Open Windows for Integration
Film Commission an Open Windows for Integration
11-12 June 2008 Tirana, ALBANIA

Dear Partners,
We are pleased to invite you in the workshop:
"Film Commission an Open Windows for Integration"
OWI PROJECT  co financed by the European Union through ERDF – New Neighbourhood programme Interreg/CARDS/PHARE is:
The purpose of OWI  is to create a network between national, regional and local authorities focusing on the culture as both an economic factor for development and a factor for social cohesion.
Through the use of information technologies, the project will allow to cultivate the mutual acquaintance through an easier exchange of information and containment of the limitations imposed by natural barriers and linguistic differences.
Albania Film Commission is an occasion for our territory to become a unique and indispensable tourist destination, through the proper territorial marketing policies and systemic strategies destination management, practically through a rational and meditated operation to offer a specific product, equipped of its spirit, character and its a clear identity, defined by a project, leaving no place for randomness in operations
 - The definition of the phenomenon "Film Commission" through the description of regulatory, financial, socio-cultural and economic aspects, through two sectors that constitute it, cinema and tourism.  
- The role of the "Film commission", from a socio-cultural and economic perspective;
the area, first as the set, and then as a potential destination; actors of tourism and film, which both constitute the chain system of cine tourism, especially of the Film Commission, as a mediator for such collaboration.
  - The final considerations mean to be a personal contribution for the definition of certain aspects related to this promising but still brand new phenomenon. Albania Film Commission is an opportunity for culture and tourism management, and also the best practice of a systemic integration of the two main pillars of the Albanian economy and other participant partners in the OWI project, indispensable for an evolved production of the tourism. 
- Know-how Exchange is the similar nature of cinema and tourism.
Dissemination of Best practices with partners in workshops: Albania, Region of Puglia, Veneto Region, Serbia, Bosnia and Herzegovina.

You could easily be forgiven for thinking that Albania doesn't have anything even remotely resembling a film industry. And by extension, it is easy to think that film, the most expensive and technological of all the arts, is an area where Albania would hardly have made it off the starting block. But in 2001 came the first challenge to these preconceptions: an Albanian film, Gjergj Xhuvani's Slogans (2001), was selected to play in the Director's Fortnight, which runs concurrently with the Cannes film festival. It is thought to be the first time that an Albanian film has played at Cannes, and the novelty continued when it was critically acclaimed. The film's success was not a one-off either: it went on to win the main prize at Film Festival Cottbus at the beginning of November 2001, and just a matter of days later it scooped the Grand Prix and Best Performance by an Actress in a Leading Role at the Tokyo International Film Festival, while Xhuvani shared the award for Best Director at the same festival. Meanwhile, Fatmir Koçi's Tirana Year Zero (2001) was in the official selection at Venice and won the international competition at Thessaloniki Film Festival. Albania, the world now knows, makes films.

Production level
But if Albania is able to make films, how? Regular production of feature films did not begin in the country until 1957 and only started to rise above the rate of one a year at the end of the 1960s and after 1970 was at around 14 feature films, 40 documentaries and 16 cartoons a year. This soon collapsed with the demise of the communist regime. The 1990s have produced few of what Albanian law refers to as "artistic films" shot on 35mm (although Albanian television produces about 60 low-budget 16mm films a year, which by inference are presumably "non-artistic"), but what few there have been, such Kujtim Çashku's Kolonel Bunker (1996), have garnered critical acclaim at festivals. Let’s mention the director Artan Minarolli, who took part successfully at the festival of Mosca, Roterdam and Selanic with his last feature “The moonless night”. Another big event for the Albanian cinematography is the participation after 15 years of the directors Ergys Faja and Bertrand Shijaku with their cartoon film “ The Princess and the moon” at the festival of Giffoni in Italy, which is the most important festival for children in the world.
Production is currently at the rate of around four feature films a year.
Despite such occasional successes, the film industry was severely affected by the post-communist environment and economic collapse. If the Albanian film industry survives, it is only because it is on a life support system.

Support actually comes in two forms:

The National Centre of Cinematography
-and foreign money-coming from co-productions.



The National Center of Cinematography
Address: Albafim Studio,
“Aleksandër Moisiu”, Nr.77,

+355 4 375 490
Fax: +355 4 378 004 


The National Center of Cinematography was founded in 1996 in response to worries that the Albanian film industry would die out completely if it was not given resuscitation and in accordance with a cinematography law passed the previous year. The Centre was empowered to give a grant for projects, provided that they were able to find a foreign co-production partner. Projects awarded funding have 20 months to find such a partner, and if after this time they have failed to do so the Center can demand the money back from the producers.

Producers in Albania are a relatively new phenomenon, as in most former communist countries. The normal role of a producer is to bring together the creative team and to find financing for the project. Under communism, neither role was necessary. Money came from the state and once a script had been approved funding was usually automatic. Furthermore, communist countries favoured the "film unit" approach, which kept creative teams working together in a tightly knit group from film to film, obviating the need for a producer as talent match-maker.

Furthermore, the major producers of Albanian films, the state-run and private TV channels, are unable to inject money. When they are involved as co-producers, they usually provide payment in kind: access to technical facilities or free advertising space on their airwaves before the release of the film.

During the period from 15 May 1997 until 1 December 2006 the Albanian National Center of Cinematography has financed 132 film projects of different kinds, from which:

25 Features
8 Short films
6 Feature projects for development
56 Documentary film projects
35 Cartoon film projects
2 Project of festival organization

The financial amount for the projects has been 570.775.493 Albanian Lek (All) or
4 566 206 Euro

Albanian Cinematography is not in its best state for the following reasons; 

The absence of a national strategy for the art and culture in general that caused a lack of orientation for the Albanian cinematography as part of the national culture.

 If there had been any nagging doubts among producers as to the strategic importance of Albania for the future of Balkan cinema, then these were quelled by a short excursion to the historical monuments, castles and ruins. Your trip can include a stopover at the wonderful sandy beaches of the Adriatic Sea or the rocky beaches of the Ionian See. The north of Albania offers a landscape with mythic mountains, wild rivers and canyons. A newly reconstructed Mother Teresa International Airport will welcome you to the new and ancient land of eagles.  

The cinematography in Albania is regulated by the Law No. 8096, of March 21, 1996
“ON CINEMATOGRAPHY”. Other permits, requirements and restrictions will be handled by Albania Film Commission. 

The Albanian Center of Cinematography preferably finances projects with foreign co-production already established by Albanian filmmakers. 

Co-productions have been set up in recent years with Poland, Italy, Switzerland, Bulgaria, Hungary, Romania and Russia, Germany, Italy, Check Republic, Holland, Belgium. But the currently favoured country is France. France is already a major international co-producer, and the attraction for Albanians is even greater due to Fonds Suds, set up by the French foreign and culture ministries to provide "selective aid" to films "with a strong cultural identity." In Europe, the only countries with access to this fund are Albania and the former Yugoslav republics. 

From 1997 to 2001 about 3 (three) million euro have been invested for joint productions in the film field.

French producers don't just pump in much-needed cash. They also provide invaluable know-how and modern equipment. So, for “Slogans”, the Albanian producers provided the creative side of the film, the actors, set and costume designers and, of course, the locations, while the French producers, Les Films des Tournelles, handled technical matters, providing a director of photography, camera equipment and post-production facilities. Tirana Year Zero also had a French co-producer, Cine-Sud, and production support from Fonds Sud. It gained as well the support of the Belgian company Alexis Films and the Hubert Bals Fund, organised by the Rotterdam film festival to aid films from "developing countries."

The French producers also handle international sales and arrange distribution in France (Slogans opened at 35 cinemas around France), with the Albanians covering what distribution they can manage in Albania. This in itself is no mean feat. Surprisingly, Slogans was the first Albanian film since the fall of communism to gain a theatrical release in the country (opening at the beginning of October), distributors being more interested in sure-fire blockbusters from the American Majors. The film showed for ten days in Tirana, and then a week in other major Albanian cities. The film was an enormous success. Distributors were obviously satisfied with their venture into domestic products, as Tirana Year Zero opened with a two-week run in Albania's capital at the end of October 2002, again to a mixture of criticism and box-office success.

The current wave of optimism, if carefully exploited, could be very beneficial for Albania. If Albania has any sense, it will be cashing in on films such as Slogans and Tirana Year Zero to rebuild this decrepit film infrastructure and to foster new talent. But whatever Albania does or doesn't do with its infrastructure, it will surely be easier for Albanian production companies (particularly established ones) to team up with foreign producers.  

1) Persons from the following countries may enter Albania* without having a visa, but should hold a travel passport and pay the entrance fee/tax of 10 Euro.

Australia, Austria, Belgium, Great Britain, Bulgaria, Check Republic, Denmark, Estonia, Finland, France, Germany, Greece, Netherlands, Hungary, Ireland, Italia, Israel**, Japan, Canada, South Korea, Croatia, Leetonia, Lithuania, Luxemburg, Norway, Poland*, Portugal, Rumania, San Marino, SHBA, Slovakia*, Slovenia, Spain, Sweden, Turkey, New Zeeland, Switzerland.

* Duty free entrance

**Entrance tax 30 Euro 

2)  Persons from the following countries holding a diplomatic and service passport enter the Albanian territory*, without tax: 

Countries: Algeria, Argentina, Chile, China, Montenegro, Macedonia, Moldavia, Russia, Ucraine, Uruguay

*Foreigners have the right to stay in Albania up to 30 days. In total they can stay maximum 90 days within one calendar year.

3)  Persons that can obtain visa in the border:  




30 Euro


Tax free



10 Euro (If obtained in the Albanian Embassy 5 Euro)

All other foreigners should obtain Albanian visa prior to their arrival to Albania in the respective Albanian mission in their countries. Near these missions they will get all the necessary information for their trip to Albania. 

See the website of the Albanian Ministry of Foreign Affairs: 

Albania represents a diverse and interesting country especially for young talented people.



Corrado D’Errico Roberto Rossellini Michelang. Antonioni Dino Risi Vittorio Scala  Valerio Zurlini Franceso Maselli Giorgio Ferroni
Romolo Marcellini
Damiano Damiani
Federico Fellini 









Komuniteti i kineasteve shqiptare ne Shqiperi eshte organizuar ne kater shoqata kineastesh:
Both the most important associations of the Albanian filmmakers, together, they nominate the members of the Approbatory Council of the National Albanian Center of Cinematography, which selects the best projects to be financed by the NACC annually.  
These associations have the right to propose amendments and laws in the cinema field and they contribute in the development of the cinematography in the country.

The Albanian Cineastes Association "Lumiere", created in 2000, is one of the most active professional associations in the country. Among the founders of the new society are internationally renowned artists such as director Kujtim Cashku and Petrit Beci, the former the director of the National Center of Cinema and the actual General Director of the Public Television. “Lumiere” has focus its efforts to protect the rights of the filmmakers in the country and to develop the Albanian Cinematography

 Shoqata e Kineasteve Shqiptare "LUMIERE", e krijuar me 19.07. 2000, me seli ne Albafilm Studio, me kryetar z. Kujtim CASHKU.

Contact points:
Address: “Albafilm” Studio, Street: “Aleksander Moisiu”,
Tirana, Albania
Tel. /Fax +355 4 65 157



“The Association of Cinematographer of Albania” created in 2004, Chairman Ndricim XHEPA.

Shoqata e kineasteve Shqiptare e krijuar me 22.10.2004, me kryetar z. Ndricim XHEPA.

Address: Rr.
“Hoxha Tahsin” nr. 179,
Tirana, Albania

Tel/Fax. +355 4 229 893

3. Shoqata "Krijuesit e Animacionit Shqiptar", krijuar me 05.02.2005 me kryetar z. Artan Maku.

Tel: +355 4 255746

4. Shoqata "Lidhja e kineasteve te filmit dokumentar", e krijuar me 10.70. 2007, me kryetar z. Esat IBRO.

Tel: +355 4 252986

"The Union of the Albanian filmmakers", established in 2001, by Muharrem Fejzo.

Address: “Albafilm” Studio Street: “Aleksandër Moisiu”,
Tirana, Albania
Phone: +355 4 221441


Tirana International Film Festival (TIFF)

TIFF International Festival is the first and the only international cinema festival in Albania created in 2003, dedicated to short film, documentaries, animation and experimental films. This year will celebrate the 5th anniversary. This activity was organised by “Albanian Art Institute”, under the auspices of the Albanian Ministry of Tourism, Culture, Youth and Sports.  TIFF is a member of the European Coordination of Film Festivals since 2004. Last year’s edition submitted 800 films of all the categories from 65 countries around the world. From them, they were selected in the official competition 100 short movies, totally 21 hours of screening. Besides the movies in competition, a special programme with feature full length movies is screened. Among the special guests of the festival, Ken Loach was present during the screening of his movie “Tickets” in Tirana.

Contact points:
Director: Ilir Butka

Tirana International Film Festival
, Torre Drin, Shopping Center, Rruga Abdi Toptani, Nr. 27, Tirana, Albania
P.O. Box 8361
Phone: + 355 (0) 68 30 67 636 or + 355 (0) 69 20 90 691


Albania Art Institute


KEN LOACH - present in TIFF
FRANKO NERO - Special Guest
SHORT ATTACK - interfilm Berlin - The best selected films
JOHN CASSAVETES - "American Dreaming"
JOS STELLING - "Erotic Tales"

The Forum for the Protection of Producers and Authors
The Forum for the Protection of Producers and Authors (FMPA) added to its membership when the association representing the music industry – Albautor - ceded 138 members to the FMPA. According to Albanian law, one organization can’t represent more than one entertainment industry. Therefore, the FMPA, funded by IREX/ProMedia, now supports a new contingent of actors and technicians from the TV industry who were previously represented by Albautor. The FMPA will provide its growing membership with benefits as well as continuing to expand its archive of legal programming for Albanian TV stations.

Contact points:
Director: Pirro Milkani
Phone: +355 (0) 682545790 

The bottom-line for the involvement of the CSFA in storing, providing professional care to and managing the multifarious information on film collections available to it is to extend the life-expectancy of the cultural heritage of the Albanian and foreign cinematography, with a view to passing it on to future generations.  The CSFA abides by the cultural policy the Albanian State pursues for the protection and distribution of the seventh art as artistic and historical documentation. The CSFA complies with the criteria laid down by the Film International Archives Federation, FIAF.

Contact points:
Address: Rr.Aleksandër Moisiu, nr.76/1, Tirana, Albania
Tel: + 355 42 64970 / 64971

Currently, the Albanian National Center for Cinematography is promoting the launch of a half-dozen newly financed productions and co production. Kujtim Cashku’s “The Magic Eye” has already made the rounds of festivals in Cairo, Tel Aviv, and Montreal. Robert Budina’s short feature “Snowdrop” won two prizes at this year’s Tirana International Film Festival. Artan Minarolli’s “Chant d’amour”, a co-production with France based on a short story by awarded author Ylljet Alicka, is finished and headed for either Berlin or Cannes.
Dhimiter Anagnosti, one of the famous directors of the country directed “Father and Godfather”, an original script backed solely by ANCC funds. Besnik Bisha’s “Mao Tse Tung”, the story of a boy given this name during the country’s link to Red China, is also nearing release. And Fatmir Koci’s “A King for Circumcision”, based on Ismail Kadaré’s historical novel Sinister Year, is ready to go before the cameras.  

Father and Godfather
Screenplay / Director : Dhimiter ANAGNOSTI
Production: AGV
Artur Gorishti, Myzafer Ziflaj, Enxhi Agushi, Zef Mosi

Magic Eye
Production: Orafilm
 Kujtim Cashku
Cast: Bujar Lako, Arta Dobroshi, Alban Ukaj, Timo Flloko



Artur Gorishti, Myzafer Ziflaj, Enxhi Agushi,
Zef Mosi, Marjana Kondi, etj

Father and Godfather
Screenplay / Director Dhimiter ANAGNOSTI
Executive producer Arben Tasellari
Cinematographer Spartak Papadhimitri
Art Director Durim Neziri
music Composer Endri Sina
Editing Ilir Butka