During the Red Sea International Film Festival (Red Sea IFF) Universal Cinema Film & TV Journal’s Amir Ganjavie was able to interview Kasia Karwan the founder of the Paris-based Moonshot Company that began operating in 2016 primarily as a sales company but in the last year has expanded more into producing, forming partnerships with producers worldwide for international project development.
Amir Ganjavie, UniversalCinema Magazine (UM): What was your goal in coming to Red Sea IFF?
Kasia Karwan (KK): I’m on the lookout for co-producers, investors, funding, and sales agents. Moonshot is involved in diverse projects, spanning films, series, children’s animation, and documentary series. My goal in Saudi Arabia is to explore collaborations with an open mind and curiosity, hoping to unlock new opportunities.
I’m also keen on exploring the dynamic development of this region. While we often hear about MENA and Saudi Arabia, it’s essential to move beyond clichés and generic information. Cinema has a role in deconstructing myths and immersing oneself in the novelty of a place.
(UM): What kind of films are you particularly interested in?
(KK): Coming from an arthouse cinema background, I’m focused on finding unique voices capable of transcending borders. I’m interested in talent and projects that embody the power to communicate crucial stories that resonate. Having partially grown in the TV industry, I bring a diverse perspective to my work. Additionally, my focus extends to genre cinema, as I actively seek to acquire such films for Poland, collaborating closely with the Polish distributor Velvet Spoon.
(UM): You are a Pole based in Paris and in Montreal, and your company is in France, that France has a very special place in international arthouse, there is a big market for international movies, I’m just curious, do you find that it is similar in Montreal?
(KK): Well, this is a little bit of what I am exploring. In France, cinema plays a unique role as a cultural exception, and there is a strong sense of collaboration with other countries, along with a commitment to defending diverse cinematic voices. This has granted French Cinema a distinctive and global position within the industry. Canada, with its openness to over 60 treaties supporting co-productions and diverse voices, has its own unique strengths and characteristics.
In Canada there is this very strong sense of defense for minorities, rights of minorities, like LGBT, female voices, etc. In Canada, maybe the paradigm is different because it’s a country that has been created by immigration and by the co-habitation of different cultures to a bigger extent and maybe it’s a little bit more peaceful, a little bit more inclusive.
(UM): If a filmmaker wants to get in touch with your company, how can they reach you?
(KK): Participating in places like here (Red Sea IFF), in markets, and at festivals helps because people are just easy to meet, we have a common course. It’s always a good thing to try to meet the person in real life first.
(UM): Can you share any realities about challenges in your work, like in securing a project or stuff like that?
(KK): The current state of the market presents significant challenges for many in the industry. Distributors, for instance, have become pickier, opting for projects perceived as safer bets with potential commercial success. The aftermath of two and a half years of the pandemic, coupled with six months of strikes, has had enduring repercussions. Traditional cinema attendance is not there and streaming platforms have ridden a roller coaster of success. The film industry is struggling with the weighty consequences of these shifts, consequences that won’t dissipate overnight. It’s a long-term process, demanding the exploration of innovative ways to captivate audiences and attract those willing to invest in compelling narratives. The challenge is substantial—to approach cinema from a marketing perspective, considering it as a means to construct meaningful bridges, requires careful deliberation on what those bridges are meant to be and how they should be constructed.
(UM): How did the arrival of streamers change the life of U.S. and International distribution? Does it make it easier? Does it make it more challenging?
(KK): The influence of streaming services has been dynamic; there was a time when they were substantial buyers and a natural outlet, even for audacious arthouse films. However, it appears those dynamics have shifted. Now the industry has to develop more organic distribution methods, a balance that would allow coexistence with the streamers without disrupting traditional cinema exhibition. I think it’s not going to be solved in a couple of weeks. It’s a long-term process demanding careful navigation.
(UM): You were working mainly in international distribution but now you are more into producing work, what is the main difference you feel working these different paths?
(KK): The pace of the work is quite different. When I used to work in sales companies, basically the organization was from market to market and you were always on the trip. It’s a very hectic kind of work, very demanding and very intense, you have to have your eyes around your head all the time.
What I really enjoy about working in production is that it lets me approach my work in a more thoughtful way. The in-depth nature of my work is especially rewarding. Plus, I’m involved in the projects from the very beginning, which makes the whole experience more meaningful and purposeful for me.
(UM): Is there anything else you’d like to add?
(KK): There’s certainly lots to add to this! But Let me say this: In these adventurous times, innovation, courage and creativity are the keys to continue unlocking new possibilities.
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