26/06/2023 - In anticipation of the 57th edition of the KVIFF, the artistic director broke down his programming choices and discussed the rise of the new generation of Czech filmmakers

(© Film Servis Festival Karlovy Vary)

Entering his 13th year as the artistic director of the Karlovy Vary International Film Festival (KVIFF), Karel Och has established himself as an emblematic figure in the world of Czech cinema. Having steered the festival through two decades of evolution and growth, Och continues to bring fresh and innovative perspectives to the event. In anticipation of the 57th edition of the KVIFF, we engage in a conversation with the artistic director about the selection for the upcoming edition, as well as the directions in which the gathering is heading.

Cineuropa: Can you discuss any specific themes or trends that emerged during the selection process for this year's competition sections?
Karel Och: My colleagues and I often discuss recurring trends and themes after the selection process is complete. Thus, we don't intentionally target specific topics. We have noticed that a significant number of films currently reflect a sense of uprootedness and the quest for somewhere peaceful. This may be a reaction to the horrors of the political, social and ecological crises. It seems that filmmakers are placing a stronger emphasis on these issues than they have in the past. The concept of homecoming, whether physical or metaphorical, is another prevalent theme. Take, for instance, A Sensitive Person [+see also:
film review
trailer
interview: Tomáš Klein
film profile] by Tomáš Klein or the Lebanese-German documentary Dancing on the Edge of a Volcano [+see also:
film review
trailer
interview: Cyril Aris
film profile].

What strikes me is that arthouse filmmakers are not shying away from difficult subjects. This observation doesn't only apply to competition titles, but to films across all sections. There's a sense that filmmakers are striving to balance their challenging themes with compassion for their characters, and they are embracing these characters with greater intensity. It's as if they understand that the only allies these characters have are the director and the screenwriter. Thus, I have detected an increased level of empathy in the current crop of films.

Given the focus of this edition, how do you feel the selected films represent the current state of global cinema? Are there any particular regions or genres that have stood out in their contributions this year?
Our ambition is to represent as wide a range of cinema as possible. I believe we have a diverse programming team in place that helps us achieve this. Each of the five core members brings their own distinct taste and values, and we hope that our festival-goers, if they manage to see as many films as possible, will appreciate the variety in the thematic, formal, and aesthetic stratification. We strive for diversity not just in terms of content, but in geographical representation as well, which is the aim of every festival. Regardless of the prevailing trends, which are ever-evolving and subjective, we believe the charm and beauty of our film selection lies in its variety. Someone might be considered trendy due to their approach to a subject, while another might be admired for their alternative formal style. Variety, in all its forms, is the essence of our selection process.

Speaking of alternative formats, you programmed episodic works at the past edition; however, this year, the trend appears to be “oversized” films that exceed the usual 90- to 120-minute running time.
You're absolutely right; we do have a higher concentration of films longer than two hours in comparison to previous editions. I recall at last year's Venice Film Festival, I waited five days to see my first film shorter than two hours. This isn't a complaint or an attempt at being witty, but simply the reality. This year, more than ever, we as programmers will have our work cut out explaining to our audience the prevalence of these longer films. However, I am confident that in each case, the extended duration is justified.

You've previously talked about the festival's focus on audience-friendly cinema. How do you balance this aspect with the introduction of experimental and avant-garde offerings in sections like Imagina? This year, Electra by Daria Kashcheeva appears to combine both worlds.
Yes, these films are exceptional cases that boast a significant auteur signature style while also being capable of engaging a larger audience. This is a balance we've been striving for in our programming trajectory. We aim to provide our audience with films that not only communicate with them on a personal level, but which also present something innovative, different and original. Balancing out these aspects can be challenging, but we strive to achieve it. In our competition sections, I believe we've accomplished this by offering films with strong, relatable narratives that are also urgently relevant. In my opinion, if filmmakers want to be formally innovative, their subject matter should also be urgent to overcome any potential audience hesitation or distrust. I've always appreciated films that, metaphorically speaking, grab the viewer by the shoulders and attempt to shake them up a bit.

Similarly to last year, you have a strong contingent of domestic films. Is this still a consequence of the pandemic, or is the Czech Republic having a strong season?
I would argue that filmmakers in their thirties are assuming a leading role in our domestic cinematic landscape. These are creatives who are active in a period less pressurised than the transformative 1990s, a time of political, social and economic shifts in the country. This is the third consecutive year that we have had two domestic films in the main competition, and they come from directors in their thirties and forties. After we showcased teasers from A Sensitive Person, Restore Point and We Have Never Been Modern, people expressed positive surprise at the production quality. They've noted that these films seem to have been made with larger budgets, are strikingly ambitious and shot with confidence, and are competitive on the European stage.