On curating cinema in a world of precarity | The State of Cinema
The last few months in the European festival circuit have felt as if someone had pulled some sort of emergency brake: what seemed to be a blossoming period of rebirth and renewal in the teams across some of the continent’s most important festivals has now turned – with few, yet notable exceptions – into a sudden freeze, a certain regression that has led to the firing of some of the most visible, interesting and radical cinema curators in the business. Between 2018 and early 2020, a new wave of artistic directors with innovative views on contemporary cinema, many of them women, ascended to the top of these festivals, some having to fill in the shoes of significant figures (like the late Hans Hurch or the controversial Dieter Kosslick): Eva Sangiorgi (Viennale, 2018), Paolo Moretti (Quinzaine des Realisateurs, 2019), Lili Hinstin (Locarno, 2019), Cíntia Gil (Sheffield DocFest, 2019), Carlo Chatrian (Berlinale, 2020) and Vanja Kaludjercic (Rotterdam, 2020/21).
Film critic & journalist. Collaborates with local and international outlets, programs a short film festival - BIEFF, does occasional moderating gigs and is working on a PhD thesis about home movies. At Films in Frame, she writes the monthly editorial - The State of Cinema and is the magazine's main festival reporter.
