Eugène-Henri Moré is a French film producer and the founder of ENID3 Productions, with experience spanning feature-length, mid-length, short, and documentary films. With extensive expertise in film financing, international co-productions, and cross-cultural partnerships—particularly between France and Burkina Faso—he is also the General Delegate of the Association Française des Producteurs de Films (AFPF).
Moré was a member of the Future Frame Jury at the Fajr International Film Festival, a section dedicated to first and second films by emerging directors. In this interview with the festival’s press office, he reflects on the current landscape of cinema, the French film market, his experience at Fajr, and the growing impact—and risks—of artificial intelligence in filmmaking.
From a French film artist’s perspective, what did you think of the films you saw at the festival?
The films I saw were mostly in the television film section or created by emerging filmmakers. When starting out, it is completely normal to make mistakes—they have the right to experiment and err. Overall, the films were acceptable, though nothing stood out as exceptional. I was part of the jury evaluating works by directors who were not yet established professionals, in the new talents and promising futures section. Naturally, not every film reached the “completely professional” level, but on the whole, they were satisfying and decent.
Can you explain that from a producer’s perspective?
With 35 years of experience in producing, I usually watch films from a producer’s point of view. Therefore, I am not focused on whether they are poetic or not, nor could I say how well they might sell in the commercial market. In my opinion, what these works lack are that producer’s perspective—thinking about marketability. Perhaps they belong more to auteur or art-house cinema. Regarding the festival’s organization and marketing, I noticed a few shortcomings, but I understood that since the festival had been revived after a long hiatus, some flaws were to be expected.
Do you plan to continue working with Iranian cinema in the future?
Absolutely. I love Iranian culture, and that passion is enough for me to maintain a relationship with the country repeatedly. I really admire Iranian cinema and also fully support the goals of this festival. Regarding collaboration with other jury members, we didn’t have much opportunity to socialize with jurors from the other sections. The daily schedule was extremely packed. Within our own jury, we discussed and exchanged ideas frequently, but interactions with jurors from the other competitions were limited to brief chats in the shuttle buses.
How is the film market in France now?
It depends. There are different markets: the auteur/art-house market and the mainstream commercial market. French cinema is becoming increasingly conformist in the messages it conveys. If you step even slightly outside the approved narrative—whether that narrative is supported by the government, institutions, or some artists—making a film becomes extremely difficult. France has the CNC (National Centre for Cinema), which provides financial support for projects, but that support rarely reaches filmmakers who don’t already have strong networks or connections. It is complicated and technical, but I try to push public authorities and institutions to truly support the filmmakers who need it most. State aid exists, but it doesn’t always reach those who need it.
What is your view on artificial intelligence in cinema?
Artificial intelligence represents an enormous challenge for cinema. My absolute wish is that we never allow it to replace human creativity. The main danger of AI is that it is purely programmed and can easily make cinema completely uniform and homogenized. This is a vital, make-or-break challenge for the future of our art.
