Per Fikse, Szymon Stemplewski, Wouter Jansen, and Laurence Reymond were speakers at the “Meet a festival” – a Kyiv International Short Film Festival industry event.
Yulia Volfovska has written down the most important information mentioned during the discussion.
KISFFpro | How do Ukrainian shorts get more visibility with international festivals?
Per Fikse, director of the Minimalen Short Film Festival in Norway, draws parallels: “Norwegian short films aren’t as much selected as Swedish short films and even Danish short films. I used to say to our regional filmmakers, it might be a question of taking chances and being daring and not too safe”. The more the short film genre is understood and appreciated by the professionals, the more quality shorts will get there, Per Fikse is sure: “Especially Denmark but Norway as well are focusing on educating feature filmmakers. The consultants that hand out the money based on scripts in Sweden are so much cleverer at selecting the projects that are uniquely short films, it should not be a scaled-down feature film,” the festival director is convinced.
KISFFpro | No more drama: how to get a festival to see beyond the stereotypes and select new Ukrainian shorts?
Szymon Stemplewski, director of the Short Waves Festival in Poland says: “There is a similar thing with Polish films. It’s now changing but it was very difficult to turn this kind of stereotype. Programmers like to see sad, ugly, dramatic films. It was one of the main reasons why we started the Short Waves Festival. We decided we wanted to try the strong, experimental, not common topics. We tried it and it was quite successful, but also difficult”. Ukrainian filmmakers are living through a very interesting moment, Szymon notes adding: “You need to find a less stereotypical way to show it. I’ll be then interested to show it to our audience. I guess, our audience is also looking for new things”.
KISFFpro | Focus on Ukraine: how to get an international festival to program a section dedicated entirely to Ukrainian films?
Wouter Jansen, head of the program department at the Go Short in the Netherlands says: “We do this every year - the country of focus, sometimes it’s a year that we see a lot of good films coming from a country. Having good contacts in the country can help, so that if you have a country that has really active distribution or people that promote the films, then you are doing it more quickly. Making it easier to find these films will also help. And then there’s always the financial thing, if there’s a country that we know we can get the money from its embassy to fly in the film directors, it makes it more interesting to do the focus. With the focus you can go backward a couple of years, so if you have an interesting film each year you can make a really good program.”
KISFFpro | First film: premiering at a big international festival vs at a local one
Laurence Reymond, selection team member of the Director’s Fortnight and of the Entrevues Belfort International Film Festival encourages young filmmakers to aim high: “If you are confident and really happy about your film, you should try the big festivals. There’s a chronology of festivals that is good to know, usually many festivals ask for premieres, you should be paying attention to premiere requirements.” Laurence also said that such a reputable section of the Cannes Film Festival as the Director’s Fortnight is thriving for new talents: “We like to discover new talents, and short film is a great field to do that”.
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