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The Federal Council and Parliament want streaming services, among other things, to invest more in Swiss films. The referendum committee fears that this will increase subscription prices for consumers.
“In the country where people pay for their streaming subscription, part of this money should also be invested in local films,” said Federal Councilor Alain Berset in the “Arena” on Friday evening. With the new film law, the Minister of Culture promised a fair system in which actors at home and abroad would have to invest equally in Swiss films.
SMEs would also benefit, said Andrea Gmür, Central Councilor, on the show. When the streaming providers invest in Swiss productions and shoot on site, they also support the local gastronomy and hotel industry.
On the other hand, Hans-Ulrich Bigler, Director of the Swiss Trade Association, replied that this “state paternalism” was unacceptable. In addition to the streaming services, private television stations would also be forced to pay a fee, which would threaten them with job cuts.
This is already the case abroad
Streaming services such as Netflix, Disney+ or Amazon generate sales of over CHF 300 million per year in Switzerland. Most of this money goes abroad. The Federal Council and Parliament are now demanding that 4 percent of the sales they generate in Switzerland go to Swiss films.
This has long been common practice in many other European countries. “At four percent, we are still very modest compared to Italy or France,” said Berset. In Europe, Switzerland would thus become the “top tax country”, emphasized Matthias Müller, President of the Referendum Committee.
The comparison with other European countries is not easy. As research by the “Arena” editorial team shows, the Incorrect overview map in the voting booklet. Supporters and opponents of the film law argue, among other things, with the obligation to pay and invest in streaming services in other European countries.
Opponents fear higher subscription costs
“Completely failed” is the new film law, said Müller and complained that “the consumer is left out in the rain”. Müller spoke of a forced investment for the streaming providers. The costs incurred for them would be passed on to consumers, with the result that subscription costs would rise. The supporters of the proposal reject these fears.
Film funding works without a film tax and minimum quota.
The new film law stipulates, among other things, that streaming services are obliged to show 30 percent European productions. Federal Councilor Berset emphasized the variety of films that this would ensure. Hans-Ulrich Bigler, on the other hand, finds the regulation counterproductive.
“Each quota is ultimately consumer patronage.” In fact, the state dictates what you can watch and what not. “Ultimately, the consumer regulates the variety himself when he goes to the cinema or through his query on the streaming platforms.”
Does funding harm the film competition?
“Film funding works without a film tax and minimum quota,” said Müller. This is shown, for example, by the Swiss series “Neumatt”, which was bought by Netflix. Film producer Michael Steiger, whose film “Wolkenbruch” is also shown on Netflix, contradicted him on this point.
If the four percent investment obligation were not accepted, Switzerland would miss the connection to Europe. “Precisely because this law is being discussed, we came into play with our own productions.” With the acceptance, Steiger promises new projects for Swiss film producers with streaming providers.
The President of the Young Liberals and the filmmakers disagreed about the new film law. When moderator Mario Grossniklaus finally asked which film the guests would like to make if they were film producers, Müller replied, “I would like to get on board with Michael Steiger.”