6 Month Paid Intern­ship: Busi­ness Affairs Intern

By: Copro­duc­tion Office
Busi­ness sec­tor: Film Indus­try (Inter­na­tio­nal Sales Agen­cy and Pro­duc­tion)
Paid Intern­ship: 1200€ /​ month befo­re taxes
Place: Paris
Dura­ti­on: 6 months, full time
Start date: Accor­ding to avai­la­bi­li­ty.

We are loo­king for a glo­bal­ly min­ded col­le­ague, who has orga­niza­tio­nal skills, is result-ori­en­ted and has an inte­rest in art-house cine­ma, to join our Paris-based finan­ce team, working in a dyna­mic and inter­na­tio­nal envi­ron­ment.


Based in Paris and Ber­lin, Copro­duc­tion Office is an inter­na­tio­nal dis­tri­bu­tor and pro­du­cer of bold, award-win­ning films.

Copro­duc­tion Office’s CEO and foun­der Phil­ip­pe Bober has work­ed with pro­mi­nent ground-brea­king direc­tors* from ear­ly on in their care­ers and has pro­du­ced thir­ty-three films to date. The majo­ri­ty of the­se films were sel­ec­ted for the main com­pe­ti­ti­ons in Can­nes, Venice and Ber­lin, whe­re they have recei­ved many major pri­zes, most nota­b­ly the Venice Gol­den Lion in 2014 for Roy Andersson’s A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE, and the Pal­me d’Or in 2017 and in 2022 for THE SQUARE and TRIANGLE OF SADNESS by Ruben Öst­lund. Copro­duc­tion Office’s inter­na­tio­nal sales divi­si­on dis­tri­bu­tes a cata­lo­gue com­po­sed of films pro­du­ced by Phil­ip­pe Bober as well as acqui­red titles and res­to­red clas­sics, inclu­ding Rober­to Rossellini’s key films. The cata­lo­gue is uni­que for its artis­tic strength, with films that have an indi­vi­du­al and distinc­ti­ve cine­ma­tic lan­guage, and often dar­ing con­tent.

*Lars von Trier, Roy Anders­son, Ulrich Seidl, Jes­si­ca Haus­ner, Lou Ye, Kor­nél Mun­druc­zó, Cris­ti Puiu, Michel­an­ge­lo Framm­ar­ti­no, Car­los Rey­ga­das, Ruben Öst­lund.


You will work in Copro­duc­tion Office’s finan­ce and sales depart­ment in inter­ac­tion with other depart­ments (pro­duc­tion, fes­ti­vals, mar­ke­ting, deli­ver­a­bles) and will assist our head of depart­ments on some fol­lo­wing in the tasks (depen­ding on the peri­od of the year):


  • Estab­li­shing the films’ sales and mar­ke­ting bud­get: at the occa­si­on of the pre­mier of the films in fes­ti­vals and in the con­text of fun­ding appli­ca­ti­ons (Crea­ti­ve Euro­pe, CNC, Euro­pean Film pro­mo­ti­on).
  • Mana­ging Royal­ties reports (cont­ac­ting dis­tri­bu­tors after the release of the films and ana­ly­zing the pro­vi­ded reports).
  • Eva­lua­ting the per­for­mance of the dis­tri­bu­tors on our films across ter­ri­to­ries.
  • Ana­ly­zing the evo­lu­ti­on of films reve­nues across various plat­forms and ter­ri­to­ries (with a spe­ci­fic focus on the evo­lu­ti­on of digi­tal reve­nues) and pre­sen­ting the results to the sales team.
  • Mana­ging MEDIA Crea­ti­ve Euro­pe fun­ding, both intern­al­ly and in col­la­bo­ra­ti­on with our Euro­pean dis­tri­bu­tors (grant cash-flow, com­mu­ni­ca­ti­on with the dis­tri­bu­tors, cost report ana­ly­sis etc.).
  • Reques­t­ing fun­ding to banks and cre­dit insti­tu­ti­ons acti­ve in the film sec­tor.
  • Pro­ces­sing inco­ming and out­go­ing invoices/​Call for funds and their pay­ments and allo­ca­ti­on to cor­re­spon­ding pro­jects, with a focus on moni­to­ring bank tran­sac­tions in the con­text of inter­na­tio­nal film co-pro­duc­tion (trans­fers of funds etc.).
  • Updating per­for­mance and ope­ra­ti­on moni­to­ring tables and impro­ving their accu­ra­cy and effi­ci­en­cy.
  • Pre­pa­ring cos­ts reports for pro­du­cers, banks, and publics funds accor­ding to dif­fe­rent report­ing requi­re­ments.
  • Being the point of cont­act across depart­ments and with exter­nal accoun­tants.
  • Working on mar­ket rese­arch.

Legal and Admi­nis­tra­ti­on

  • Draf­ting and nego­tia­ting film sales con­tracts with inter­na­tio­nal dis­tri­bu­tors.
  • Resol­ving legal con­flicts rela­ted to film rights, and secon­da­ry rights.
  • Car­ry­ing admi­nis­tra­ti­ve tasks, such as the nota­riza­ti­on pro­cess for Chi­ne­se con­tracts, regis­tra­ti­on of con­tracts, veri­fi­ca­ti­ons of Chain of Rights, cle­arance of dou­ble taxa­ti­on and more.
  • Col­la­bo­ra­ting with the pro­duc­tion and sales teams to prepa­re and gather legal docu­men­ta­ti­on requi­red for film legal deli­veries.


  • Flu­ent in Eng­lish, French and/​or Ger­man spea­k­er (appli­cants are requi­red to speak at least two of the lan­guages, a third one is a plus).
  • Com­for­ta­ble with num­bers and finan­cial ana­ly­ses and pro­fi­ci­ent with Excel.
  • An inno­va­ti­ve thin­ker who can think out­side the box.
  • Both ana­ly­ti­cal and syn­the­ti­cal.
  • A per­fec­tion­ist, with atten­ti­on to detail and mee­ting dead­lines.
  • Com­pu­ter sav­vy and pro­fi­ci­ent in cloud-based appli­ca­ti­ons and vir­tu­al workspaces.
  • A cine­phi­le with a strong inte­rest in film dis­tri­bu­ti­on and mar­ke­ting.


  • Gain an over­sight on dif­fe­rent aspects of the com­pa­ny inclu­ding sales, mar­ke­ting, and pro­duc­tion as we are a small and fle­xi­ble com­pa­ny.
  • Work in a mul­ti-lin­gu­al envi­ron­ment, in a fri­end­ly and moti­va­tio­nal atmo­sphe­re with enga­ged and inter­na­tio­nal col­le­agues who bring com­mit­ment and cama­ra­de­rie to their work.
  • Obtain valuable expe­ri­ence from working with Phil­ip­pe Bober on uni­que pro­jects.

We look for­ward to recei­ving your full appli­ca­ti­on with a cover let­ter in Eng­lish at staff@​coproductionoffice.​eu (NB Appli­ca­ti­ons wit­hout cover let­ter will not be con­side­red). Plea­se also indi­ca­te whe­re you saw this post.