On November 7, the European film festival “Scanorama” begins in Lithuania. Its founder, Gražina Arlickaitė, makes it crystal clear that, due to respecting the festival’s audience, the organizers’ team doesn’t try to please them at all costs: it has been refusing commercial films for several years and aims to present truly high-quality European cinema. “They just have to trust us. There will be many names that do not mean anything to the audience because they are debut directors. However, we want to show you these films for a reason,” Arlickaitė says. The festival’s founder tells the Vilnius Film Office about the values of the program, “Scanorama’s” viewers, and where the success of the festival lies.
What are “Scanorama’s” key mission and values today? What matters the most to you, the team behind the festival?
The purification of values and the formation of the structure were very clear from the beginning of the festival. Of course, they were tweaked, and adjusted to function well, to meet the tasks of the festival. It is important for us that the films reflect the diversity of European cinema, and highlight the main figures of cinema from the past and present. We respect our audience, so we have never spoiled them or screened films usually included in commercial cinemas’ repertoires. We have always looked at what is happening in European cinema and how our cinema is reflected in the general context. Previously, we were focused only on the Nordic countries, but now we are a European cinema, so we have expanded our geography.
Our mission is educational. “Scanorama” was born not only as a festival that talks about films besides showing them, but also as an event dedicated to the industry that takes place simultaneously.
“Scanorama” has been taking place for several decades. I believe that during this period not only the society and the things it cares about changed, but also the festival itself. How does Scanorama adapt to new challenges, topics, and current events?
Festivals change; after all, cinema itself changes, as do the attitudes of people and filmmakers. However, the problems remain the same: producers are looking for a budget to make the project happen, they also need to find a broadcaster, and directors have to offer ideas. Everyone faces this, those who make good and bad films, arthouse or commercial cinema.
Cinema is a mirror; like it or not, it reflects what is happening in life. However, cinema is not a news service that broadcasts only what is happening around. One of the fundamental questions is: What do you look for in a film—is it the relevance or the depth? There are great movies that address issues that matter today and great movies that address other values.
We constantly conduct surveys, monitor what people write and comment about the program, and take into account what the viewers are missing. After all, films are made to be watched; they shouldn’t gather dust in a drawer.
Who do you think Scanorama’s audience is? After all, now the festival has a circle of loyal fans.
Over the years, we have memorized the faces of some of the regulars at the festival. I think that the majority of the audience are spiritually mature people who see cinema not only as entertainment but as a way to possibly find answers to some of life’s questions. Scanorama would very much like to see more young people who will also face these issues in the long run. We want the festival to be discovered by viewers who were born at the same time as Scanorama.
When do you consider the festival successful? Everyone counts the number of visitors and the tickets sold, but I believe the festival’s success lies elsewhere as well.
Ticket sales are important, but it is only one criterion. A lot of great movies that we remember for more than 10 years weren’t popular at the time they were made. Therefore, it gets easier to determine the festival’s success when we can see if the main goals have been achieved, or whether the most interesting new generation filmmakers have come to the competitions. It’s important to know that you did your best to make the festival the way you wanted. Can the audience hear us? This is probably a communication issue.
What are you most excited about at this year’s festival? What do you wish for your viewers?
The festival is a living organism that can be felt only by experiencing it. I can’t explain how everything will be or what the festival will look like because everybody’s experience is unique. If you manage to fulfill what you have planned, you can say, I can rest now, I have done everything.
First of all, I would like to stimulate our viewers’ curiosity and encourage them to discover what they don’t know yet. We want people to trust us. There will be many names that don’t mean anything to the audience because they are debut directors. However, we want to show you these films for a reason, and we invite their directors to talk to the audience.
I wish you not to be afraid to see even things that will scare you or make you angry. Feel free to get angry with a film because it’s a natural feeling. Don’t put up walls, be interested in films, and enjoy the opportunity to discover and learn, because that’s what festivals give.
Thank you for the conversation.
