The Helsinki International Film Festival, known as Love & Anarchy, has carved out a unique space in the global film landscape, celebrating daring and unconventional storytelling. At the heart of this festival is Outi Rehn, the head of programming, who curates a diverse selection of films that embody the spirit of anarchy and artistic risk-taking. In this interview, Rehn discusses the festival’s programming philosophy, its approach to film selection, and its commitment to cinematic diversity, while also reflecting on the evolving landscape of film festivals in a post-pandemic world.
Amir Ganjavie, UniversalCinema Magazine (UM): Please introduce yourself and tell me about your role in your organization.
Outi Rehn (OR): Yes, I’m Outi Rehn. I’m the head of a program at the Helsinki International Film Festival, called Love & Anarchy.
(UM): What kind of movies are you looking for under the label “Love and Anarchy”? Are you exclusively selecting films that touch on these themes?
(OR): It’s a useful guideline for discovering films that push boundaries. Under the theme of anarchy, we look for edgy, unconventional films. It can be difficult to define exactly what a Love & Anarchy film is, but when I see it, I just know—it has that distinctive energy.
(UM): Do films need to incorporate both love and anarchy, or do they focus on one or the other?
(OR): Not necessarily. A film may not contain love at all. We focus primarily on arthouse films, covering as many different countries and genres as possible. We have a small midnight section and some dark-humor comedies, all with an element of edginess.
(UM): Is your festival open for submissions, or do you select films independently?
(OR): The festival operates by invitation only. While we receive many film suggestions, we don’t have an official submission system, so we can’t guarantee that every film sent our way will be reviewed.
(UM): Does that mean you don’t prioritize premieres? Are you screening films that have already been showcased at other festivals?
(OR): Yes, we don’t require world premieres. A film may have already screened in Sweden or elsewhere in the world, but that doesn’t affect its potential to reach our audience, who likely wouldn’t have seen it elsewhere.
(UM): What defines a “good” film for your festival? Do you prioritize script, cinematography, or directorial style?
(OR): Our programming team has diverse tastes, and we include some experimental films. We seek films that bring something fresh and unexpected—something that challenges audiences.
(UM): When you say “experimental,” do you mean films that break traditional storytelling structures?
(OR): Yes, exactly. That’s how they fit into our broader theme of anarchy.
(UM): Does your programming team have individual sections, or do you collectively decide on selections?
(OR): I have the final word, but our team has broad interests. Instead of predefined sections, we build the festival organically based on the films we select each year.
(UM): Do you have any preferences in terms of race, gender, or sexual orientation in your film selection?
(OR): We aim for as much diversity as possible. We include many queer films, though they are not confined to a single section. Our website provides keywords so audiences can find films aligned with their interests.
(UM): Do you have a special section for Finnish filmmakers?
(OR): Yes. Our Finnish New Wave section highlights emerging talent. We also run an industry event called Finnish FilmAffair, which has been ongoing for 14 years, successfully connecting Finnish films with global sales agents and media.
(UM): Do you take political stands when selecting films? Have you ever banned films from certain countries?
(OR): Film is inherently political. We have chosen to highlight Ukrainian films rather than Russian films at this moment. It’s not an official ban, but a curatorial decision. Similarly, we’re prioritizing Palestinian filmmakers. We received backlash for donating proceeds from a Palestinian film’s screening to human rights organizations, but the support far outweighed the criticism.
(UM): Would you screen a well-made film with conservative themes?
(OR): We prioritize films that align with our values. If we were to screen a film with a controversial stance, it would require additional context—perhaps a Q&A or a panel discussion—to explore why we chose to include it. Our goal is to expand perspectives while maintaining respect for human dignity.
(UM): Have you faced external pressure regarding your film selections?
(OR): Yes, but we’ve always sought to challenge the mainstream. In the 1980s, our retrospectives featured directors like Lina Wertmüller and Derek Jarman, which was radical at the time. In the 1990s, Finnish censors blocked Nekromantik from screening, so we took the 35mm copy to Estonia and showed it there instead.
(UM): How many films do you screen each year?
(OR): Around 150 feature films and roughly the same number of short films. We are the largest festival in Finland.
(UM): When does the festival take place?
(OR): It happens in the latter half of September, right after the Venice Film Festival.
(UM): Do you offer any special services for filmmakers?
(OR): We invite some filmmakers, but we don’t have a competition for feature films. There’s a national short film competition for Finnish films.
(UM): How is the festival funded?
(OR): It is publicly funded, supported by the Helsinki city government and our national government, in addition to box office revenue.
(UM): Does the government influence your programming decisions?
(OR): No, we operate independently. We have complete freedom in our film selection.
(UM): What about venue availability? Some festivals struggle with securing screening spaces.
(OR): We have strong relationships with Helsinki’s cinemas. The festival takes over almost every theater in the city, using around 20 screens. It does create some challenges for local distributors, but it’s only for eleven days.
(UM): How does staffing work for the festival?
(OR): We have about five full-time employees throughout the year. Around 20-30 people join us in the months leading up to the festival. Many return annually, though we always have some new hires who bring fresh ideas.
(UM): Has attendance been affected by post-pandemic challenges?
(OR): Yes, the years following COVID were tough. In 2023, we still lost a quarter/fourth of our audience. But last year, we saw attendance returning to pre-pandemic levels, which is encouraging.
(UM): How do you handle securing films from major streaming platforms?
(OR): It’s difficult, particularly with Netflix. If I see a Netflix-acquired film, I almost immediately assume it’s unavailable. That said, audiences still come to see films on the big screen, even if they’re available online.
(UM): Is there anything else you’d like our readers to know?
(OR): I’ve brought our 2023 catalogue, which showcases the kinds of films we program. Each year, we commission a different artist for our festival’s branding, and our artwork travels the world through our materials.
(UM): Thank you for your time.
(OR): You’re welcome!
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