05/02/2026 - The Estonian curator is stepping into her new role, signalling a generational shift grounded in long-term discovery, trust in audiences and a renewed, collective vision for the festival

As it marks its 30th edition, the Tallinn Black Nights Film Festival (PÖFF) is entering a phase of carefully structured renewal, reaffirming its commitment to discovery, artistic ambition and international collaboration. At the centre of this transition is the appointment of Triin Tramberg as artistic director, while founding festival director Tiina Lokk shifts her focus to long-term strategic development as CEO. Having grown alongside the festival over 15 years-plus, Tramberg is now assuming responsibility for shaping the festival’s overall artistic vision.

This anniversary year also brings key leadership appointments across the festival’s ecosystem. Award-winning filmmaker and festival professional Dhanushka Gunathilake has been named head of Discovery Campus, Malaika Bova takes over as First Feature Film Competition curator, and a generational handover unfolds within Just Film, with Jan-Joonas Pevkur appointed programme director and Mikk Granström staying on as administrative manager.

Tramberg met with us to reflect upon this transition, as well as revealing her curatorial priorities and how she envisions guiding PÖFF into its next decade.

Cineuropa: After more than 15 years at PÖFF, what will change most — in practical terms and on a symbolic level — as you move from a curatorial role to become artistic director?
Triin Tramberg: After more than 15 years, the biggest change relates to perspective. Practically speaking, my role now is to look at the programme as a whole - how different sections speak to one another, how discovery, established voices and audiences interconnect, and how the festival’s artistic identity is articulated across its entire scope. Symbolically, it’s a shift from shaping individual programmes to assuming responsibility for a broader vision. Discovery has always been the common feature of my work, and in this role I see it as a continuum: combining new talent with more established filmmakers, whilst also welcoming back voices the festival has supported and nurtured over the years.

As you step into this role, which curatorial principles are essential for you to preserve or implement?
PÖFF has a very strong foundation, and my intention isn’t to dismantle what has been built, but simply to develop it further. This isn’t a moment of crisis management; it’s a time of transition into a new decade. The principles I feel are essential are openness to new voices, curiosity over different cinematic languages, and a strong connection between artistic ambition and the reality of audiences and the industry. The world and the film landscape are changing rapidly, and the festival has to evolve alongside them, carefully observing what continues to resonate over time and where new approaches are needed.

PÖFF combines a strong artistic profile with one of the busiest industry platforms in Northern Europe. How do you plan to balance artistic risk-taking and discovery with the long-term sustainability of the festival?
I see artistic risk-taking and sustainability not as opposing forces but as closely connected. At PÖFF, the festival and the industry platform have always worked hand in hand, sharing the same values of discovery, development and long-term thinking. Our industry initiatives create a framework in which artistic risk is supported, by giving projects time, context and a future beyond their premieres. Sustainability isn’t only about financial stability, it’s also about trust: from filmmakers, audiences, partners and the team itself. I work with a strong and experienced team whose perspectives I trust, and this collective approach is key to making balanced, informed decisions.

Within the wider FIAPF landscape, what do you think truly sets PÖFF apart today?
Within the FIAPF landscape, PÖFF has established itself as both an important discovery platform and a place where audiences encounter the most significant films of the year. Positioned at the end of the festival calendar, it offers something approximating a reflection on the cinematic year, while still introducing new voices and perspectives. PÖFF’s industry platform is also particularly distinctive in its breadth and innovation, spanning training programmes, project development and presentation, drama series, and education for the next generation of film professionals. This combination of artistic ambition and comprehensive industry engagement is what makes PÖFF stand out.

The 30th edition also comes with a broader refresh of the festival’s leadership and curatorial teams. How important is this staff reshuffle and how do you ensure continuity while making space for new voices and working methods?
This moment marks a new chapter in the festival’s internal structure. PÖFF was created and shaped for decades under the vision of one person, Tiina Lokk, and the team worked closely to realise that vision. Today, we’re moving toward a model with several heads of departments, each bringing their own experience, ideas and strategies. What ensures continuity is that these are people who have grown into their positions within the festival. They understand its values, its history and its working culture. This shared foundation allows us to open up to new voices and methods with confidence. When the fundamentals are strong, it becomes possible to build far beyond what was previously imagined.

Looking ahead, if you had to describe your artistic vision for PÖFF over the next five years in three key words, what would they be and why?
First, safe. A safe place for voices. I want PÖFF to continue being a space where different perspectives are heard and respected. Diversity of voices is not only an artistic value, but a necessity in today’s world.

Second, audience-driven. I strongly believe that films are made to be seen. Cinema remains one of the most accessible ways to experience emotion and to step outside of everyday reality. I want PÖFF to remain a highlight of the year for Estonian audiences, and for the films we present to travel widely beyond the festival.

Third, innovative. It’s essential to remain attentive to how the industry is changing and to what filmmakers need today. Innovation, for me, means keeping our finger on the pulse while remaining grounded in the festival’s core values.