Inside the Rotterdam Film Festival: Diversity, Politics, and a Bold Cinematic Vision

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The Rotterdam International Film Festival, in its 54th year, kicks off on Thursday (January 30 – February 9) and festival directors Vanja Kaludjercic and Clare Stewart shared exclusive insights about this year’s lineup and the hurdles encountered by the festival and the wider independent film industry with The Hollywood Reporter.

Opening the festival will be the dark comedy “Fable,” directed by Michiel ten Horn of the Netherlands, a story revolving around a small-town criminal struggling with personal and professional setbacks. This marks the first time a Dutch film has opened the festival since 2018. The festival concludes with “This City Is A Battlefield,” a film by Indonesian director Mouly Surya. It’s a joint Dutch-Indonesian production, set during Indonesia’s struggle for independence from the Netherlands in 1946. Following a co-production agreement signed between the two countries in December, Indonesian productions now have access to Dutch subsidies, potentially including a 35% cash rebate through the Netherlands Film Production Incentive.

In recent developments, the Dutch government’s new right-wing coalition has proposed reductions in funding for cultural institutions, sparking criticism. Earlier, Utrecht city had withdrawn its financial aid for the Netherlands Film Festival as well. For now, Rotterdam has managed to steer clear of such cuts. Interestingly, the festival’s budget has seen a slight increase this year, rising from €9.1 million last year to €9.4 million in 2023.

Despite encountering financial and political hurdles, Kaludjercic and Stewart remain steadfast in their commitment to upholding the International Film Festival Rotterdam’s fundamental purpose: advocating for independent cinema from regions that are typically underserved or disregarded. Rotterdam has always been dedicated to showcasing cinematic perspectives, languages, and film industries from countries frequently underrepresented, as well as movies that might not receive enough attention without the IFFR’s support.

What do you see as Rotterdam’s USP?

Vanja Kaludjercic: Over the past five and a half decades, Rotterdam has stood as a beacon for discovery. From its inception to the present day, it’s clear that Rotterdam’s essence lies in fostering exploration and nurturing creative talents – writers, filmmakers, and artists alike. This city is not just a place for discovery; it’s an essential hub where stories unfold and artistic visions take shape.

Additionally, this platform serves as a springboard for novice filmmakers attending Rotterdam, helping them to enter the film industry by connecting with suitable partners and collaborators for their projects. The focus is on showcasing cinematic perspectives, dialects, and cinemas from countries that frequently receive limited attention, as well as films that might not typically compete in a major festival’s competition without the International Film Festival Rotterdam (IFFR).

As a gamer, I can’t help but reminisce about the transformative impact the Rotterdam Film Festival had on my journey as a programmer and curator, two hats I proudly wear today. This wasn’t just any festival; it was my first venture outside of Australia, a quarter-century ago, and its unique selling proposition (USP) drew me in like a magnet.

At that time, the festival was already pioneering the field, showcasing artists and filmmakers who were diving headfirst into installation and immersive work. It was truly ahead of its time, pushing boundaries and shattering expectations. The experience was nothing short of ground-breaking.

How does this year’s selection reflect that Rotterdam spirit?

As a passionate gamer, let me share my thoughts on our closing movie, which is none other than “This City is a Battlefield” by the talented Mouly Surya, an Indonesian filmmaker with an impressive track record. This captivating film, supported by the Hubert Bals Fund (HBF), is a joint production between Indonesia and the Netherlands – a partnership that recently gained more significance due to the co-production treaty signed between our nations in December last year. It’s a unique blend of cinematic artistry from different countries, but at its core, it embodies a powerful collaboration between Indonesian and Dutch filmmakers. This movie is not just a game we’re playing, but an experience we’re all part of, and I can’t wait to see how it unfolds!

Clare Stewart One notable theme that ties together this year’s event from a commercial standpoint is the Dutch-Indonesian link. Scattered across the entire program are both Dutch and Indonesian films, including those screening on opening and closing nights, as well as in all competitive categories. Historically, IFFR has served as a platform for discourse on geopolitics, and this focus allows us to delve into post-colonial discussions concerning the Dutch-Indonesian relationship. This is particularly relevant now, given our efforts to support the co-production treaty.

Considering the present conservative administration in the Netherlands and the growing influence of right-wing ideologies across Europe, how politically involved do you envision your roles to be?

Vanja Kaludjercic emphasizes that when curating the IFFR’s entire program, it’s essential to mirror the world we inhabit. This means including films that reflect the political climate of our times. Understanding the present also requires understanding our past, a concept that is echoed in the program as well. A notable example this year is a dedicated program for Ukrainian filmmaker Serhiy Masloboishchykov. With a 30-year career, he initially competed in the IFFR Tiger competition with his first film and returns now to showcase the longevity and richness of his career. His latest feature film, making its international premiere at IFFR, is titled “Yaza“, offering a close look at the pivotal events in Maidan Square and shedding light on Ukraine’s current situation.

From a commercial perspective, one of the hurdles for cultural institutions such as the festival and its patrons is maintaining open discussions about current political matters while simultaneously managing relationships with government funding bodies. At present, we find ourselves in a strong position, having secured financing for the next four editions from both the culture ministry and the city council of Rotterdam. However, we perceive that the cultural scene in the Netherlands is evolving rapidly, and there’s an increasing amount of strain on philanthropic organizations that have historically funded the festival due to political changes.

As a gamer, I’d put it like this: Being deeply immersed in the world of indie films, I can’t help but appreciate Rotterdam’s significant role in this sphere. With its early adoption of co-production markets and the creation of many modern co-production models during IFFR, Rotterdam has truly paved the way. In today’s context, I see it as a beacon for independent filmmakers, offering crucial financial support and nurturing collaborative projects that might otherwise struggle to find funding. It’s like having an ally in my quest to bring unique stories to life on screen.

Vanja Kaludjercic: It’s an excellent question indeed, as we often ponder about this ourselves. Given the numerous co-productions out there, it’s worth noting that the Dutch rank among the most active co-producers in Europe alongside France, Germany, and a few others. We believe that the co-production market can effectively embody the concept we promote through our official program – fostering diversity in narratives and cinematic expressions that we can nurture.

In both our co-production market and Dark Room selections, which feature works-in-progress screenings, we emphasize films from Georgia. This is due to the fact that many Georgian filmmakers in recent years have struggled to receive state support due to governmental policies. Here, we aim to provide these artists with a platform, resources, and visibility instead.

Clare Stewart explains that our support for filmmakers is ongoing throughout the year, and we assist them in various manners to aid their growth, expand their contacts, and widen their networks. Our main goal is to concentrate on filmmakers who lack straightforward access to funding or reside in areas where it’s challenging to share their narratives due to political reasons. Additionally, we aim to enhance the activation of our alumni from the HBF and CineMart to contribute to this effort as well.

What’s the one film or event you are most excited about this year?

One standout film in our Big Screen competition is José Filipe Costa’s “Our Father, the Last Days of Dictator.” This movie portrays the last days of the Portuguese dictator, Salazar. Even after suffering a stroke later in his life and losing power, Salazar persisted in believing that he was still the president of Portugal. In his final days, his staff and doctors continued to uphold the illusion that he remained the dictator.

Clare Stewart can’t wait to welcome the discussion between Cate Blanchett and Guy Maddin! We’ve got a unique screening of “Rumours” lined up during the festival that resonates with our discussions about Rotterdam’s unique selling point (USP). You see, it was at IFFR where I first met Guy in person. His dedication to short films is commendable, and they play a crucial role in his filmmaking. In fact, the festival hosted a retrospective on him in 2003 when he was dabbling with installation work. Cate, with her passion for short films, artists’ moving image work, and installations, makes an ideal interlocutor. Their collaboration on the zany film “Rumours” offers us a perfect opportunity to discuss their dedication to such creative endeavors, which is right in line with IFFR’s values.

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2025-01-30 14:55