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Hen Virkkunen, EVP European Commission responsible for technical sovereignty, security and democracy, forgive regarding EU relationships with the United States when it comes to media and entertainment sectors.
Speak Variety during Its visit to Italy and the Venetian Film Festival, the head of EU techniques, provided an overview of the state of the game when it comes to tariffs for streaming giants and and European Commission regulations, which is the European Commission, which is the European Commission.
First, it was officially: US President Donald Trump proposed 100% tariffs on foreign films shown in the US – announced in May – is pastiled. At least it refers to Europe.
“Of course, we heard his announcement of that in May,” Virkunen said.
“But after that, we didn’t have any further information on this topic,” she added. “And now, when it comes to our (recently), we have a common text with the US covering goods, and not services, how much you know, the films are in the category of services”, they are services “” Virkkunnen found.
As for the upcoming regulations of the EU media, Virkkunen has underlined the need “, noticing that the Creative Sector” with “digitizations” is “whether it is playing” to emphasize the field “convinces that creative The EU Sector “We emphasize that the creative sector is created.”
“Of course, this means great challenges for more traditional players,” that she pointed out. “What we are trying to assess stakeholders now is how we can make an effort to promote our creative sector and our cultural sector.”
In that sense, Virkkunen noticed that in 2026. the EU “evaluated” progress in the audio-visual media directive, now in different phases of implementation throughout Europe. The AVMS rules state that streamers must offer 30% of European content quotas to European subscribers and directly re-invest their income in each European country in which they act. “What’s the state of the game? (From the AVMS Directive) What are the learned lessons? Is there a place to improve?”
Virkkunen said it was “something we will look at the evaluation and review of the Directive by the end of next year.”
NetflixDisney and other American streamers were intensively logged in Brussels to fight investment obligations in local content, especially those related to smaller markets.
As for the so-called “digital tax”, which affect technological companies such as the meta, Apple and Google – and was a trump bone – Virkkunen stated that the European Commission fell in July to collect pay companies. Thus, there is currently no tax on high EU digital services, although seven EU countries, including France, Italy and Spain, have introduced national riots. However, “I’m sure this discussion will continue in the next few months,” she said, noted that “Member States are decisions.” Thus, it is possible that the EU level tax plans “can recline again.”
In connection with European Union‘s Artificial intelligence The act, which is the first comprehensive legal framework for artificial intelligence – although it is not yet in force – Virkkunen said that it implies a three-part “Code of Practices”, with each component related to transparating, security and security and copyright.
The EU officer said “Very Happy” that more than 26 major Generative AI developers, now signed the Code of Practices, including “all US US, except targets.”
“Of course, it seems that part of the copyright is a very burning issue when we talk about the creative sector, especially when it comes to Europe,” Virkkunen pointed out. “European languages and European contents are needed for training ai. But at the same time it is important for rights owners to get their Fersenica,” she said.
Virkkunen added that the EU watches different licensing models. “But, of course, no one can serve with other people, without compensation. That is very important.”
EU regulators will not be able to impose penalties for non-removal relating to AI work by August 2026. years.
In other news, Virkkunen wants to work on copyright legislation with “similar minded” countries “, because we know that AI is a new challenge in the world of copyright,” she said. “Of course, now our main partner is when it comes to technologies,” she added. “So it’s really important to continue discussions.”
Virkkunen also underlined that AI opens “great opportunities in the creative sector”.
“I really want to see Europe as a place to invest and innovate when it comes to AI,” she said, noted that the Venice Film Festival – which is the only major fest with the Section Dedicated to Extended Reality (KSR) – is very open to technological development.
“I think that in the coming years in Venice, we see examples of both and can be used very creative. Do not replace creativity. But to support movie make,” she concluded.
