Movies

Contributor: To penalize ‘foreign-made’ films is to punish Americans too

BBG News

When a nation such as Armenia presents a movie globally, it transcends being merely an artistic expression. It serves as a means to safeguard history, to connect with a dispersed diaspora. Each film shares stories that could potentially vanish, providing perspectives otherwise overlooked. Consequently, if President Trump suggests imposing a 100% tariff on all films “manufactured abroad,” the repercussions aren’t confined solely to rival foreign entities or studios offshoring production. Instead, it poses a risk of isolating small countries like Armenia, for whom cinema plays a crucial role in their cultural lifeline.

The proposed tariffs haven’t been implemented so far, but July 9 signified a significant shift in Trump’s broader tariff strategy, setting a deadline for reinstating extensive trade sanctions against nations perceived as “unfair.” However, the film industry’s situation remains uncertain. The mere proposal has caused harm and persists as a concern. The tariff concept originates from a perspective that views international trade as a danger and cultural expression as simply another item to be taxed.

Discuss “Amerikatsi” (2022), an exceptional film directed by Michael A. Goorjian, a renowned actor and director. This movie is not just any production; it’s a universal tale deeply connected to the Armenian experience, brought to life through international cooperation and propelled by a profound personal motivation. Goorjian filmed it in Armenia using local crews, some of whom, tragically, would later find themselves in the heat of war. One lost their life, while others were wounded. Remarkably, even amidst such adversity, they sent Goorjian videos from the battlefields expressing their eagerness to return to the set. Such a spirit could be devastated by a tariff like this.

As a passionate film enthusiast, I find Armenia’s cinematic offerings captivating, despite its precarious geopolitical location and tumultuous past marked by genocide, conflict, and occupation. Its people, in the face of threats from neighboring autocratic regimes, continue to create art that resonates globally, transforming pain into poetic masterpieces such as “Aurora’s Sunrise” (2022) and “Should the Wind Drop” (2020). These films, which often bypass mainstream distribution, rely on the support of independent arthouses, festivals, streaming platforms, and distributors willing to take a risk. Imposing a 100% tariff would be devastating for these films, potentially silencing their voices that echo across oceans.

Without a doubt, imposing such a tariff could disrupt the entire worldwide movie industry structure significantly. In today’s cinematic landscape, collaboration knows no borders – a filmmaker from Georgia could collaborate with an editor from France, an actor from America, and a financier from Germany.

Indeed, a significant number of American movies utilize Canadian crews and facilities. However, international co-productions are increasingly essential in the global film industry, particularly in Europe. For instance, Belgium generates approximately 72% of its films collaboratively with foreign countries, often France. Notable partners in co-production also include Luxembourg (45% with France), Slovakia (38% with Czechia), and Switzerland (31% with France). These partnerships are frequently facilitated by shared languages, which is why the U.S. collaborates often with Britain as well as Canada, too. Similarly, Israel has adopted this approach, leveraging agreements with nations like France, Germany, and Canada to tap into international audiences and funding sources.

It’s inadvisable for the U.S. government to dismantle this current system, as it would be futile to attempt such a thing. Imposing penalties on films produced overseas is essentially meting out punishment to Americans – filmmakers, producers, and distributors who all benefit from international collaboration. Just like you can’t physically construct a barrier around storytelling, you can’t restrict its flow across borders.

Advocates for the tariff claim it shields American laborers. However, Hollywood is incredibly globalized, and the thought that it’s inundated with too many foreign films is preposterous. On the contrary, it could benefit from more. Enacting this policy won’t lead to a vibrant domestic market; instead, it will create a less diverse, less dynamic, and more insular one. This would mean that masterpieces like “Amerikatsi” might never be recognized, and a new generation of Armenian-American youth might miss out on learning about their heritage through films.

To continue shaping the 21st century as a moral leader, rather than relying solely on military or economic influence, America might want to exert leadership through cultural means and strive to engage with the world, instead of isolating itself.

Tales such as “Amerikatsi” serve as a powerful reminder of their significance. This movie, starting with a boy secretly transported in a crate across the sea, concludes with a message of happiness and determination. It’s not only Armenian lore – it’s part of American heritage as well. They are intertwined narratives, and one cannot be isolated without risking the loss of such stories from our cinemas (and digital streaming services). To prevent this, we must ensure that access remains unobstructed.

Turning away from narratives such as these for America would mean a breach of what cinema truly embodies, and it would also impoverish the nation’s cultural wealth. This path leads not to greatness but to parochialism instead.

Alexis Alexanian, residing in New York City, is a multi-faceted professional within the film industry, serving as a producer, advisor, and educator. Her notable works encompass “A League of Their Own” and “Pieces of April.” She previously held the position of president for New York Women in Film & Television and is currently a member on the board of BAFTA North America.

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2025-07-15 13:31

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