In Lithuania, Estonia, Croatia, and Portugal, the relatively modest budgets have historically led to what might be described as a form of "natural" sustainability. Limited financial resources often necessitate the reuse of costumes and sets and encourage filming within national borders rather than abroad. 

Different tools, calculators, and frameworks have been identified and mapped. The mapping clearly shows that there are numerous sustainability initiatives to adhere to. This is a major challenge, as although all share the goal of mitigating environmental impact, they often differ in their visions - ranging from carbon reduction to alignment with the Sustainable Development Goals (SDGs) and in their methodologies. While such variation may be manageable at national or regional levels, a more harmonized framework is essential to simplify and make the green transition easier, particularly in the context of international co-production. 

When talking to the industry professionals involved in the movement towards a greener industry, they are truly and profoundly engaged in the process, and they strive to make their industry more sustainable. In the countries with limited or no legal frameworks, these champions are vital for the green agenda. It is through their engagement and commitment to the agenda that the countries are actively working towards producing more sustainably. 

This shows in the way that they participate in networks and conversations with other likeminded, establishing a strong grassroot movement - especially in the Baltics, where the institutional framework isn’t in place. When talking about sustainable practices with professionals acrossthe  EU, they have strong knowledge of each other, which shows that their engagement goes beyond borders.

The ecosystems that have a clear plan for working more sustainably in film production are more interested in and have the capacity to move beyond the green agenda. Given the new Corporate Sustainability Reporting Directive, where the social and governance perspectives are in focus there is a new need for broadening the scope of sustainability. That is especially interesting for Ireland and Flanders, which have already implemented extensive sustainability measures.

Especially in the Baltic countries, there are systemic challenges when it comes to green energy. If green energy isn’t widely available, it will be much more difficult for Baltic producers to receive green certifications for their productions, as they will need to rely on energy that is not responsibly produced.

When discussing the topic of institutional frameworks and centralized legislation in this area, it has become clear that there is an ongoing debate about whether an incentive-based approach or an approach that is based on the demands of participating is more effective, essentially, whether it should be a carrot or a stick. While some of the respondents believe that an incentive-based approach would support the green transition best, as is the case in Austria, others argue that a different approach that requires participation to receive funding, rather than offering financial rewards to those who voluntarily choose to produce more sustainably.

While shooting green by reducing the footprint of productions is important, there is a great opportunity to make an impact through the content put on screen. Collectively, the industry reaches millions of people every single day, and by creating content that normalizes sustainable behaviors and helps people better understand and connect with the world, there is the chance to tell new stories. This could be in the form of focusing on sustainable ecodesign or production design, which incorporates sustainability considerations from the earliest stages of development, including partner selection, location scouting, and scriptwriting. 

This is already being implemented in different initiatives accross Europe. An example is the Green Guide from MOIN in Hamburg. (Insert link: https://moin-filmfoerderung.de/en/green-filming)