SAA - Society of Audiovisual Authors

Far-right influence on cultural and media policy

Beyond the electoral success and the growing influence of far-right parties in Europe, a strong shift in political culture, governance, the role of media and the perception of arts can be observed. At the European Parliament level, combined, the ECR, PfE, and ESN hold 187 seats, not only surpassing a traditional governing party like the S&D (136 seats), but also rivalling, in size, the EPP (188), the largest party in the hemicycle. If these groups overcome their ideological differences, they could significantly shift the Parliament's agenda.

The far-right influences centre-right and classic right-wing parties by adopting some of their own extreme rhetoric and policies. This is, in particular, visible in cultural and media policy as some work on weakening public service broadcasting (PSB) and reducing the very necessary public funding for arts. PSBs finance more than half of European TV fiction production, and such weakening policies limit the independence of media across the continent and reduce cultural diversity and creative production.

Both reports use Hungary as an example. The former Orbán-led governments introduced legislation known as the Transparency of Public Life Bill, which would allow for defunding or even dissolution of the organisations the power did not consider desirable. Although this legislation was postponed due to the many condemnations it received, it still contributed to the formation of a toxic climate of self-censorship among artists and cultural organisations, beyond the Hungarian frontiers.

While the Fidesz leader lost the 2026 parliamentary election, only time will tell how the Magyar government approaches cultural and media policy. What we have witnessed under Orbán’s Hungary was the emergence of a governance model which tried to control the public discourse to satisfy its own electoral interests and by erasing any form of opposition, notably the artistic ones. In parallel, geopolitical and economic tensions are arising, and ‘funding (is) being redirected to war efforts’, as emphasised by Freemuse 2025 report (a trend persisting). This, undeniably, weakens the cultural sector financially but also strengthens the false idea that culture is not a priority.

Self-censorship as a survival strategy

In this environment, self-censorship has become a tragic survival strategy. Artists have admitted they anticipate political and financial risks, which should alarm every single one of us. Ultimately, the tension between the infinite facets of artistic expression and the far-right’s fight for conformity and control clashes. This places culture as a dangerous, sometimes even extremist, misunderstood entity that needs to be encaged. Audiovisual authors’ self-censorship is difficult to measure, and authors may sometimes feel alone. The work by the SAA demonstrates that collective management organisations play a crucial role in safeguarding their authors’ rights and royalties.

Artists report feeling constrained to adapt their work by fear of political, economic or legal repercussions. Creators favour stories they judge ‘safe’ over another one that may be more controversial or sensitive. This is further reinforced because the cultural sector is financially dependent on public funding.

Cinema is strongly targeted: there are numerous examples of cancelled film festivals and films being removed as they are deemed immoral, and even discriminatory permit refusals are issued. Some themes are more recurrent than others in terms of self-censorship. In Europe, for example, the two Freemuse reports highlight: Slovakia and Hungary have withdrawn funds for LGBTQ+-themed production as their governments have refused the potential spread of 'LGBT propaganda'. Noticing that the Drama Queer Festival and the Otherness Film Festival in Slovakia did not receive grants in 2025.

Attacking artistic creativity with ‘foreign agent laws’

The rise of ‘foreign agent laws’ gives the possibility to governments to label and stigmatise people and/or organisations receiving foreign funds as working for external interests. Originating from the USA, it holds a strong influence in Russia and even spread to EU countries such as Slovakia and Hungary. One of the numerous issues behind such legal frameworks is that they blur the line between artistic creativity and what we could call political sabotage. These laws are purposely vague. Foreign agent laws do not operate by themselves. Instead, they exist jointly with governmental efforts to centralising cultural organisations, and restricting minority expression and creativity. Beyond cutting funding, delegitimising thoughtful creative thinking and narrowing pluralism, they alarmingly isolate the cultural sector from international collaboration. Yet, artistic creation is meant to be shared, collaborative: transcending borders.

Artists' resistance and political responses

Artists demonstrate incredible resistance: by defending their own freedom of artistic expression. Across the continent, they mobilise together, organise protests, call on national and supranational organisations to protect artistic freedom. For instance: Slovakia’s Otvorená Kultúra! (Open Culture!) platform shows that cultural communities can and should become powerful civic actors. It also calls for a European Artistic Freedom Act, which would establish stronger safeguards at the EU level.

These reports highlight the urgent and absolute necessity to protect artistic freedom, particularly for audiovisual authors, as their work is tied with public funds and national and supranational regulations. In a context of political pressure, governments must reaffirm their obligation to respect, protect and fulfil artistic freedom (both in theory and practice) so that artists can exercise their art freely, showcase it to the world without fearing censorship and financial retaliation.

In this context, Commissioner Micallef’s Cultural Compass provides an overview of upcoming reports on the State of Culture in the EU, which will focus, in particular on artists' experiences of artistic freedom. It also emphasises the need to safeguard artistic freedom through current and future EU policies and programmes, particularly regarding the proposed AgoraEU, which forms part of the next EU long-term budget. Audiovisual works shape the way the public sees the world around them. Whether arts aim at reflecting social realities, creating debates, or simply escaping from reality; its creators should and must be free in creating.

Maxence Bernard

Public affairs and communication intern at the SAA

*Read the reports: FSE: 'Right to Write' (2026), and Freemuse: 'The State of Artistic Freedom' (2025) & (2026).