“A film school is the starting point and springboard from which the entire film industry leaps forward. I would like to see Lithuanian-language cinema gain ever stronger recognition globally,” says the head of the National Film School (KIMO), Assoc. Prof. Vytautas Dambrauskas. Students of the school, which opened its doors on the Lithuanian Academy of Music and Theatre (LMTA) campus in September, have already settled into their new premises and will soon complete their first semester exams. “I believe that strength is not a blind pursuit of greatness, but rather purity, the ability to understand what our film school is and why it is the way it is,” Dambrauskas is convinced.
The first KIMO students will complete the winter semester soon. How do you feel? What are the first reviews you are receiving?
At the beginning of September, we opened the LMTA National Film School and the Faculty of Theatre and Dance on the LMTA campus. For three long decades, we resided in the Sluškų Palace, which was in a rather poor condition and not the most suitable space for learning and developing. When we moved in we knew that not everything in the new building would be fully furnished. I joke that when we move into a new house, we often come with just a mattress and a kettle – furniture and paintings appear later.
A few months before the students arrived, the school administration was already settling in here, and we were very excited, we kept wondering how the students and teachers would accept the changes and if they would like them. And then, seeing their smiling faces, we realized that maybe we were overthinking everything because the students were happy to be able to study here.
What were your own experiences studying at the LMTA? What did the school look like when you were a student?
I studied when the school was in its first decade of existence, so much was done based on intuition, often drawing inspiration from the experience of Eastern European schools, where the master-student relationship prevailed. Naturally, when we were 18-19, we had all sorts of fears about what we would be able to learn. By the way, many technological opportunities did not exist back then.
Teachers are the core of what happens at school, so they must believe in and be passionate about what they do. It is nice that our industry professionals share their experiences and raise a new generation, and it is great when we can introduce the most famous Lithuanian artists to our students.
What is the difference between the National Film School and other schools in Lithuania and abroad? What spot do you aim to occupy today on the map of European and world film education?
We have repeatedly discussed with our teachers what our school is like, and the process is ongoing. When we joined the FILMEU alliance of European film schools, we became more international, as we had the opportunity to observe other schools and their uniqueness. I can see two main traditions in Europe. The Western school offers knowledge of the entirety of media, it opens wider gates but gives students narrower skills. Meanwhile, Eastern schools in Bratislava, Prague, Lodz, and Latvia, pay more attention to what students choose to specialize in.
When we started working with foreign partners, we thought more and more about what we are – are we honing our authorial talent or moving in the direction of the Western world? I think that today we are a kind of bridge between the traditions of both schools, between the past and the future. The film legacy of our country’s artists is also very important to us, we certainly do not try to erase it, because these are our roots.
How do you measure the school’s success: according to student careers, films they make, or perhaps their impact on society?
For me, success depends on future filmmakers, I would like to see Lithuanian-language cinema gain ever stronger recognition globally. We have a great example from the Poles, Danes, and Czechs – they do not conform to the usual cinema rules, instead, they discover new angles and are interesting because of their uniqueness. Our goal is to invest in young talents and give them the courage to speak their unique language, experiment, and find what makes them one of a kind. I would like such a cinema to gain weight in the international market and be loved at the national level.
Secondly, recognition in a broader context is very important. The more our artists create and achieve, the more prominent the school will become. Perhaps in 10 years in Europe, alongside the names of FAMU, FEMI, or Lodz, KIMO will also be valued and recognized as a forge of exceptional talent.

How do you manage to establish connections between students and professional filmmakers?
Community is one of the key elements. Facilities and constantly changing technologies will lose their value without a dedicated community. Probably, more than 80% of the people working in the Lithuanian film industry today are connected to the LMTA in one way or another. Therefore, the film industry community is also a school community. After all, school is not only about today – it is also about everything that was, and what will be. Last year we celebrated our 30th anniversary, which brought together approximately 500 people from the film industry – in such moments you understand how powerful and valuable it is. Alumni are a crucial part of the school.
The small size of our country is our strength – we have each other’s backs, we support each other, and when necessary, we can unite and make decisions. A journalist from a French magazine was very surprised and asked me if we are indeed such a tight community, do we really know and support each other? I believe, being a tight-knit community is an advantage that does not interfere with achieving the goals for now. We do not know what it will be like in 10 years. If funding does not increase, and the number of ambitious talents grows, then it may be more complicated. However, I think that everything will move consistently.
How do you organize the school community? What does everyday life at KIMO look like?
Students study their specialty; they do this individually and in groups. However, there are also quite a few activities that are not related to studies. For example, we have the Šoblės Club, an initiative conceived by students, where the community gathers, watches, and discusses films. For many years the club has also organized one of the most prominent student film festivals in the Baltic States. We have also started a new tradition, Film School Day, during which various activities are organized, from sharing results to a table tennis tournament. In most of these activities, there is no boundary between the student and the teacher, everyone has a good time together. The school’s small size provides the opportunity to know the names of every teacher and student and to forge a personal connection.

What are the greatest challenges for you, as the head of KIMO?
When I started the job, I wrote down 35 points that I would like to change. I saw the school as a film set, where I had worked for many years. Being the head of KIMO reminded me of managing a film production, and coming up with a vision. You imagine the result, but not everyone working on the project necessarily sees that final point the same way. You have to be able to communicate, talk, be the driving force, achieve goals, and try to unite the team. Just like in filmmaking, everything here is about the team.
How do you imagine the role of the national film school in five or ten years?
The film school is the beginning and springboard from which the entire film industry leaps forward. Therefore, I want to maintain the school’s importance in the film community, to be even more open, so that artists can feel free return to the school with questions, ideas, suggestions, or looking for help.
I read the rules that the head of Den Danske Filmskole, who has been the head of the institution for 20 years, has written about the Danish film school. I realized that many points correspond to our school’s values. In Denmark, the film school is recognized at the state level an essential institution for film education. They receive a lot of attention from the state and are famous for their achievements, although they are inferior in size to our school. I believe that strength is not a blind desire for development, but purity, the ability to understand what our film school is and why it is the way it is.
I once said that it would be a good idea to hang a mirror in the hallway and write that this is what the school is. We create an opportunity for young people who come to study to look at their reflections and see why and what makes them unique in cinema.
Thank you for the interview