Support systems for first-time filmmakers, evolving festival strategies and the challenges faced by emerging voices were among the key topics explored during a series of industry panels at Script Fiesta (25-29 March) in Warsaw.

Organised by the Warsaw Film School, the festival maintains a strong educational focus, aiming to connect students and early-career filmmakers with established professionals. Through panel discussions, screenings and presentations, the event creates a space for direct exchange on both the creative and the practical realities of filmmaking, while reinforcing its role as a platform for nurturing new talent in Poland.

The panel “A Strong Start. What Is the Best Debut Support System for Polish Filmmaking, Based on the Examples of Systems in Europe?” brought together representatives of the Polish Film Institute – including Kamila Dorbach and Marta Galińska – alongside filmmaker Urszula Antoniak (Splendid Isolation).

At the centre of the discussion was an evaluation of the first edition of the Debuts Priority programme, which introduced a separate funding track for debut features. The initiative was designed to address a long-standing imbalance within the Polish funding system, where first-time directors were required to compete directly with established figures such as Paweł Pawlikowski and Agnieszka Holland.

By creating a dedicated funding path, the programme aims to give emerging filmmakers more realistic access to production financing. Under its framework, debut features can be produced with budgets of up to approximately PLN 4 million (€936,000), with maximum support from the institute reaching PLN 1.9 million (€445,500). However, the first call for applications revealed the scale of demand within the sector. Nearly 50 projects were submitted, with combined budgets amounting to roughly PLN 88 million (€20.6 million), while the programme’s available funding totalled PLN 12 million (€2.8 million). Ultimately, only nine projects received support, highlighting a structural gap between the number of emerging filmmakers and the financial tools available to support them.

Participants acknowledged that while the initiative represents a significant step forward, further adjustments are necessary. Among the proposed changes were the introduction of two application rounds per year and the possibility to apply for funding promises in addition to direct production support. Clearer definitions of what constitutes a “debut” were also seen as essential to ensuring fair competition, including rules excluding filmmakers who have already directed non-student feature films. The discussion also highlighted the importance of promoting low-budget filmmaking as a strategic approach. In a context where the average budget of Polish feature films is estimated at around PLN 30 million (€7 million), encouraging projects at a smaller scale was seen as a way to enable more debuts while fostering creative flexibility.

Beyond funding, speakers emphasised the importance of professional maturity and collaboration, particularly the relationship between director and producer, which was described as a decisive factor in both project development and evaluation. The need for more comprehensive talent development structures was also underlined, including support for script development, mentorship and international positioning.

Questions relating to festival programming and selection criteria were addressed in the debate “What Films Are Polish Festival Directors Waiting For?”, moderated by Artur Zaborski and Julia Czerniak. The panel brought together representatives of major national events, including Bartek Pulcyn (Warsaw Film Festival), Joanna Łapińska (Polish Film Festival in Gdynia) and Małgorzata Sadowska (New Horizons International Film Festival), alongside Anna Serdiukow, Dagmara Molga, Kafka Jaworska, Anna Kądziela-Grubman and Bartosz Kuświk.

Programmers emphasised that festivals do not actively seek to define or follow trends, but rather aim to reflect the diversity of a given year in cinema. The goal is to construct programmes that combine emerging voices, established filmmakers and anticipated titles, while maintaining a balance of styles and perspectives. At the same time, recurring thematic patterns were identified, particularly among student and debut films. As noted during the discussion, many projects revolve around intimate or autobiographical themes, often focusing on family relationships or functioning as personal, sometimes therapeutic, explorations of lived experience.

The panellists encouraged filmmakers to move beyond these familiar frameworks. A key issue highlighted was the relative scarcity of genre cinema in Poland, particularly in short films. Projects operating within genres such as horror, science fiction or western remain limited, while the lack of strong comedies was also noted. At the same time, speakers stressed that genre storytelling can serve as a vehicle for complex themes, including trauma, grief and social anxieties, challenging the perception that it is separate from auteur or socially engaged cinema.

The panel also offered an insight into the inner workings of festival selection processes. Programming decisions often involve extensive debate, with differing opinions seen as essential to building diverse line-ups. Some festivals allow individual selectors to strongly advocate for specific titles, even securing their inclusion despite disagreement from others. Practical considerations were also addressed, including the importance of premiere status. For many festivals, world premieres remain a key requirement, limiting the prior circulation of films online beyond promotional materials.

Questions of representation were also part of the discussion. Panellists acknowledged the increasing attention being paid to gender balance and diversity, both in programming and within selection committees, while emphasising that the aim is to broaden perspectives, rather than privilege specific themes or identities. Across the discussions, a consistent picture emerged of an increasingly competitive environment for emerging filmmakers. The growing number of projects, rising production costs and limited funding opportunities continue to create significant barriers to entry, particularly for those attempting to realise their first feature.

Script Fiesta is organised by the Warsaw Film School, which is why the festival’s educational dimension plays an important role. One of its key aims is to create a space where emerging filmmakers can meet experienced professionals, giving students and aspiring screenwriters the opportunity to interact directly with industry practitioners, ask questions and learn about the practical realities of the profession. "Organising Script Fiesta - the only event of its kind in Poland and one of the few in Europe - is part of the Warsaw Film School’s broader strategy to support the development of screenwriting in Poland,” says Artur Zaborski, artistic director of Script Fiesta. “The launch of a new screenwriting programme at the school last year is also part of this strategy.”