International Film Festival Rotterdam
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Form Follows Function: Noah Cowan on Three Winter Festivals Circa 1999
The following essay appeared in Filmmaker‘s Spring, 1999 print issue and is being reprinted in remembrance of Noah Cowan. Cowan, a festival programmer, non-profit executive director and critic, was also Filmmaker‘s Contributing Editor and chief festival correspondent, and he passed away January, 25, 2023 in Los Angeles. “Festival strategy” has become one of the more annoying buzz terms of the American independent film “industry.” However, the presence of three major festivals, all distinctive and legendary, clustered together in the winter months demands, in fact, that any serious American independent filmmaker finishing a film in the fall recognize the need for […]
by Noah Cowan on Mar 16, 2023 -
Five Things We Learned About Festival Strategy and Film Distribution at IFFR
We did the impossible. We made a feature film. When our docu-horror Residency was accepted into the International Film Festival Rotterdam, we learned that we needed yet another miracle—we needed a sales rep to get our film in front of the right audiences. It used to be that getting selected by a festival like IFFR meant automatically getting acquired by a sales rep, but those days are long gone. On a predictably gray day during the festival, Residency director Winnie Cheung sat on a panel to speak about this very issue: the drastically changing landscape of indie distribution. Moderating the […]
by Winnie Cheung and Samara Bliss on Feb 15, 2023 -
Good Vibes (and Free Drinks): New Strains Directors Artemis Shaw and Prashanth Kamalakanthan on Their Trip to the International Film Festival Rotterdam
Along with their baby and an AI-generated poster, filmmakers Artemis Shaw and Prashanth Kamalakanthan recently brought their debut feature, New Strains, to the International Film Festival Rotterdam, where it won a Special Jury prize. The film is about a couple who travel to New York just prior to the start of a worldwide pandemic and, holed up in a relative’s apartment, descend “into a toxic pattern of spite, jealousy and miserable co-dependence, wrote Vadim Rizov in our 25 New Face profile of the filmmakers. “Wryly funny and cuttingly satirical, New Strains has the rare distinction of being a pandemic film that actually […]
by Scott Macaulay on Feb 9, 2023 -
Made with DALL-E-2: Prashanth Kamalakanthan and Artemis Shaw on the Poster for Their Rotterdam-Premiering New Strains
For their Rotterdam-premiering feature New Strains‘s poster, Prashanth Kamalakanthan and Artemis Shaw knew they didn’t want to use an actual image from their pandemic production, which was shot on Hi-8. And they wanted an image that in addition to being beautiful would formally resonate with the film itself, a story of visiting young lovers (played by the filmmakers) stuck in New York when a travel ban hits at the start of a pandemic. “We were thinking about that sense of being frozen in time,” Shaw says. “In March, 2020, everyone was obsessed with the news, but we were all stuck […]
by Scott Macaulay on Jan 20, 2023 -
“Our Crew was Three People”: Slow Machine’s Paul Felten, Joe DeNardo and Stephanie Hayes on Their Rivette-Inspired Punk Thriller
Originally published out of Rotterdam 2020, this interview with the creators and star of Slow Machine is being republished today alongside the film’s release from Grasshopper Film. It is currently available for streaming through Metrograph. Kudos to the author of the unusually compelling copy for Slow Machine in the International Film Festival Rotterdam’s catalogue. The elephantine program, encompassing more than 500 films whose wild assortment of lengths, genres and formats defies any attempt at meaningful categorization (its four main sections this year were split into 23 subsections) is filled with gems, but offers scant assistance in discovering those not already […]
by Giovanni Marchini Camia on Jun 4, 2021 -
“This Film is a Call to Solidarity, Self-Organization and Resistance”: Marta Popivoda and Ana Vujanović on their International Film Festival Rotterdam-debuting Landscapes of Resistance
Filmmaker, video artist and “cultural worker” Marta Popivoda has spent much of her career focusing on philosophies and movements through a decidedly feminist lens. Her first feature, 2013’s Yugoslavia, How Ideology Moved Our Collective Body, premiered at the Berlinale and went on to become part of the permanent collection at MoMA. And now with Landscapes of Resistance, which debuted in the Tiger Competition at IFFR 2021, the Berlin-based filmmaker returns to her native Belgrade with her partner, and the film’s co-writer, Ana Vujanović. Together they gently probe and cinematically preserve the memory of Vujanović’s grandmother Sonja, who brings to life an […]
by Lauren Wissot on Feb 10, 2021 -
International Film Festival Rotterdam 2020: The Gaze of the Old Filmmaker
Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry? — William Blake As one of the centerpiece programs at the 49th edition of the International Film Festival Rotterdam (IFFR), “The Tyger Burns” was a canny display of un-hipness. What a joy it was to pay repeated witness to such a mammoth series of movies so gleefully, so wilfully out of touch. What better way to undercut the widespread love of emerging voices, new talents and young geniuses than to turn to aging, even senile artists who have either fallen […]
by Christopher Small on Feb 20, 2020 -
“Power and Organizational Pressure Win Over Logic”: Kazuo Hara on Reiwa Uprising at Rotterdam 2020
Kazuo Hara has always aligned himself with the political left, but it was nevertheless surprising to hear about his latest film, Reiwa Uprising, which depicts the ascent of Japan’s newest left-wing political party, Reiwa Shinsengumi, from grassroots agitators to seated parliamentarians during the 2019 election. It is not unusual for Hara, best known for Extreme Private Eros (1974) and The Emperor’s Naked Army Marches On (1987), to take almost a decade or even longer between films, yet Reiwa Uprising follows Sennan Asbestos Disaster by just two years. That expedited time to completion was largely out of necessity: Reiwa Shinsengumi was […]
by Forrest Cardamenis on Feb 12, 2020 -
“Sometimes Directing is Not Saying Anything and Just Putting Vodka Shots in Front of People”: Luis López Carrasco on El Año del Descubrimiento at Rotterdam 2020
At a festival as big as the International Film Festival Rotterdam, early screenings are essentially shots in the dark. There is no buzz yet, and most films have little written about them or are by filmmakers whose previous works have received relatively little exposure. I opted on the second day to give Luis López Carrasco’s El Año del Descubrimiento a shot partly because I had heard of his previous feature, El Futuro, but mostly because its 200-minute runtime helped it to stand out amid a slate of films I knew next to nothing about. From the very beginning, its use […]
by Forrest Cardamenis on Feb 11, 2020 -
Rotterdam 2019: Livestreaming the Ephemeral in Present.Perfect.
If the International Film Festival Rotterdam can be credited for just one thing–and this would leave aside their robust global funding initiatives and industry market–it would be expanding the definition of what fits at a festival. And, therein, the definition of film. For instance, IFFR spotlights everything from installations to initiatives like this year’s Blackout program (curated by Julian Ross), which centered on performances using the now defunct Kodak 35mm carousel slide projector. It follows, then, that the festival’s centerpiece program, the Bright Future section, challenged the narrow idea of film being a title card followed by three acts and […]
by Kiva Reardon on Apr 5, 2019
