Robyn Citizen, director of Programming & Platform lead at the Toronto International Film Festival (TIFF, 4-14 September), leads the Canadian festival’s film selection with a focus on quality, originality and diversity. From discovering new European and American talent to collaborating with international consultants, Citizen explains the strategies behind creating a cinematic gathering that has, for over 50 years, served as one of the key rendezvous in the festival season.

Cineuropa: How did you enter this business?
Robyn Citizen: My path to programming was a bit circuitous. I have a PhD in Cinema Studies and was a lecturer at the University of British Columbia for about five years, mostly focusing on Korean cinema. When I moved to Toronto, I wanted to shift into festival programming, ideally at a smaller festival, and I ended up at TIFF in 2018.

Generally speaking, what guiding principles do you follow when it comes to programming?
TIFF is unique as a public festival. We serve audiences as well as other sectors of the industry. So, we look for films that our audience wants to see, films they need to see, and movies that deserve a platform or spotlight. We also aim to provide new titles for industry professionals who are looking for discoveries and potential acquisitions.

When scouting titles, are there particular markets or places you focus on? You’re a delegate for several territories, including France.
I attend Cannes and screenings in Paris for Unifrance. We maintain strong relationships with national film promotion agencies across Europe. We aim to spotlight new European filmmakers while also showcasing established auteurs. This year, for example, we have a new film by Alejandro Amenábar, The Captive [+lire aussi :
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Regarding teamwork, do you programme collaboratively or more independently, trying to fill the slots?
We do both. Our programmers are treated as subject-matter experts, each overseeing specific regions or sections. They have significant autonomy in pursuing titles they are passionate about. My role as director of Programming is to liaise with them, ensuring the selection forms a cohesive curatorial arc while meeting our standards: quality, originality, diversity of perspectives, and representation of national cinemas.

Speaking of diversity, are there internal principles you follow to pursue it?
In Toronto, having a diverse programming team naturally leads to a diverse festival. Our programmers’ lived experiences help guide the selection of films that reflect a range of perspectives.

Next year, TIFF will be launching its own market. Will this affect your programming strategies?
It will surely have an impact on programming. The market will include works in progress, XR and other formats. But we’re still discussing how this integrates with the official selection. Some films may fit better in the market, depending on stakeholder goals.

Will the festival dates shift next year?
No, we always start on the Thursday after Labour Day. The exact date varies slightly, but the schedule will remain consistent.

You also scout indie titles for the USA, but how would you define an indie film today?
It’s a moving target. Some independent companies have become major players in the industry. Overall, we look for films that maintain an independent spirit, but it’s almost on a film-by-film basis.

For the Platform section, you aim to showcase “boldness”. But what makes a film “bold”?
Bold films feature distinctive, director-led storytelling. They may cover familiar themes – coming of age, mental illness – but in ways only that filmmaker could depict. For example, Tim Mielants’ Steve has just premiered and garnered excellent reviews; it’s a story about a teacher and mental illness told uniquely. That’s the type of film we highlight.

Do you also work with external consultants for regions like South Asia or other distant territories?
Yes. For example, Meenakshi Shedde advises on South Asia, and Claire Diao covers the Middle East and Africa. They scout films and help shape the selection for their regions, although they are not full-time programmers.

Finally, how would you define TIFF today? After 50 years, how would you advertise it – what would be the tagline?
TIFF remains a bridge between press, industry and audiences. Filmmakers bring their work to see how smart, sophisticated audiences respond. Our audiences provide feedback on comedies, dramas and potential successes in the North American market. TIFF pushes boundaries while offering a platform for films to launch successfully.