Poland’s Tauron American Film Festival will celebrate its 17th^th edition from November 17 to 22, and its industry sidebar US in Progress will, once again, connect European buyers and Polish post-producers with American independent filmmakers.

“I’ve been there three times, and each time something essential to the films came out of the experience. I was in a long competition with Pete Ohs over who could keep the longest streak, which I ultimately lost,” laughs director Rob Rice.

Ohs ended up filming “Erupcja,” starring Charli XCX, in Poland. Rice collaborated with post-production studio XANF on “Ponderosa,” starring Alexis Bledel and screening at Tribeca.

He adds, “A lot of what it takes to make these little movies happen is nebulous and cumulative. It’s the accumulation of a million little efforts and interactions, and I felt like US in Progress was the spark that made all those things react and precipitate into something real.”

“I like that there’s no nonsense, unlike so many labs. US in Progress is direct. They say, ‘Come to Poland, we’ll give you some money and introduce you to the programmers.'”

The event has adapted to the changes seen in the industry since the pandemic. Submissions open in July.

“We focus less on presenting projects on the market and more on mutual understanding of production systems and post-production contacts,” says Ula Śniegowska, director of the Wrocław festival.

The American Film Festival, which has awarded Indie Star awards to artists including Jesse Eisenberg, John Waters and Susan Seidelman, is a sister festival to Tauron New Horizons.

“We are unique in our approach compared to other European programs. The filmmakers point out that we remain a seal of quality. ‘US in Progress selected’ is the first sign that their project is appreciated by a professional international jury, especially since events of this type are increasingly rare in the US.”

Recent hits include “Bunnylovr” with Katarina Zhu and Rachel Sennott, Georgia Bernstein’s Sundance thriller “Night Nurse” and Liz Sargent’s “Take Me Home.”

“US in Progress was instrumental in the success of ‘Bunnylovr.’ As an independent film made on an extremely modest budget, the post-production grants and partnerships that arose from our involvement allowed us to finish the film,” says Zhu, who worked with Fixafilm and XANF.

“The opportunity to screen there also gave ‘Bunnylovr’ an initial boost that carried over into our premiere at the festival. As a first-time filmmaker, finding that level of curiosity and support at such an early stage was incredibly encouraging.”

Producer Tristan Scott-Behrends notes: “US in Progress has become an essential part of the fabric of American independent cinema.”

“In a time when budgets are extremely tight, the awards offered can make a huge difference in a film’s post-production budget. The talent in Poland is exceptional and this festival is a great opportunity for American filmmakers to connect with some of the best companies working in Poland.”

He adds, “It’s a huge advantage to establish those relationships and have the ability to connect and share with other filmmakers along the path to their release.”

Śniegowska would like to help Polish post-production companies become more competitive and visible on the European market, and position themselves “as equal or even more attractive than similar studios in the Czech Republic or Hungary,” she says.

While these are “baby steps” and allowing up to five collaborations a year, their hospitality model – “The city of Wrocław is a big part of it” – allows for new friendships and “lifelong partnerships.”

US in Progress Director Monica Semczyk agrees: “We recently had a small US in Progress gathering in New York, which gave these filmmakers a chance to reconnect at home as well.”

“Our selection is eclectic and brings new surprises every year, but our goal is to discover new voices and always have a strong presence of debut films. It is always exciting to see how these filmmakers evolve. Take Jane Schoenbrun as an example.”

Schoenbrun, whose latest film “Teenage Sex and Death at Camp Miasma” opened the Un Certain Regard section at Cannes, is another US in Progress alum. As does India Donaldson (“Good One”), who is now working on the A24-backed “The Chaperones.”

Rice says, “That’s where the feeling of, ‘Oh, this is really happening with the movie’ really comes in. As you can imagine, it’s an easy ‘yes’ from the film crews.”

This year he hopes to return to Wrocław, this time to screen the film at the festival.

“I can already anticipate being jealous of the people in the lab. When else do you hear filmmakers wishing their movies were unfinished?”