The challenge has begun: the industry section of the US in Progress film festival is poised to top its “exceptionally successful” 2023 edition in November.

“US in Progress graduates are taking festivals by storm,” says AFF Artistic Director Ula Śniegowska.

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Presented as a work in progress, India Donaldson’s “Good One” – which won awards at the event last year – premiered at Sundance and the Cannes Directors’ Fortnight in May. Tyler Taormina’s “Christmas Eve at Miller’s Point” also screened at the French festival, reported by DiversityJessica Kiang called the book “a sweet, nostalgic love letter to suburban holiday rituals.”

Anu Vaila’s “We Strangers” and Cutter Hodierne’s “Cold Wallet” screened at SXSW, and “Familiar Touch” played in Venice. Monica Sorelle’s “Mountains” and Shane Atkinson’s “LaRoy, Texas” were selected for Tribeca, Georden West’s “Playland” for IFFR, while Richard Karpala and Gabriel Bienczycki’s “Falling Stars” and Lucy Kerr’s “Family Portrait” seduced Locarno programmers.

Despite the good results, or perhaps because of them, Śniegowska does not intend to change anything in the near future.

“It’s exactly the opposite. We will continue to focus on what is already working, only more intensively: on matchmaking between Polish post-production companies and American producers,” he notes.

“My goal is for US in Progress to act as a co-production hub for Polish-American projects. A place where people come to learn everything they need to know to work with Poland, get Polish funding, meet Polish producers and find Polish locations. And the best deals!”

Needless to say, Polish participants are also welcome. During previous editions, actress Lena Góra spoke about the making of the film “Roving Woman” with John Hawkes, which she co-wrote, while producer Ewa Puszczyńska (“Cold War”, “Zone of Interest”) discussed recent American collaborations such as Jesse Eisenberg’s “A Real Pain”. As reported by DiversityEisenberg applied for Polish citizenship.

“(Independent) American films, even with big premieres at Sundance, SXSW and Tribeca, have a hard time making an impact overseas, which really hurts their finances. For us at Vanishing Angle, the main goal was really to build a global audience, and US in Progress helps filmmakers bridge that gap,” adds Benjamin Wiessner, who produced “Cold Wallet.” “It makes a big difference in the films they choose, but it can really make their second and third films that much more possible with international support.”

As he notes, the experience gained in Poland can translate into “long-lasting bonds that extend beyond the programme from Cannes to Los Angeles to Warsaw”, giving rise to new films and collaborations.

“I’ve made lifelong friends through the show, including many with whom I’ve worked on new films. There will be many more in the future.”

US in Progress partners offer annual post-production service packages worth up to $10,000 each, from “leading Polish sound and image studios” Black Photon, Di Factory, EarWorks & Sound Travel, Fixafilm, Orka Studio, Platige Image and Soundflower Studio to XANF and Wrocławskie Studio Filmowe.

Despite recent changes at the Polish Film Institute, following the dismissal of previous president Radosław Śmigulski and the appointment of Karolina Rozwód, the institution will still allocate $50,000 to cover post-production costs at one of its partner companies.

“The Institute has just announced the nominations for its annual awards and we are proud to say that US in Progress is nominated in the ‘international promotion of films’ category. We hope that there will be more funds for production incentives so that Americans will find it worthwhile to cooperate with Poland on their projects,” notes Śniegowska.

“Our country offers great teams and talent, as well as cutting-edge technology. I would like to make it easier for U.S. producers to choose Poland over Hungary or the Czech Republic.”

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