Stories

Get to know our programmers (part 2)

09 March 2023

Film still: Unidentified

Stories

Get to know our programmers (part 2)

09 March 2023

The programmers putting together our next festival edition in 2024 bring an incredible wealth of knowledge and experience to Rotterdam. Each programmer uses their unique regional expertise to create a truly global lineup full of newly uncovered gems and festival favourites. With some new faces joining the team, we thought we’d ask them about their cinematic inspirations. What do they most look out for when scouting new work?

‘Get to know our  programmers’ deals with a selection from our programming team who took part in the interview process. You can read Part 1 and Part 3 here to learn about what they look for when scouting new work, and more information on their profiles. See here our full programming team and selection committee members.

 

“It’s the ability to create these moments that induce you to believe that your tears, laughter, repulsion or sense of injustice are totally ‘real’ ’’

What do you look for when scouting new work?

Kristína Aschenbrennerova

Focus: features from South Korea, Japan, China, Hong Kong, Taiwan

Unidentified was part of our Harbour programme and a favourite from Aschenbrennerova from our 2023 titles. 

“I generally enjoy films that, even if set in our reality, distance themselves from it and create their own fictional world(s); films that don’t offer stories, ideas, or behavioural patterns in a certain way just because “it is like that”. I look for a certain level of playfulness in narration and/or style even in rather serious or gloomy films. I don’t mind being manipulated by a film(maker) as long as it is a game, not a power play. As for the authors, those that fill films with their own egos rather than ideas put me off.’’

Stefan Borsos 

Focus: features from South and South-East Asia

Read here about a special selection from Borsos for our 50th edition, OK Computer featured in the film still above.

“To single out one quality I'm looking for is rather difficult and I actually wouldn't separate new directors from experienced ones. Of course, I'm looking for surprises, freshness, an individual vision and so on, but what I especially cherish is when the communication works - when I understand why the filmmaker is doing the things he or she is doing in a certain manner. And while I do like melodrama's broad strokes, I can also enjoy subtlety which is to be found, believe it or not in popular/genre cinema as well.’’

Michelle Carey 

Focus: features from English-speaking territories

Read here about a special selection from Carey for our 50th edition, Rock Bottom Riser featured in the film still above.

“I want to see that a filmmaker cares about everything that they do as part of their filmmaking, and this includes the look of the film. The visual aspect of the film for me is crucial – I want to see something new, not pedestrian, like we encounter everywhere in life. And it has nothing to do with budget or access to expensive equipment.’’

Mercedes Martínez-Abarca 

Focus: features from South and Central America, Mexico, Caribbean

Read here about a special selection from Martínez-Abarca for our 50th edition, A felicidade das coisas featured in the film still above.

“I look for films that leave you with some kind of reminiscence; films that you will not easily forget, even if it is just one scene or one dialog or just one frame. This could be from a visual point of view or a story point of view. In any case, films that trigger you emotionally in some way. I also always appreciate some irreverence or peculiar sense of humour. I like filmmakers who don’t take themselves too seriously and who are not afraid to take risks and make films that are ‘out of the book’.’’

Olaf Möller

Focus: features from German speaking territories and Nordic countries.

Read here about a special selection from Möller for our 51st edition, Lone Wolf featured in the film still above.

“Nothing in particular – sometimes brazen nuttiness delights me, sometimes it's humbly consummate craftsmanship.”

Lyse Nsengiyumva

Focus: features from Sub-Saharan Africa and shorts

Neptune Frost was part of our Harbour programme for our 51st edition, featured in the film still above, and a favourite from Nsengiyumva.

“I would have to say that the qualities that most excite me from a new director is honesty and work that is daring.” 

Ivan Ramljak

Focus: shorts

See above Ramljak’s top IFFR screening experience, The Vertical Cinema (2014); a collaboration with Sonic Acts where ten experimental filmmakers and artists created new 35mm works for a monumental, vertical cinemascope projection.

“I like films that introduce some formal or substantial innovation but still remain in communication with the audience. The authors are not afraid to experiment, but to do it within a strong concept and idea, not just for the sake of experimentation.’’

Koen de Rooij 

Focus: features from the Netherlands and Flanders and shorts

Read here a highlight written by de Rooij on filmmaker Leonardo Mouramateus, whose work is featured in the film still above: A festa e os cães, Brazil (2015).

“There are many things that can excite me in new work. I like it when films play with my expectations, when they take a very bold, strange or surprising approach, when they touch on topics rarely discussed or when they focus very thoroughly on small details often ignored. I love it when a film takes me to places where I’ve never been before, emotionally or otherwise.’’

Delly Shirazi 

Focus: features from the Middle-East, Northern Africa, Iran, and Turkey

Read here about a special selection from Shirazi for our 50th edition, The Son featured in the film still above.

“Of course, be surprised by the formal creativity, those few seconds when you think: nobody has dared or done this before. But perhaps more importantly, be caught by a strong emotion. It usually goes beyond the aesthetic/cinematic value of a work. It’s the ability to create these moments that induce you to believe that your tears, laughter, repulsion or sense of injustice are totally “real”. It happens rarely though. The reason why cinema is a fantastic art is because there is always the chance when you click on a link, a possibility, that you have those emotions stirred. And when they don’t, you continue your quest.’’

Read "Get to know our programmers" (part 1)