My main takeaway from exploring film festival culture, both present and past, is the complexity of defining them. Before joining this studio, having never experienced a film festival firsthand, I expected a clear definition of what a film festival entails and the various elements they incorporate. However, it wasn’t until we watched “Film Spa” that I truly grasped the intricacies of film festivals and their unique nature.
The documentary provided abundant insights not only into the Karlovy Vary International Film Festival itself but also into the external factors that influence it, including politics. From my current understanding, politics play a significant role in film festivals, from the celebrities who are invited to attend, to the selection of films shown, and even the films that win awards if a contest exists. Issues such as film censorship and accessibility were factors that had such a huge impact on the development and success of the festival – and I found it intriguing how the KVIFF showcased a range of films, from heavily censored works to those featuring explicit content. The festival mirrored the political climate of the country – at times being very nationalistic and having a strong focus on Czech films/filmmakers, to highlight Soviet cinema during the Cold War. But even amid all the political turmoil, the festival still showed commitment to internationalism and diversity. There were many impactful moments in the documentary such as Italian actress Claudia Cardinale representing Italy while participating in the festival’s festivities or seeing iconic Hollywood actor Henry Fonda immersed in the festival atmosphere, expressing his astonishment at the vibrant ambience like cooking sausages over a huge bonfire, which he compared to nothing he had experienced before, not even at an A-list festival like Cannes. I found it interesting that the comparison between the two festivals was made – given that they are both early European film festivals that some argue aspire to be the template for great festivals given their popularity and the extensive research surrounding them (Stevens 2016).
After watching “Film Spa”, I got the impression that the Karlovy Vary International Film Festival was not aspiring to be like or be greater than festivals such as Cannes or Venice, but existed proudly in its own right, embracing what Czech culture had to offer like its food, music, cities, and films. The creators of the KVIFF knew that they had something unique to offer, and whether it is seen as an identity-based festival (de Valck et al. 2007) or just another European A-list festival, they created something beautiful that people all over the world can enjoy and connect with. I think that it is crucial to remember that as our festival begins to take form, that at the end of the day we are creating a space to express our love for art, cinema, and growth – the basic elements that I believe are driving forces behind the KVIFF. We can ask ourselves what matters to us and our local communities to help guide our own festival creation.
References
de, VM, Kredell, B, & Loist, S (eds) 2007, Film Festivals : History, Theory, Method, Practice, Taylor & Francis Group, London, accessed March 21 2024. Available from: ProQuest Ebook Central https://ebookcentral.proquest.com/lib/rmit/reader.action?docID=4426549&ppg=37
Stevens, K. (2016). Enthusiastic Amateurs: Origins of Australia’s Film Festival Movement. In: Australian Film Festivals. Framing Film Festivals. Palgrave Macmillan, New York, accessed 21 March 2024. https://doi.org/10.1057/978-1-137-58130-3_2