The power of debut film lies in its fearlessness when seeking out unexplored territories and new approaches, its inquisitive attitude to tone and its attempts to uncover a new cinematic language. The key principle when selecting the films for the international competition is that they meet these criteria. The second is stylistic and geographic diversity. We don’t know which areas of filmmaking will stand the test of time, and we try to listen to a variety of voices and practices and present them in the programme.
The boundaries between fiction and documentary are becoming ever more blurred. The interpenetration and cross-pollination of these two lineages, hybridity, multi-layering, and the ability to see the public in the personal and vice versa are among the distinguishing features of this year’s programme. Another important line that can be traced in the films on the competition programme is the reflection of cinema’s magical properties and the desire to see beyond the production of images. This year of crisis has seriously disrupted our usual rhythms and left us with many new questions. It is therefore no surprise that ambivalence, opaqueness and the forces hidden behind our facade of wellbeing are of major interest to the next generation of auteurs. These are their first and second feature-length works.