What can you tell us about this year’s festival theme, The Parallax View?

‘It is about the division between inclusiveness and exclusiveness. What has caused us to be on such opposite sides, while we had hoped for the contrary to happen? Filmmakers all over the world are exploring this theme and try, through film, to explain what they feel. That emotional aspect is important, because rational arguments for a certain issue can significantly differ from feelings. This is an understanding film can perfectly convey, and that is why films can shape your worldview.’

To what extent are you aware of that division in Rotterdam?

‘I am afraid those divisions are everywhere, even in Rotterdam. However, funnily enough I have the impression that Rotterdam in particular is ahead in terms of acknowledging it. You have to openly admit that there are major differences. Once that has happened, unity in action can be achieved.’

How inclusive is IFFR?

‘The festival is for everybody, but also by everybody. We search all over the world, from Rotterdam to Birma, to find films that make us feel: yes, this is definitely something new. This results in an eclectic mix in which all nationalities of Rotterdam are represented. I am convinced that IFFR can bring about unity. A few hundred people, all with their own stories, are in a theatre, sharing an experience for 90 minutes. That is huge.’

‘I am convinced IFFR can bring about unity.’

Do you reach enough young people?

‘We are trying very hard to do so. In collaboration with Erasmus University Rotterdam and Rotterdam University of Applied Sciences (Hogeschool Rotterdam) we have organised special programmes. Quizzes, talk shows, special guest speakers and masterclasses. The younger visitors usually stick around and party on until the early hours. I like that very much and no – that does not interfere with the depth of the experience, quite the contrary, it is all part of the same thing. Experiencing something new, something exciting, is just as fun as the beer afterwards.’

How well can young people with a migration background be reached?

‘I do not know exactly. We do evaluate which films are interesting for which target group and use our communication strategies accordingly. It goes without saying we will invite young Cape Verdians to a film about Cape Verde, but it is even more fun if they go and see a film that surprises them and shows the world from a perspective that is new to them.’

You have been the director of IFFR for 18 months now. What are the most important changes you have made?

‘IFFR is such an exciting festival, there is so much to discover. But where do you start? I have looked for ways to clearly categorize the films, to create more focus and to guide our visitors better. The Hivos Tiger Award nominations, for example, have been reduced to eight films so that we can focus all our attention on one Tiger each day. And I have divided the programme into four sections: Bright Future, Voices, Deep Focus and Perspectives. Each section with its own colour to help you choose.’

‘How we have come to be on such opposite sides? All over the world film makers are considering that question.’

What role has IFFR played in the ‘emergence’ of Rotterdam as an attraction?

‘In my previous position as a consultant for the Netherlands Film Fund and as a film producer (Beyer produced the award-winning film Paradise Now, among other things, red.), I frequently travelled abroad. I have experienced myself that Rotterdam is generally considered to be an innovative, unconventional, great and yet intimate city. I would even go so far as to say that IFFR is part of the reason why. Does that sound arrogant? Maybe, but I still think it is true. There are many film festivals, each with its own character. Cannes is probably the largest. For Rotterdam with its outspoken taste and its progressive spirit to achieve the position it is in today is a major accomplishment – and typical of how we operate in this city.’

Exactly what is it that Rotterdam does so well?

‘IFFR collaborates with about every large cultural institution and the major educational institutions, but also with the hotels and nightlife venues in Rotterdam to promote an atmosphere of adventure, party and inclusive culture. If you join forces, you can accomplish a hell of a lot.’

What does the collaboration with Rotterdam University of Applied Sciences (Hogeschool Rotterdam) entail?

‘It is our aim to give each day of the festival a specific theme and atmosphere. The second Thursday of the festival focusses on the makers of the future. On that day masterclasses and special events for students are programmed from early in the morning until late in the evening – which everyone is very welcome to attend, by the way. This sneak preview of the future will already start on the Wednesday before, when we take a closer look at the latest techniques and developments in film.’

‘If there’s one thing I hate, it’s mono culture.’

You have studied at the Willem de Kooning Academy yourself.

‘That’s right. Although it was called the Academie voor Beeldende Kunsten Rotterdam at the time. The current director, Jeroen Chabot, was one of my lecturers. Next to my studies in audio visual design, I had a part-time job with IFFR. I drove a bus to and from the airport to pick up special guests. A wonderful job; in between driving to the airport I spent as much time as possible in the movie theatre. I have been bombarded with the most outrageous films that were simply impossible to understand. Super exciting and inspiring. Two years later I was promoted to the production department, we had our offices in the former Nighttown premises.’

What have you learned from that time?

‘That you have to try new things – continuously. That is the atmosphere I want to retain as director. It is better to fail occasionally than to stop experimenting. If there’s one thing I hate, it’s mono culture.’

‘As a student, I had a part-time job working for IFFR.’

When will the festival be a success?

‘If we succeed in taking IFFR beyond the ten days of the festival alone. For ten days, the city is rocking and we share a certain state of mind. That is a feeling that can also be retained for the rest of the year. Last summer, we started the ball rolling with the IFFR White Nights.  We put up tents in the Museumpark, where we showed short and long films from countries such as Syria, Iraq, Pakistan, Egypt, Palestine, Lebanon and Tunisia. We organised discussions, workshops and performances, but we also had delicious Arabic food. Next year, we will continue to put our ambition into practice by programming in KINO throughout the year. But let’s start with the festival itself.’

Text: Elsbeth Grievink
Photography: Hans Reitzema

IFFR: January 25 – February 7

On Thursday, February 2, there is a special programm for students: iffr.com.