NISI MASA at the same time in other capacities:
	Hospitalities– Ronan Posnic (France)	None
	Hunt– Senad Šahmanovic, Claudia Bottino (Montenegro/Belgium)	Ben Vandendaele (Belgium), Senad Sahmanovic (Montenegro)
	Lazarus– Emanuele Milasi (Italy)	None
	Riga’s Lilac– Lizete Upite (Latvia)	Richard Van Den Boom Papy 3D (France)
	The Figurant– Kamila Dohnalova, Jan Vejnar (Czech Republic)	Kamila Dohnalová Silk Films
	The Nipple Whisperer– Jan Van Dyck (Belgium)	Ben Vandendaele Handelskaai Bekke Films
	The Shift– Luka Popadic (Switzerland, Serbia)	Ognjen Glavonic / Franziska Sonder Non Aligned Films, Serbia & Radar Film GmbH, Switzerland
	The Silence of the Dying Fish– Vasilis Kekatos (Greece)	Eleni Kossyfidou Blackbird Production	Read more about this relationship here.
	Tina and Sandy– Hani Damazet (Croatia)	Mirta Puhlovski slavica film
	Under the volcano there is always a man sleeping– Sameh Alaa (Egypt/Belgium)	Muhammad Taymour, Metropolis
	Vesela loves chocolate– Stefka Mancheva (Bulgaria	Vanya Rainova Portokal
work in progess pitch
	BANALITY Balazs Simonyi – Hungary	Gabor Osvath, Nora Alfoldi Filmfabriq	Gabor Osvath is on the 2017 jury
	BATHHOUSE Laurynas BareiĹĄa – Lithuania	Klementina Remeikaite (Afterschool)	Klementina previously worked with jury member Marija Fridinovaitė
	GABRIEL Oren Gerner – Israel / France	Melissa Malinbaum Why Not Productions
	I’LL PROBABLY NEVER SEE YOU AGAIN Mitja Mlakar – Slovenia	Mojca Pernat Filmfactory
	MALVA AND LESHY Marcin Karolewski – Poland	Olga Cyganiak Juice Ltd
	ESP Selection Committee 2018
	Emanuele Milasi (Italy)
	Eoin Maher (Ireland, UK)
	Jan Vejnar (Czech Republic)
	Jerome Nunes (France)
	Kostas Tagalakis (Greece)		Worked as location manager on film “Sto Spiti” in which Marisha Triantafyllidou was an actress
	Lizete Upite (Latvia)
	Marija Fridinovaite (Lithuania, France)
	Mitja Mlakar (Slovenia)
	Rand Beiruty (Jordan, Germany)
	Wim Vanacker (Belgium, France)
ESP 2018 CONSULTANTS	Ben Vandendaele
	David Verdurme
	ESP Final Selection 2018	Producer
	Beyond the River– Galaxy Spanos (Greece, Switzerland)	Maria Repousi Wholewave
	Deer– Istvan Hevesi (Hungary)	László Józsa, Speak Easy Project, Focus Fox
	Divine in his creatures– Katarina Stankovic (Serbia)	None
	Drawing Shadows– Maxence Vassilyevitch (France)	Les Films de la Capitaine – Laurine Pelassy (France)	Pelassy produced Memoria, a film selected in ESP 2016
	Elena– Birutė Sodeikaitė (Lithuania)	Agne Adomene, Artshot
	Gila Who Walks Alone– Yuval Shapira (Romania, Israel)	Ilya Marcus
	Home Sweet Home– Michalina Fabijanska, Agata Puszcz (Poland)	Katarzyna Fukacz, Tito Productions
	Maissa– Lea Triboulet (France, Spain)	None
	Pale Saint– Rhys Jones (UK, Ireland)	Alexander Polunin
	Rizi– Stella Kyriakopoulos, Marisha Triantafyllidou (Greece, Spain)	Fani Skartouli Either/Or Productions
	Sedra– Judita Gamulin (Croatia)	Rea Rajčić, Eclectica (Croatia)
	The Inheritance– Mihnea Rares Hantiu (Romania)	Oana Furdea
	the Rudeness of a German Lady– Silva Capin (Croatia)	Rea Rajčić, Eclectica (Croatia)
	Trampoline– Kristian Sjerbo (Denmark)	Maria Moller Kjeldgaard Production company: Manna Film (Denmark) Co-producer: Mélissa Malinbaum, Face Nord Films (France)
	Vegeance Of The Vixens– Leander Hanssen, Niels Snoek (Belgium)	Bekke Films
	When bodies fall from the sky– Yenni Lee (Norway	Ronny Fritsche Zentropa Sweden and Nina Barbosa (Barbosa Film)
Work in progress pitch	Eva -Xheni Alushi (Albania / Switzerland)	Noah Bohnert, LetterBox Collective (Switzerland)
	QUXUROBA – Teymur Gambarov (Azerbaijan / Russia)	Memuar Films, Fil Production,Etienne Ricaud
	Soy tu Papa – Garrick J Lauterbach (The Netherlands / Switzerland / Mexico)	Noah Bohnert,Letterbox Collective, Fidelio Films (Mexico)
	TINA & SENDY Hani Domazet (Croatia)	Mirta Puhlovski, Slavica Film	Film was in final selection NISI MASA 2017
	ESP Winners 2018
Best Pitch	THE INHERITANCE by Mihnea Rares Hantiu – Romania
	THE RUDENESS OF A GERMAN LADY by Silva Capin – Croatia
	VENGEANCE OF THE VIXENS by Leander Hanssen Jr – Belgium	Bekke films
The Aubagne International Film Festival award	ELENA by Biruté Sodeikaité – Lithuania
Gear award by 2K4K Film Rental Waclaw Maczynski	DIVINE IN HIS CREATURES by Katarina Stankovic – Serbia
Works-in-Progress Awards
Distribution Award – Radiator IP Sales – Ben Vandendaele (Belgium)	QUXUROBA by Teymur Gambarov – Azerbaijan/Russia
Image Award Poznanska Wytwornia Filmowa (Poznan Motion Pictures) – Anita Trzyna providing image postproduction (Poland)	QUXUROBA by Teymur Gambarov – Azerbaijan/Russia
Mastering award – The Fridge (Belgium)	QUXUROBA by Teymur Gambarov – Azerbaijan/Russia

Our organization is dedicated to unveiling the true decision-making processes and power dynamics within the film industry. The chart below provides a comprehensive summary of these elements. Our goal is to democratize access and provide talented, emerging young filmmakers with the opportunities they rightfully deserve to succeed in the industry.

Wim Vanacker Biography

Wim Vanacker is a Belgian filmmaker, producer, and script consultant known for his involvement in the short films The Naked Leading the Blind (2013), Endgame (2011), and The Mechanism of Love (2011). After an initial career in psychology, working with drug addiction in Dublin, he transitioned to filmmaking, studying at EICAR in Paris. His involvement in the European film industry deepened through his work with NISI MASA, where he became Head of the Script Department and managed the MEDIA-funded European Short Pitch initiative.

Vanacker has also been a member of the Selection Committee for the Official Short Film Competition at the Cannes Film Festival, a role that has sparked controversy due to allegations of conflicts of interest and favoritism during his tenure. He has maintained influential positions across various film industry platforms, including serving as a script consultant and programmer. Despite his achievements, his professional relationships and roles have drawn criticism in recent years, particularly in relation to questions about transparency and fairness within festival selection processes.

SOURCES:

Sources:

https://issuu.com/emiliep/docs/esp_book-projects_2016

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