The makers of domestic films face a tough battle for autumn viewers. The record number of premieres is due to the corona restrictions that have lasted for two years.
This fall, there are lucky days for lovers of domestic films. Films premiere almost every weekend, and throughout the year the number of premieres rises to a good fifty. It is at least a quarter more than in the period before the corona pandemic. At that time, around 40 domestic feature films were released each year. Documentary films are also included in the chapter.
For film producers and distributors, the situation is nightmarish. New premieres are coming to the theaters at such a speed that the films will probably also change faster than before, as space has to be cleared in the theaters for new domestic films. A film’s shorter life cycle means less income for creators, producers and distributors.
The congestion is largely due to the fact that the fog of films created due to the corona restrictions will still be cleared well into next year. Producers and distributors therefore have to think about how their own film stands out from the others in the rush of premieres.
Domestic films also compete for attention with all foreign films, and the marketing budgets of Finnish films are on average only about 60 percent of the budgets of foreign films.
In terms of marketing the film, the last three weeks are the most important of all, according to Koivusalo.
– All the biggest bangers are invested in those three weeks, so in such a rush of premieres, the game is particularly tough, but we strongly believe in the film and its appeal.
– We believe that traditional marketing, television and street visibility, are of great importance for this film, Koivusalo states.
According to Koivusalo, the traditional trailer that plays in cinemas also has a big meaning.
– When you believe in what you do, and make it a good, selling trailer.
He reminds that, unlike in Hollywood, domestic films with star actors have hardly been sold in Finland. According to Koivusalo, _Sieniretki_ is somewhat of an exception.
– Thanks to the corona pandemic, we got a large number of actors beloved by Finns in the film. I think that has its appeal too.
The fan base makes marketing easier
_Supermarsu 2_ wrestles in marketing with a completely different audience than _Sieniretki_.
– _Supermarsu 2_ is a movie for the whole family. It is marketed from the youngest in the family to the grandparents, Nykyri states.
The distributor of the film is interested in the movements of families.
– We think about where families go together in their free time and we start looking for marketing channels accordingly, Nykyri states.
He talks about shopping centers, outdoor activities and children’s hobbies, where adults take children by car. According to Nykyr, radio is suitable for motoring as a marketing tool.
Television and online videos, which children and adults spend time with, are also important. And special magazines, such as Koululainen.
The marketing of a children’s film is really multifaceted.
– The behavior of the target group is very fragmented. That is why it is important that the message arrives from different places during the same day. Supermarsu 2 is a bit everywhere, Nykyri states.
100,000 euros on average for marketing
The marketing budgets of domestic films are mostly closely guarded secrets. The average marketing budget of a domestic film is around 100,000 euros, but that is hardly enough for the ambitious marketing campaign of _Supermarsu 2_, for example.
In addition to the first Supermarsu movie, the _Supermarsu_ character based on Norone’s children’s book series, who has been on adventures for fifteen years, will make the sequel easier to make known.
– Marketing a film is always easier when there is already some kind of fan base. That is a big factor, Nykyri states.
Despite the positions that sound good, this fall, SF Studios is struggling with the same challenge as all other domestic film distributors.
– There is a traffic jam. Yes, it is exciting in advance how the film will turn out, Nykyri states.
_Correction 6.9. at 10:05 a.m. The Kikka movie was directed by Anna Paavilainen, not Sara Melleri, as the story first read. Melleri plays the main part._