With the 58th edition of the Karlovy Vary International Film Festival drawing nearer (read our news), Cineuropa sat down with its artistic director Karel Och to delve into the festival's focus on first films, the impact of the Proxima Competition, the current state of Czech cinema, and the innovative KVIFF Talents incubator. Och also shared insights into the festival's latest venture, a channel called KVIFF.TV, which is set to broaden the festival's reach and enhance the visibility of cinematic works.

Cineuropa: This year’s programme features a significant number of debut films. Can you share some insights into the emerging themes and stories these new filmmakers are bringing to the festival?
Karel Och: My colleagues and I recently analysed our finalised programme, which includes world premieres as well as films from other festivals. We found that one-third of the 150 films were debut features. We’re seeing a similar trend this year, with five out of twelve films in the main competition being first films, which is an unusually high number. This reflects changes within our team: last year, two members left, and we brought in three younger ones, lowering the average age by about ten years. This rejuvenation has influenced our tastes and attracted younger filmmakers, especially with the introduction of the Proxima Competition. Transitioning from East of the West to Proxima opened us up to more global territories, resulting in a greater number of debut films. We’re excited to be nurturing new talent and helping them grow by exposing their work to audiences and industry members, and confronting them with other films.

The festival is continuing to showcase a wide range of genres and geographical representations. What regions or genres are the most represented?
Our collaborator Martin Horyna’s extensive contacts in Asian territories have significantly increased the number of Asian films in our programme, including entries from Japan, China, and Singapore. One notable trend we've observed is the depiction of women at various life stages, from retirement to childhood, portrayed by both female and male directors. This reflects a broader shift towards consideration of the male gaze versus the female gaze. This change isn't limited to festivals, it also extends to film schools and funding bodies who are reassessing opportunities based on gender perspectives. Consequently, there’s a higher concentration of films focusing on women's experiences.

The Proxima Competition, which is replacing the long-running East of the West section following the festival´s increase in the territories it covers, is now entering into its third year. Has the competition fulfilled the expectations that led to its founding?
Programming Proxima brings us immense joy, though it will take more time to fully establish its identity. We’re aiming for a clear and distinct identity that isn't too limiting. Interestingly, producers and sales agents are now offering us films for Proxima directly, understanding that our profile differs from the main competition. Proxima features first films with strong inner drive, presenting diverse opinions and striving to challenge norms with fresh energy and depth. This willingness to engage with and sometimes polemicise against established canons lends Proxima vibrancy, making it a rewarding experience for us.

Czech films enjoy a strong presence in this year's line-up. What are your views on the current state of Czech cinema?
It's difficult to pinpoint precisely, but there are patterns when we compare films, and generational overlaps. For instance, Adam Martinec - whose debut Our Lovely Pig Slaughter [+leggi anche:
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KVIFF has set up an incubator for young local talent called KVIFF Talents. Among the chosen projects are three fiction films and three series. Why did you decide to extend the framework to include series formats and does that mean that KVIFF will also programme more episodic works in the near future?
KVIFF Talent is an initiative I enjoy, though my involvement - like that of my colleagues and Executive Director Kryštof Mucha – typically comes later. The substantial number of applications we receive reflects its growing popularity. While there's not always a direct link between KVIFF Talent and the festival programme, it offers creators a valuable platform, especially given the impact series have these days. This year, I've seen several web series in development created by established filmmakers. We've showcased series occasionally, but we’ve resisted creating a dedicated section. This organic connection with KVIFF Talent makes it special, serving as an excellent promotion vehicle without being a premeditated strategy. We support projects but we don’t require them to premiere at our festival. We allow each and every film to have their own natural development process and timeline.

The KVIFF ecosystem has now been extended with the introduction of the VOD platform, KVIFF.TV. The festival has now been licensed to run a television channel called KVIFF.TV in the Czech Republic. What are your plans?
We’re launching a collaboration with Vodafone TV to programme a dedicated channel, which will allow us to reach a larger audience. It’s an exciting and well-deserved opportunity for the network. I’m honoured to be part of a team that meets several times a week, spending hours on marketing strategies, programming, and making the channel engaging. The channel will showcase a curated selection of films and series, bringing the festival's spirit to a wider audience and enhancing the visibility of diverse cinematic works.