What does the slogan of the 24th mBank New Horizons IFF – “The Cinema That Leads” – mean to you?
Ewa Szabłowska: The slogan itself draws inspiration from our festival section, “Let’s Go”, which explores the philosophy of walking. Walking, often overlooked in daily life, holds profound significance in art, film, and literature. It embodies individualism, performance, and offers a democratic mode of movement. Our exhibition, “Steps”, spread across three galleries: Entropia, BWA Studio and Krupa Gallery, embodies this philosophy by encouraging interaction and movement among attendees. Artists will lead walks, providing a unique artistic perspective on the city. This initiative promises to unveil Wrocław in an entirely new festival light. I’m particularly drawn to the emotional depth of cinema intertwined with movement, where walking serves as a means to explore oneself. Within the festival context, the slogan loosely implies that cinema has the power to lead us to diverse and unexpected destinations.
New Horizons is a festival showcasing films that defy convention, often challenging viewers and demanding their engagement. Yet, they have the potential to lead to unpredictable places, much like how a director guides viewers through their world. This year’s retrospective of Yvonne Rainer, the American choreographer and theorist, is closely tied to this theme. Recently, her seven films were restored by the Museum of Modern Art, showcasing her revolutionary impact on contemporary dance. Rainer’s philosophy that dance serves as a universal stepping stone is reflected in her performative actions, rooted in collective movement experiences. Her influence permeates her films, particularly in works like “Stage Life.” To me, she epitomizes the festival’s mission to challenge preconceptions about cinema and art by seamlessly blending different artistic domains and embracing a wide spectrum of creative expression.
What are the challenges in creating a programme that is so open and diverse?
It requires the collaborative efforts of multiple individuals and reflects the collective interests of a group of curators. This process involves continuous film screenings and ongoing discussions to ensure a well-rounded selection. Alongside the collective sections, there are also curatorial sections where individual curators delve into their specific areas of interest. For instance, Ula Śniegowska curated the retrospective of Yvonne Reiner, while I curated the Bertrand Bonello retrospective. Additionally, Marcin Pieńkowski and Łukasz Mańkowski are responsible for the retrospective of Nagisa Õshima. Beyond showcasing acclaimed titles, the festival serves a cultural mission by introducing audiences to films that may not receive widespread distribution in Poland due to their niche appeal. By bringing world cinema to Poland, we provide audiences with the opportunity to engage with diverse cinematic experiences.
New Horizons has one of the more engaged audiences. Is this because the shared experience of cinema in the cinema room is increasingly unique?
I believe it’s about community and the act of watching films collectively. The festival fosters a connection between the audience, the films, and the filmmakers. Unlike solitary viewing experiences, at the festival, audiences have the added bonus of interacting with directors, engaging in discussions, or posing questions. This communal aspect is invaluable; laughter and sighs are shared, fostering a sense of collective participation. In contrast, watching films on digital platforms, often cited as detrimental to cinema culture, lacks this communal dimension.
Is your personal, female perspective reflected in the festival programme?
Absolutely. “The Third Eye” section is a direct reflection of my perspective. It serves as a platform for engaging with feminist theory, social critique, and philosophy. This year, I draw inspiration from Jess Zimmerman’s book “Women and Other Monsters: Building a New Mythology,” which resonates deeply within the cinematic realm due to its exploration of female monster characters across genre cinema and classical mythology. Through this section, I aim to bridge various domains and present feminist themes in films in a manner that is accessible to all festival-goers.
Among the titles, there will be attention-grabbing productions like Rose Glass’ “Love Lies Bleeding,” a contemporary rendition of “Thelma and Louise.” It narrates the tale of a love affair between two women, one of whom is a bodybuilder, prompting contemplation on the female physique and its conventional standards of beauty. Additionally, “The Devil’s Bath” by Veronica Frank and Severin Fiala delves into the theme of female depression across various historical and social settings. It offers insights into the essence of monstrosity and questions whether women are its victims or perpetrators within specific social frameworks.
Can a common denominator be drawn between the two hundred titles on the program?
The vastness of the festival’s program offers a rich tapestry of cinematic experiences, each section curated by different individuals with their unique interests and passions. For instance, whether exploring Bonello’s works or delving into narratives of female monstrosity, there’s a keen interest in the nuances of corporeality and the complexities of the human psyche. Similarly, sections dedicated to walking evoke therapeutic and reflective qualities, aligning with the ethos of slow cinema. Even urban strolls, often overlooked, find common ground with nature walks as expressions of simple pleasure.
