For Switzerland’s SRG SSR , the primary objective is maintaining co-producers “happy,” said Gregory Catella at Locarno.

“We benefit from this success and visibility. Our financial contribution isn’t substantial – for us, it’s more about prestige. The films and the minority co-productions that come to us aim for global recognition at the festivals.”

Speaking during the Switzerland and Joint Funding Opportunities for Independent Films panel, Catella encouraged Locarno Pro’s participants to apply for the so-called Audiovisual Pact.

“I know you are here to talk money, so let’s talk money,” he said, revealing the Pact now has 34 million CHF ($39.2 million) to offer: a number that went up by 1.5 million.

“Our goal with this enhancement is not to create more movies or shows but to improve the financial support for our joint productions. Costs are on the rise,” he pointed out. While the Audiovisual Pact – which provides up to 10 million CHF ($11.5 million) for feature films and 2 million ($2.3 million) for animation – focuses on Swiss co-productions, it’s possible to “join in” as an international co-producer. Now, even when developing documentary series for both television and streaming platforms.

However, potential applicants should initially reach out to the Federal Office of Culture, which offers a selective fund and an automatic fund based on previous films' theatrical releases and festival participation. The Film Investment Refund Switzerland program is also available, though there are limitations.

“We can only engage in co-productions with countries that have a treaty with us. We can participate in other joint productions if they fall under the European Convention on co-production, but we cannot co-produce with nations that lack a treaty,” explained Patrizia Pesko.

Separate agreements are in place with Austria and Germany, Canada, France, the French Community of Belgium, Italy, Luxemburg, and Mexico.

“You are free to collaborate with Japan or China, but it cannot be recognized as an official Swiss co-production by the state. And without official co-production status, you lose certain rights. For instance, your film won't be eligible to participate in festivals as an official Swiss co-production,” added Pesko.

Media Desk Suisse offers greater flexibility.

“It is possible that you have a co-production agreement with Switzerland based on an existing agreement with a third party. For example, if you are from Kazakhstan and have a co-production agreement with France, and France has a co-production agreement with Switzerland, that creates a triangle of co-producers,” explained Corinna Marschall.

“We only provide development funding, not production support. This applies to projects with Swiss majority participation, as well as projects with Swiss minority co-development. Our annual development budget is 1.2 million CHF ($1.4 million), covering all genres.”

With these funds, Media Desk Suisse supports approximately 23 projects annually. The support typically arrives at the end of the development phase and the nationality of the author is not a determining factor. There is also no requirement for the project to have a theatrical release.

The Swiss production company, which “must have a proven track record,” submits the application. Foreign experts evaluate the applications.

“This funding can be particularly helpful if you need extra time and resources for extensive research, such as acquiring archive materials, developing a marketing strategy, or creating a teaser.”

Marschall also mentioned the Minority Swiss Co-Development Funding program, which offers bonus points for children's films and animation, and for Swiss (co-) authors. This program provides non-recoupable grants of up to 50,000 CHF ($57,670), covering up to 70% of the Swiss minority partner's expenses. Applications must be submitted by a Swiss minority producer at least eight months before the start of filming.

"It's crucial that these projects have a connection to Switzerland through the subject matter, crew, or cast. We are focused on projects with high artistic and production quality that can appeal to a global audience," she stated.

"Audience success is important, but the primary focus is whether the film has the potential for international distribution – not just at film festivals. Does it have that potential?”

Nations with limited production capabilities should consider Visions Sud Est, established in 2005. Since then, it has provided support to over 200 projects, including "All We Imagine as Light," "Pepe," and "Intercepted.”

"The goal is to support films for theatrical release," explained Madeline Robert. In exchange for the support, all Swiss rights are granted to the fund. The director must be from one of the eligible countries, as must the applicant production company. Filming must occur in one of the eligible countries and utilize the local language.

"We are not working with, for example, a US filmmaker from the diaspora who is shooting a film in Tanzania. That's not our focus," she said.

No Swiss producer on board or European partner is required. Visions Sud Est provides funding for films during production (awarding a maximum of 50,000 CHF ($57,670) for a fiction film) and post-production stages – with a maximum of 20,000 CHF ($23,000). The selection process spans 16 weeks.

Robert explained, “It’s a very competitive fund, so it’s crucial to avoid submitting too early and ensure the project is ready for production,” she said, emphasizing the significance of “the quality and originality of the project and supporting the local film industry.”

“For us, it’s essential to get involved at the appropriate stage [of the project]. ‘Agora’ received support during the post-production phase. The director stated: ‘Now I can finalize the film and showcase it at a prestigious festival,” she added. The film will be screened at the festival later this week.

Later, Robert told Variety : “The most frequent error is applying too early. Since applications for each support stage are limited to one per project, it’s vital to apply when the script is complete – at the production phase – and when a preliminary edit of the entire film is finished – at the post-production phase.”

However, such a positive outcome isn’t always a requirement, observed Tenzin Roder of Migros Culture Percentage Story Lab.

“We aim to assist in the filmmaking process, and, as we recognize, it’s not realistic for every project to be realized.”

The lab exists to support all audiovisual narrative formats in “very early” stages of development, including cross-media projects and games.

Speaking to Variety following the panel discussion, Roder stressed the significance of anonymous jury participation and the provision of coaching and mentorship opportunities.

“In a small nation like Switzerland, where industry figures are relatively well-known, it’s essential to ensure that diverse viewpoints are heard. The capability to tell stories, whether through audiovisual media or literature, represents a form of involvement and influence. We believe it is vital to approach subjects from a range of perspectives,” she explained.

“We offer personalized support, which proves particularly valuable for emerging talents who are new to the industry. The obstacles in filmmaking are significant, and access is challenging. With our coaching offerings, we aim to contribute to the enhancement and professionalization of these new voices.”

She added: “It’s essential to create environments that foster experimentation and exploration, particularly in this competitive landscape. We create a space where narratives can emerge and take shape.”