Barbora Struss on how MIDPOINT Institute helps CEE producers make it big
Barbora Struss, co-founder and CEO of MIDPOINT Institute, and Yako Molhov met during the Heart of Europe TV Festival & Forum in Warsaw and discussed the latest MIDPOINT initiatives and success stories.
Barbora Struss, co-founder and CEO of MIDPOINT Institute
Barbora, you are the co-founder and CEO of MIDPOINT Institute, a Prague-based international audiovisual training and networking institution funded by Creative Europe, the Czech Film Fund and the Czech Ministry of Culture. What are the main activities of the Institute?
Our mission and primary focus is to provide training in the development of fiction films and series, talent skills development, and networking. We also assist projects in the post-production phase through our Editing Room program. MIDPOINT Institute aims to help both emerging and established professionals advance their projects, refine their craft, and connect with industry networks to ensure they and their work reaches its full potential.
How many programs do you currently have and what areas do they cover?
We currently run more than 10 programs, strategically divided between film and series.
On the film side, we have:
MIDPOINT Feature Launch - supports teams of writers, producers and directors working on the director´s first feature-length fiction films.
MIDPOINT Shorts – also supporting creative teams and dedicated to short film projects in development.
MIDPOINT Editing Room - a creative lab for directors and editors in the post-production phase of their films.
For series, we run several programs including:
MIDPOINT Series Launch – supports creative teams in the development of drama series.
MIDPOINT Writers’ Room - designed to train the process of collaborative writing of series.
Cold Open - focuses on discovering and mentoring independent producers in the TV industry.
Focus Young Adults – new program supporting development of series focused on young adult content.
Additionally, we offer some specialized programs such as Focus Queer, an initiative aimed at supporting LGBTQ+ film stories.
Beyond project development, we also offer skills development for aspiring script consultants and development executives within the Feature and Series Launch programs.
We also provide on-demand workshops in script and skills development for private companies as well as Central and Eastern European film and audiovisual institutes.
Do you focus mainly on talent and projects from CEE or also from other regions?
With our main programs, Feature Launch and Series Launch, we primarily focus on talents from the CEE region. However, because co-productions often involve production companies outside the region, we are NOT exclusive. While our focus remains on CEE, we also welcome talents and projects from outside the region, provided they have connections—particularly in terms of co-production—to the CEE. Our other programs are fully international.
You are working with talent from different countries in the region, also cooperating with different institutions, educational organizations, festivals, producers, broadcasters. What are your thoughts about the level of creativity in the region when it comes to fiction projects and what can be improved in terms of education of young filmmakers on a state level?
The level of creativity in the region is undeniably high. However, what can be improved is the understanding of storytelling and the feasibility of being able to write stories that are both compelling and realistic within the context of production capabilities. Many talents have incredible ideas, but they sometimes lack the practical skills to shape those ideas into projects that are viable for production or that resonate with audiences. They also need to learn to know for whom and why are they creating the stories – speaking especially about film.
What could help is a stronger integration of practical, industry-focused education —programs that bring filmmakers not only the art of storytelling but also the business and collaborative and other soft skills needed to navigate the realities of the industry. This includes better exposure to script development, working with producers, and understanding co-productions. With more support in these areas, filmmakers in the region can translate their creative potential into projects.
During your panel at the Heart of Europe TV Festival & Forum in Warsaw you presented the MIDPOINT Connections database. What is the main purpose of the database and when will you launch it?
The purpose of the MIDPOINT Connections database is simple: our mission is not only to train European writing talent but also to help promote them at a national and international level. We are offering writers and script consultants the chance to create comprehensive portfolios and connecting them with the industry. This way, industry professionals can easily find writers who have received the 'stamp of quality' from MIDPOINT. Currently we are in the process of filling the online database, with plans to launch it officially at Berlinale 2025. In the future will continue working and promoting the database at trade events, markets, festivals, and through social media in collaboration with audiovisual institutions and partners.
What are the main challenges for the CEE fiction market nowadays and how are you helping the different players tackle those challenges? And what are the opportunities?
The main challenges for the CEE fiction market today include issues not only around funding, production and distribution, but also standing out in an increasingly saturated global market. Securing financial backing remains difficult, particularly in smaller markets with limited state and private support. Moreover, breaking into international distribution is tough, which can limit the visibility of CEE projects beyond the region.
Another key challenge is crafting strong stories that travel—projects with a universal appeal or a clear target audience, even if it’s a niche target group. Many authors need more experience in defining who their work is for and how to connect with those audiences.
We help tackle these challenges by offering comprehensive training that develops not only the creative side but also the business skills necessary to navigate international co-productions and funding strategies. We also provide platforms where creators can connect with producers, distributors, and streamers to gain a broader understanding of the market and audience demands.
In terms of opportunities, the interest from international streamers and production companies in local CEE content is an opening. Global platforms and other regional streamers are looking for original. At MIDPOINT, we prepare talents to seize these opportunities by helping them craft strong, market-ready projects and equipping them with the skills to define and reach their target audiences—whether broad or niche—thus positioning them to thrive in a competitive market.
What are the main prerequisites for a fiction production from CEE to get good financing and get produced?
The key prerequisites for a fiction production from the CEE region to secure financing are a strong script, a comprehensive creative team, and international co-production potential. Projects need a clear target audience and a feasible budget to attract. It’s also crucial to have a solid plan for distribution and marketability. At MIDPOINT, we help filmmakers meet these criteria by refining their projects, strengthening production strategies, and connecting them with industry professionals to secure financing and move forward with production.
Good storytelling and presenting engaging stories are crucial for scripted projects. Are there any trends you have noticed in the past years when it comes to what stories are being told by CEE filmmakers?
MIDPOINT Institute has been scouting for projects with a strong potential for fifteen years. I feel now a significant generational shift towards more contemporary issues such as gender and sexuality, growing up and an overall increase in diversity, both genre wise and thematically. It could be the exact wind of change. Still, from Ukraine we feel there will be strong stories coming reflecting the recent conflicts.
Co-productions have been a hot topic not only in CEE but also on the international TV and film market, especially now when getting the right financing is hard. From your extensive experience, what are the necessary elements of a successful CEE co-production, does the story need to be cross-cultural?
No, the story doesn’t have to be cross-cultural. The key is a strong story that finds a balance between its local roots and broader appeal. It’s about shaping the project to retain its authenticity while maximizing its potential in the international market.
Do you actively work with international and local streamers who have started investing into local fiction, especially in some of the bigger CEE markets?
Yes, last year, we worked with Netflix, which was a valuable partnership as they expand their reach into the region. Recently we are collaborating with Banijay, a global leader in content production and distribution.
What are some of the most successful MIDPOINT Institute-supported projects in terms of TV series? How many new projects are expected to be finalized in 2024 and 2025?
Some of our flagship projects in the series space have made an impact internationally, especially Operation Sabre and Kalamaja Blues, which both saw significant achievements in 2024.
Operation Sabre, developed in MIDPOINT’s Series Launch 2021, was released this year and made a remarkable debut. It premiered and won an award at Cannesseries 2024 and the Serial Killer festival, which brought it substantial visibility. It’s now set for distribution by Beta Film on HBO Europe, as well as in Germany, France, Spain, and ten other territories.
Another standout is Kalamaja Blues, initially developed under the title Sloppy in MIDPOINT’s Smash Cut 2022. It premiered as a short-form series commissioned by Yle and has been a festival favorite, competing at Seriencamp and Serial Killer. Due to its popularity, it’s currently in production for a second season.
Looking at other notable series from previous years, I’d mention Hausen and Fractures.
Beyond these successes, our alumni continue to make waves. For example, the HBO original Víťaz is available on SkyShowtime, and we’re looking forward to Clean, a short film by alumna Aleksandra Chmielewska, which was developed in this year’s Smash Cut. Aleksandra’s previous series, Glitter, premiered as a Polish Netflix original, resonating well with audiences in Poland.
We anticipate finalizing approximately 8 film and series projects in 2024-2025.
You were a member of the Feature Film jury at this year's Heart of Europe TV Festival & Forum. What were the main criteria for you when evaluating the different pitches and what were your main impressions from the projects presented?
We looked for clear, strong written materials (synopsis and bios) and financing aspects and well-structured pitches. Most importantly, we focused on the project's overall coherence and its potential to succeed.
Our mission and primary focus is to provide training in the development of fiction films and series, talent skills development, and networking. We also assist projects in the post-production phase through our Editing Room program. MIDPOINT Institute aims to help both emerging and established professionals advance their projects, refine their craft, and connect with industry networks to ensure they and their work reaches its full potential.
How many programs do you currently have and what areas do they cover?
We currently run more than 10 programs, strategically divided between film and series.
On the film side, we have:
MIDPOINT Feature Launch - supports teams of writers, producers and directors working on the director´s first feature-length fiction films.
MIDPOINT Shorts – also supporting creative teams and dedicated to short film projects in development.
MIDPOINT Editing Room - a creative lab for directors and editors in the post-production phase of their films.
For series, we run several programs including:
MIDPOINT Series Launch – supports creative teams in the development of drama series.
MIDPOINT Writers’ Room - designed to train the process of collaborative writing of series.
Cold Open - focuses on discovering and mentoring independent producers in the TV industry.
Focus Young Adults – new program supporting development of series focused on young adult content.
Additionally, we offer some specialized programs such as Focus Queer, an initiative aimed at supporting LGBTQ+ film stories.
Beyond project development, we also offer skills development for aspiring script consultants and development executives within the Feature and Series Launch programs.
We also provide on-demand workshops in script and skills development for private companies as well as Central and Eastern European film and audiovisual institutes.
Do you focus mainly on talent and projects from CEE or also from other regions?
With our main programs, Feature Launch and Series Launch, we primarily focus on talents from the CEE region. However, because co-productions often involve production companies outside the region, we are NOT exclusive. While our focus remains on CEE, we also welcome talents and projects from outside the region, provided they have connections—particularly in terms of co-production—to the CEE. Our other programs are fully international.
You are working with talent from different countries in the region, also cooperating with different institutions, educational organizations, festivals, producers, broadcasters. What are your thoughts about the level of creativity in the region when it comes to fiction projects and what can be improved in terms of education of young filmmakers on a state level?
The level of creativity in the region is undeniably high. However, what can be improved is the understanding of storytelling and the feasibility of being able to write stories that are both compelling and realistic within the context of production capabilities. Many talents have incredible ideas, but they sometimes lack the practical skills to shape those ideas into projects that are viable for production or that resonate with audiences. They also need to learn to know for whom and why are they creating the stories – speaking especially about film.
What could help is a stronger integration of practical, industry-focused education —programs that bring filmmakers not only the art of storytelling but also the business and collaborative and other soft skills needed to navigate the realities of the industry. This includes better exposure to script development, working with producers, and understanding co-productions. With more support in these areas, filmmakers in the region can translate their creative potential into projects.
During your panel at the Heart of Europe TV Festival & Forum in Warsaw you presented the MIDPOINT Connections database. What is the main purpose of the database and when will you launch it?
The purpose of the MIDPOINT Connections database is simple: our mission is not only to train European writing talent but also to help promote them at a national and international level. We are offering writers and script consultants the chance to create comprehensive portfolios and connecting them with the industry. This way, industry professionals can easily find writers who have received the 'stamp of quality' from MIDPOINT. Currently we are in the process of filling the online database, with plans to launch it officially at Berlinale 2025. In the future will continue working and promoting the database at trade events, markets, festivals, and through social media in collaboration with audiovisual institutions and partners.
What are the main challenges for the CEE fiction market nowadays and how are you helping the different players tackle those challenges? And what are the opportunities?
The main challenges for the CEE fiction market today include issues not only around funding, production and distribution, but also standing out in an increasingly saturated global market. Securing financial backing remains difficult, particularly in smaller markets with limited state and private support. Moreover, breaking into international distribution is tough, which can limit the visibility of CEE projects beyond the region.
Another key challenge is crafting strong stories that travel—projects with a universal appeal or a clear target audience, even if it’s a niche target group. Many authors need more experience in defining who their work is for and how to connect with those audiences.
We help tackle these challenges by offering comprehensive training that develops not only the creative side but also the business skills necessary to navigate international co-productions and funding strategies. We also provide platforms where creators can connect with producers, distributors, and streamers to gain a broader understanding of the market and audience demands.
In terms of opportunities, the interest from international streamers and production companies in local CEE content is an opening. Global platforms and other regional streamers are looking for original. At MIDPOINT, we prepare talents to seize these opportunities by helping them craft strong, market-ready projects and equipping them with the skills to define and reach their target audiences—whether broad or niche—thus positioning them to thrive in a competitive market.
What are the main prerequisites for a fiction production from CEE to get good financing and get produced?
The key prerequisites for a fiction production from the CEE region to secure financing are a strong script, a comprehensive creative team, and international co-production potential. Projects need a clear target audience and a feasible budget to attract. It’s also crucial to have a solid plan for distribution and marketability. At MIDPOINT, we help filmmakers meet these criteria by refining their projects, strengthening production strategies, and connecting them with industry professionals to secure financing and move forward with production.
Good storytelling and presenting engaging stories are crucial for scripted projects. Are there any trends you have noticed in the past years when it comes to what stories are being told by CEE filmmakers?
MIDPOINT Institute has been scouting for projects with a strong potential for fifteen years. I feel now a significant generational shift towards more contemporary issues such as gender and sexuality, growing up and an overall increase in diversity, both genre wise and thematically. It could be the exact wind of change. Still, from Ukraine we feel there will be strong stories coming reflecting the recent conflicts.
Co-productions have been a hot topic not only in CEE but also on the international TV and film market, especially now when getting the right financing is hard. From your extensive experience, what are the necessary elements of a successful CEE co-production, does the story need to be cross-cultural?
No, the story doesn’t have to be cross-cultural. The key is a strong story that finds a balance between its local roots and broader appeal. It’s about shaping the project to retain its authenticity while maximizing its potential in the international market.
Do you actively work with international and local streamers who have started investing into local fiction, especially in some of the bigger CEE markets?
Yes, last year, we worked with Netflix, which was a valuable partnership as they expand their reach into the region. Recently we are collaborating with Banijay, a global leader in content production and distribution.
What are some of the most successful MIDPOINT Institute-supported projects in terms of TV series? How many new projects are expected to be finalized in 2024 and 2025?
Some of our flagship projects in the series space have made an impact internationally, especially Operation Sabre and Kalamaja Blues, which both saw significant achievements in 2024.
Operation Sabre, developed in MIDPOINT’s Series Launch 2021, was released this year and made a remarkable debut. It premiered and won an award at Cannesseries 2024 and the Serial Killer festival, which brought it substantial visibility. It’s now set for distribution by Beta Film on HBO Europe, as well as in Germany, France, Spain, and ten other territories.
Another standout is Kalamaja Blues, initially developed under the title Sloppy in MIDPOINT’s Smash Cut 2022. It premiered as a short-form series commissioned by Yle and has been a festival favorite, competing at Seriencamp and Serial Killer. Due to its popularity, it’s currently in production for a second season.
Looking at other notable series from previous years, I’d mention Hausen and Fractures.
Beyond these successes, our alumni continue to make waves. For example, the HBO original Víťaz is available on SkyShowtime, and we’re looking forward to Clean, a short film by alumna Aleksandra Chmielewska, which was developed in this year’s Smash Cut. Aleksandra’s previous series, Glitter, premiered as a Polish Netflix original, resonating well with audiences in Poland.
We anticipate finalizing approximately 8 film and series projects in 2024-2025.
You were a member of the Feature Film jury at this year's Heart of Europe TV Festival & Forum. What were the main criteria for you when evaluating the different pitches and what were your main impressions from the projects presented?
We looked for clear, strong written materials (synopsis and bios) and financing aspects and well-structured pitches. Most importantly, we focused on the project's overall coherence and its potential to succeed.
