During TIFF, Universal Film & Television Journal’s Amir Ganjavie interviewed Andrea Voges the festival manager and head of programming for the Durban International Film Festival (DIFF). She worked previously for the festival, mostly in program administration, from 2009 to 2014 before returning to the festival earlier this year.
Amir Ganjavie, UniversalCinema Magazine (UM): Can you speak a little about the selection process, who makes the final decisions?
Andrea Voges (AV): We have a team of film reviewers who review all the submissions. Each of them put forward a list of films they believe should be included in a longlist. That longlist is then watched by the same group of film reviewers to create a shortlist. We discuss the shortlist to put together the programme. As head of programming, I make the final decision.
(UM): And what’s your definition of a good film? A film that you know you have to have.
(AV): There are many considerations when putting together a programme. Of of these is Audience – what I believe they will enjoy but also challenge them. It’s very difficult to define what a good film is but some markers are the artistry, bravery and how interesting and thought provoking it is.
(UM): And are you inviting films, or do you have open submissions?
(AV): We do both. We call for submissions; as well as scout for films.
(UM): And do you have a special kind of section for filmmakers from your own region?
(AV): Yes, of course. One of our objectives is to create space for South African and African stories to be told alongside storied from the rest of the world.
(UM): And how is the relationship between the festival and the government? I’m thinking of the Berlin Film Festival where the Minister of Culture just decided to replace the head of the festival. So, I’m just curious is this a situation that could happen at your festival, or is your festival independent?
(AV): The festival is an entity of the University of KwaZulu-Natal. And we receive funding from government bodies, but the festival is independent, particularly in its programming. Of course we are governed by the vales of the South African constitution, which is a great thing given that our constitution is arguably one of the best in the world.
(UM): Suppose that a filmmaker makes a very beautiful movie about a controversial topic, like against abortion, would you consider these kinds of films if they are good?
(AV): All topics are considered. Films that pose questions are great, provided that they are questions and not an imposition or heavy-handed. Nothing is off the table provided that it’s not hateful.
(UM): And what about taking films from Russia right not for example?
(AV): Our policy, at the festival, is to consider the filmmaker – on their or its merits – and film and not where the person happens to have been born.
(UM): I was talking to another programmer and they were talking about short contracts, the instability of the job, and how people end up going from one festival to another. What is the situation like at your festival for the contract staff?
(AV): Unfortunately, all our staff are on short-term contracts. Because we are not for profit and rely on funding, we are only able to issue contracts against actual money in the bank.
(UM): I was recently at the Sarajevo Film Festival and they had a film talking about their historical conflict in the past. Some festivals are very open about their pasts, and I was wondering, does your festival address the apartheid regime?
(AV): Race and the apartheid regime is not an unusual or uncomfortable topic in South African society or at the festival. Mapantsula is billed as the first anti-apartheid film. It premiered at Cannes in 1988 but was banned in South Africa at that time. We were delighted to screen the restored version this year.
(UM): A lot of festivals are struggling to draw in audiences under 40, is that the case for you?
(AV): The last three editions have been online or hybrid so we were delighted to present a fully-physical edition this year. A lot has changed over the last few years but our work, in general, is to draw old and new audiences back to the cinema. We engage younger audience through our student film section in the programme and workshops for emerging filmmakers. We, of course, would like to engage more of the youth.
(UM): I’ve spoken with a bunch of festival directors about diversity and they’ve said one of the challenges with African cinema is there’s not too much production in African countries. What is your opinion on this issue?
(AV): I think African cinema is doing amazing. I think that can be seen in the program at Cannes. We had many African films. One was –
(UM): Main competition.
(AV): Yes, Banel & Adama. And then we also had Omen and The Mother of All Lies. These are all African films. So, I think African cinema is doing well. At DIFF, I would say that our programming is very diverse. We’re a very diverse country.
(UM): And do you have any quotas in terms of race, gender, etc.?
(AV): They are not formal quotas but when we’re putting together the program these, of course, are considerations – race, gender, geographical spread, genre.
(UM): I know you haven’t been in this position long, but from your previous festival experience, how have you noticed changes since streamers arrived?
(AV): The streamers are creating opportunities – jobs, funding, bursaries and the production of local content . It’s a good thing, but sometimes it’s a bit challenging because filmmakers are producing commissioned content. So, there isn’t much independent work for us to consider for the festival. We all need make a living – hopefully commissioned work allows filmmakers to make their passion projects.
(UM): And is it easy to negotiate with the streamers if you want a movie?
(AV): Yes. This year we had two South African films that were Netflix productions, and Netflix graciously allowed us to show the films before they went onto their platform.
(UM): Is there an audience for arthouse films in South Africa?
(AV): There’s an audience but we would like to see it grow. And that’s our job – to create opportunities for people to come together, watch different cinema from all over the world, be intrigued, challenged and entertained. And hopefully the develop a love for it.
(UM): Anything else you’d like to add?
(AV): Our 45th edition will take place from 18 to 28 July 2024. We hope to see you there.
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