The Flemish television landscape is experiencing an exciting evolution. Just months after showcasing a historic four series at Canneseries (“How to Kill Your Sister,” “Dead End,” “The Big Fuck-Up,” and “Surface”), the Dutch-speaking region of Belgium is continuing its commitment to nurturing fresh and innovative talent in the industry.
In an interview with Variety before the upcoming Mipcom, Karla Puttemans, the newly appointed CEO of the Flanders Audiovisual Fund (VAF), expressed their intent to leverage the Cannes event to “showcase innovative and fresh content emerging from Flanders.” The Media Fund within VAF is dedicated to co-financing high-quality television series that are developed in collaboration with Flemish broadcasters. For projects originating outside of the region, a minimum of 50% of the funding must be secured, with at least 20% coming from Flanders, along with the involvement of a local broadcaster in the production process.
When asked about the success stories from VAF-funded initiatives, Puttemans emphasized the fund’s mission of being “an early advocate for the creativity and quality of offerings from our local talents. … We support them at stages when the market is often reluctant to embrace risks.”
“Our role is vital in promoting new concepts, urging our creators to take bold strides instead of settling for safer options,” she remarked. “While our contribution to co-financing is significant, it is equally essential to scout new talent, provide seed funding, and offer guidance when necessary—that’s the core of our impact.”
Britt Raes, who is translating her acclaimed short film “Luce and the Rock” into an animated series for Ketnet, the children’s division of Belgian broadcaster VRT, is among the many directors who commend the VAF’s efforts. “The VAF has profoundly influenced my work, allowing me to produce my short films,” she shared. “It has enabled me to discover my identity as a director, articulate my vision, and communicate it to audiences.”
In addition to this early investment in talent and a focus on creative collaboration, Puttemans points to the strong relationships forged between independent producers and local broadcasters in Flanders, alongside the advantages offered by the Screen Flanders fund and the Belgian tax shelter. The hurdle, however, lies in the fact that “We function in a small domestic market and are competing against larger entities with far greater resources.”
Looking ahead, the new CEO articulates that her “primary objective” is to “ensure our position and funding capabilities for the years to come.” With the Flemish government recently unveiling its 2026 budget, Puttemans noted that it’s “premature” to assess its implications for their funding, while stressing that many European agencies can “attest to the fact that these are challenging times for the cultural sector.”
“Societal and geopolitical challenges are influencing [our] funding abilities, precisely when the industry requires us to push forward more than ever. Unfortunately, the same holds true for Flanders. Suffice it to say that the budget is— and will continue to be— constrained.”
