Frederic Boyer • Responsabile della programmazione, Reykjavik International Film Festival

– Il programmatore di Les Arcs e Tribeca intende ora portare film di qualità al pubblico di Reykjavik. Abbiamo parlato con lui dell’edizione di quest’anno

Questo articolo is available in English.

We spoke to Frédéric boyer on what to expect this year from the Reykjavik International Film Festival (RIFF), which he has scheduled.

Cineuropa: In addition to the Arcs and Tribeca, you came to programme Reykjavík. What has your experience been like so far?
Frédéric Boyer:
It’s an island between Paris and New York and, of course, it’s very symbolic to me. It’s a very exciting film festival, mainly because the audience is young, and also because so many filmmakers participate. I was impressed with their archives – almost everyone they invited came, like Werner Herzog, Jim jarmusch… This year we even have Debbie harry come and support the short film Blondie: Vivir in Havana, which is part of our new music-film section, Cinema Beats. She is an extraordinary artist: her autobiography is an incredible read, and her role in Videodrome is iconic. When Charlie watts deceased, [RIFF director] Hrönn Marinósdóttir asked me to show something with it in it, so we added Stones in exile, which I programmed at the Cannes Directors’ Fortnight years ago.

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Young audiences need something beyond films, and we are trying to build a bridge between film, visual arts, photography and music. It’s good that we can always reinvent the sidebar sections, so with Cinema Beats, which includes movies like Laurent Garnier: Off the Record and AhA – The film [+leggi anche:
intervista: Thomas Robsahm
scheda film
, we’re trying to put together a very popular program.

What can you tell us about the New visions and A Different Tomorrow competitions?
New Visions is intended for the first and second films of their directors. We are not limited by any premiere requirements, and we can choose films from any major festival, but it is also important that we have a submission process and can choose certain films from there, so that young filmmakers can see that they have a chance to get chosen. We watch all the films sent by the filmmakers themselves.

In A Different Tomorrow, we have images that deal with social and environmental issues, the ones that spark debate, but our priority is that these are films made for the big screen and not television productions. It’s an exciting mix. What I like about festivals is going to see a movie before you know what it is, trusting a programmer, and just going to see it. It’s all about trust, and this section is one of the most exciting. Most of the time the filmmakers are present, and of course one of the main functions of a festival is to create an exchange between the audience and the artists.

How about the Icelandic Panorama section and Wwork in Proggress, where you show fresh Icelandic movies to audiences and upcoming to professionals, respectively?
It is very important to solidify the Icelandic industry and make it more visible. Iceland is a country with a small population, but this aims to create a community of not only filmmakers, but also editors, cinematographers, crews and technicians, to show films and work in progress, and to think in the future. We invite people from the industry to meet people with projects and see if they can work on co-productions.

We only show a few scenes from each movie in Work in Progress; it is more interesting to give the microphone to the producer and the filmmaker to explain what they are looking for, where they are and what the status of the film is. I think such events shouldn’t be too long: they should generate excitement and a desire to see films hit festivals next year. We present all kinds of films there: family films, comedies, thrillers, documentaries and experimental films. Icelandic cinema is developing; it is mainly present in Cannes and Venice, and the salespeople and co-producers are very interested in it. I can’t wait to meet other talented young filmmakers.

You also have some interesting tributes and some boxes – tell us a bit about those.
Yes, we pay homage to Dimitri Eipides in collaboration with the Thessaloniki Film Festival, and I don’t think I’ve ever seen a festival pay such a tribute to a programmer. When he passed away, our programming community was very sad, and when Hrönn suggested it, I thought it was a great idea that would also show a lot of respect for conservatives. We will screen four of his favorite films [click here to read more]. I would also like to highlight the Dutch focus [click here], where we bring filmmakers from the new wave of Dutch cinema. The producers and directors are coming, and it’s a whole section with exciting films that you don’t often see on the big screen.

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