Film in Europe is booming, but the gongs and glamour only tell one side of the story | Moritz Pfeifer

The Berlinale opens today to an industry thriving on EU funds. But where is the money going - and are audiences benefiting too?

European film is booming. Really. In spite of the disruption caused by the pandemic to production and release schedules, film productions on the continent have increased by more than 50% over the past decade. Some of these new films will premiere at the Berlin film festival, which opens today, or Cannes and Venice later in the year. Those who don't manage to get a slot at the big three" can still hope for red-carpet treatment: the submission platform FilmFreeway records more than 600 new European film festivals for this year alone.

There is a less shiny flipside to the golden decade of European film, however. Since 2011, the growth in film productions has not been matched by a similar growth in audiences, meaning fewer moviegoers per film. In economics, increasing choices through product differentiation - offering more options to cater to diverse tastes - usually boosts demand. But for European cinema, the increase in production has not translated into more ticket sales. The French director Jacques Audiard's Emilia Perez feels like a symptomatic film in this regard, irrespective of the recent controversy around its star's social media comments. It was a jury-prize winner at Cannes, hyped as an arthouse-to-mainstream crossover hit with a triumphant night at the European film awards - and has mostly left cinemagoers cold.

Moritz Pfeifer is a film critic and research fellow at Leipzig University's Institute of Economic Policy