«It is tough to compete with when you’re an independent filmmaker»

DocuShuk: Executive Director Pnina-Halfon Lang speaks on the CoPro Market spawning DocuShuk streaming platform - promoting, marketing, and creating collaborations for Israeli documentary and animation films across the globe.

(Translated from English by Google Gtranslate)

CoPro, the Israeli Content Marketing Foundation, and the first and only non-profit organization in Israel dedicated exclusively to marketing Israeli content have launched a premium platform for film professionals. Drawing from over 20 years of actively creating a turning point in the Israeli film industry, DocuShuk provides buyers and programmers with the tools to stay updated on the best Israeli projects and offer direct digital marketing opportunities for Israeli industry members. With it, the vibrant Israeli documentary industry and its latest films have moved firmly into the digital sphere, maintaining the renown and core values of the physical CoPro market – promote, market, and creates collaborations for Israeli documentary and animation films across the global market.

Modern Times Review spoke with CoPro and DocuShuk’s Executive Director Pnina-Halfon Lang on the platforms’ capabilities, goals, and the current state of the Israeli documentary film industry post-COVID. Pnina-Halfon Lang’s 15+ years of film industry experience has brought her everywhere, from the San Francisco Jewish Film Festival to distribution roles with Heymann Brothers Films, Orlando Films, and more. Now serving as Executive Director of CoPro, DocuShuk was a project initiated by Halfon Lang to continue her personal goals of promoting the Israeli film industry to the world.

I don’t think there was a very high volume of support or grants given to the industry at the beginning of the pandemic or during the first lockdowns.

Can you give us a general idea of where the industry in Israel is right now? What sort of support did you see the documentary and nonfiction industry getting from the government during the height of COVID? Were there resources being offered to you?
I don’t think there was a very high volume of support or grants given to the industry at the beginning of the pandemic or during the first lockdowns. There was some criticism of the way the government treated independent artists in general during this time, and the delays and uncertainty since, regarding payments to film funds and cultural . . .

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