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The Future Looks Bright for Dutch Cinema, but it Won’t Come Without Its Challenges
The Dutch film faces serious challenges but shows tremendous promise with international co-productions and a rising domestic box office market share.
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The Dutch film industry, often overshadowed by its European counterparts, finds itself at a potential turning point. Industry insiders are vocal about the challenges and opportunities that lie ahead, painting a picture of an industry at a crossroads.
In recent months, Dutch titles have impressed on the global stage. Johan Grimonprez’s Netherlands-Belgium-France co-production “Soundtrack to a Coup d’Etat” is currently nominated for the best documentary feature Oscar, and two Dutch shorts – Victoria Warmerdam’s live-action sci-fi story “I’m Not a Robot” and Nina Gantz’s stop-motion gem “Wander to Wonder” – also scored nominations. Halina Reijn’s “Babygirl” had a fantastic festival run last year, earning Reijn a Directors to Watch Award at Palm Springs, and is currently in theaters around the world.
‘Soundtrack to a Coup d’Etat’While the cinema landscape in the Netherlands is loaded with promise and potential, the region also faces several significant challenges in developing an industry on par with other European territories of similar size and reputation.
Popular on VarietyPublic Support
According to Els Vandevorst at Isabella Films – which has produced films from big-name directors such as Lars von Trier, Alexander Sokurov and Thomas Vinterberg – the Netherlands has plenty of skilled artists but isn’t doing enough to develop them. “Unfortunately, the talent isn’t really stimulated in the Netherlands in the right way, and there is a definite lack of ambition, focus and perseverance,” she says.
In 2023, the last year for which full box office data is available, 52 feature films and documentaries that made it into cinemas were made with support from the government’s Netherlands Film Fund. Of those, 22 fiction features and 17 documentaries were backed through selective schemes, with another 11 fiction features and two documentaries backed by the Film Production Incentive scheme.
While those numbers aren’t bad when compared with similar-sized European markets, Vandevorst says there is an issue in how support is distributed. “A major factor of this derives from within the Dutch film financing structure, as well as the insufficient knowledge of content, financing and production among the decision-makers within our financing structure,” she elaborates.
It’s also worth noting that while public support for Dutch productions has been on the rise over the last several years, much of it has gone to TV projects. In 2023, Dutch audiovisual production volume rose from €207.1 million ($215 million) to €229.5 million ($238 million), an increase of 11%. However, a significant portion of that increase can be attributed to a rise in high-end series production, which went from €61.9 million ($64 million) to €79.9 million ($83 million), an uptick of 29%.
International Co-Production
Given the shortcomings of local support structures, indie Dutch producers – like those in most European countries – regularly turn to international co-production to facilitate local ambition and talent. Erik Glijnis of Lemming Film, producer of 2024 Toronto standout “Mr. K” and David Verbeek’s upcoming “The Wolf, The Fox and The Leopard,” underscores the importance of these types of arrangements, explaining, “All my films are international co-productions. It is getting impossible for ambitious and challenging productions to get financed within one country.”
‘Mr. K’ Courtesy of Doppelganger ReleasingGlijnis believes that these collaborations are essential not just for financial reasons but also for sharing experiences and responsibilities. “For me, every co-production teaches me many new things that I can bring to the table to realize my ‘own’ films,” he says. This collaborative spirit is vital for the Dutch industry to compete in a global market.
Frank Hoeve of Baldr Film, co-producer of the Oscar-nominated “Soundtrack to a Coup d’Etat,” shares a similar perspective but says the situation is not unique to the Netherlands: “International co-productions are inevitable for every production by independent production companies these days, whether it is outside or inside Europe.” Hoeve emphasizes the need for the right partners to create better films in a more competitive market. “Producing is becoming more and more challenging, so it is essential to have [the right] partners,” he says.
Marleen Slot of Viking Film highlights further benefits of working on an international level: “It enlarges our worlds and gives opportunities to be connected to different stories from countries with other cultures than ours.” Slot’s involvement in co-productions like Sophie Hyde’s “Jimpa,” starring Olivia Colman and John Lithgow, showcases the diverse opportunities available to Dutch filmmakers. “It was a huge opportunity for many of us to be part of such a big film with such an important story,” Slot says of the project.
‘Jimpa’ Courtesy of Sundance InstituteDeveloping a Local Audience
Another significant problem facing Dutch film companies is a general disinterest among local audiences for films from their own country. While the Dutch box office saw a significant post-pandemic recovery in 2023, it didn’t translate for local titles. Total cinema attendance increased by 26% from 24.8 million to 31.3 million visitors compared with the previous year, but fewer Dutch films were released in cinemas.
Of the record 502 films released in the Netherlands in 2023, only 77 were Dutch. That 15.3% market share gives cause for alarm. In 2022, Dutch films had a market share of 16.2%, which was down from 2021, when the number was 23.1%. It’s a trend that many in the Netherlands are anxious to reverse.
Although final numbers for last year aren’t available yet, industry insiders say there is a sense of optimism that things are turning around. “Currently, the market share of Dutch films in the Dutch cinemas is increasing [2023-2024], while in most other European countries, the domestic share is decreasing,” Glijnis points out. “I am confident that there is a Dutch wave on its way,” he adds.
Slot agrees and says that the Netherlands is on par with other similar markets. “In Belgium in 2023, the market share was 11.7% and in Sweden 17.1%,” she points out. “In a lot of the European countries, there was a decrease in the market share from 2023 to 2024, when we really saw change and improvement in our market share.”
The success of films like “Alpha,” a Dutch-Swiss-Slovenian co-production by Jan-Willem van Ewijk, which premiered in Venice and won the prestigious Label Europa Cinemas Award, is a testament to this growing momentum. It will be released in the Netherlands during IFFR in more than 45 cinemas. Such achievements reflect the industry’s potential to produce high-quality films that resonate with both local and international audiences, as “Babygirl” did last year.
‘Alpha’ Credit: Rotterdam Film FestivalFilm Chain Synergy
Ido Abram of the Nederlands Film Festival believes that cooperation across the film chain is crucial to increasing the market share of Dutch films. “Everyone in the film chain needs to cooperate to make this work: give films a longer theatrical life, a more prominent place in the cinemas or on television and streamers, and more budget for individual as well as collective promotion,” Abram suggests. This collaborative approach is seen as essential for the industry’s growth.
Nathalie Mierop, director of See NL, the Netherlands’ national promotion agency for Dutch cinema, emphasizes the importance of promoting the country’s films internationally, an issue that many smaller European territories struggle with. “Our main objective is to get as many Dutch films screened for international audiences,” Mierop states. This focus on international exposure is crucial for the industry’s sustainability, given the small size of the Dutch domestic market. “The average person goes to the cinema not even twice a year, and when they go to the cinema, most of the time they choose the big American blockbuster,” Mierop explains.
Looking to the Future
Dutch cinema finds itself at a potential sliding doors moment in 2025. While significant challenges surely exist, there is also a sense of optimism about the country’s tremendous potential. As Vandevorst aptly puts it, “We simply need to make better films. And that starts with making better choices from the start—a clear decision to develop and realize a certain film and to stay true to all that this needs to flourish.”
With the right support and a focus on quality and collaboration, the Dutch film industry has the potential to thrive on both the local and international stages.
