Yes, I look out for that. Also with the filmmakers whom we’ve invited several times over the past few years, such as Kazik Radwanski, who will be presenting his new film Green Crayons. Following his earlier entries Out in That Deep Blue Sea and Princess Margaret Blvd., this film is once again a prime example of the type of artistic open-mindedness and searching that we are looking for. We want to see signs of further development in the works, and that the artists are ready both in terms of form and content to try new things and to arrive at different solutions.
The way the story is narrated in the films should have something special about it. In the imagery of Back by 6 by Peter Connelly, the movement of the body is mirrored by the movements of objects. The filmmaker is primarily concerned with this synchronicity. The formal approach is, at first glance, experimental. At the same time, on the narrative level, the director creates a specific world of meaning, and shows us how magical the world we inhabit is and that in daily life we all too often think only in terms of alienation. The characters in the film become our representatives, who show us how beautiful the world can actually be.
A curator’s work
A diversity of approaches, forms and themes is one of the criteria that audiences have come to expect from short film programme blocks. This year you selected many films that run for about half an hour. Does that make it more difficult to put together the individual blocks of films?
There are different ways of bundling the films together – thematically, for example. Or when one film builds upon another. But I play with these structures, insert breaks, try to make compositions, by tapping into the emotions of the films. We don’t select the individual films based on a big theme and then assemble the programme. Still, there is always a logic, no matter how divergent the content and formal approach of each film is. It is good to watch the films together. It leaves a unique impression. This year the most interesting question is how the shorter films will be integrated so that they don’t go under between the many half-hour films. The mix has got to be right.