Editor

New York … 2008 New Director/New Films Series
PostScript: Tendencies and Issues with
Marian Masone, member of the Selection Committee...

CM Are there any significant changes you observe in style, themes, or
approaches in the 2008 edition of New Director /New Films compared to past years?
MM Two films in this year's ND/NF point the way to a new way of connecting with
the rest of the world: Lee Isaac Chung, a Korean-American raised in
Arkansas, made the striking MUNYURUNGABO, about the aftermath of the Rwandan
genocide, and the British Conrad Clark made SOUL CARRIAGE, a Chinese film
that looks at modernity overtaking tradition. Both films have a sharp
connection to their subjects, no matter that neither is their "own" story...
(i.e. you'd never know that MUNYURUNGABO wasn't made by a Rwandan, etc,)

CM How many films did you review?
MM Around one thousand films

CM What are the criteria you apply in the selection process?
MM It may sound like a cop-out, but it's not! - We are primarily looking for
good work -- talented filmmakers who tell interesting stories in new ways.
look at Serge Bozon, and LA FRANCE; a ghost-like WWI film with pop music
underscoring the story. Or Alex Rivera, whose SLEEP DEALER is a low-budget,
but hi-tech science fiction that deals with huge globalization issues, or Azazel
Jacobs, who not only uses his own parents (to great effect) in his film, but
makes their loft -- the director's childhood home -- into a character. or
Emily Hubley, who deftly mixes animation with live action. I could go on...

CM How does you selection process work and how do you identify new talent?
MM All six members of the selection committee (three from Moma
[The Museum of Modern Art] three from the Film Society [of Lincoln Center] are constantly looking at work at festivals we go to and we bring back work for the other to see. But our call for entries is also a huge part of the process -- and we look at
everything, because that's where the next great filmmaker could be lurking:
on the submissions shelves! Also, people in the field all over the world
know us and know ND/NF; they suggest films to us as well. But we mainly
identify new talent by looking at all of this work. For me, the success of
New Directors is that it is a highly curated program with a very limited
number of slots, so it is important that we (the selection committee) all
see the work and can debate among ourselves which films and filmmakers are
to be included. Since we don't give awards, we've always said that the
"prize" is to be accepted into the program. We can't give those slots away
lightly.

CM Are there more films to review than in past years and if so how do
you cope with a larger number of films?
MM It keeps creeping up. As for me, I find myself looking at films earlier and
earlier. It’s what you have to do.


CM Richard Pena, Peter Scarlett, Christoph Terhechte (Berlinale - Forum)
seem to concur that the sharp increase in film making, in film makers and the use of inexpensive production technologies resulted in a greater number of films but not really in an increase of outstanding films ...... do you agree?
MM I would have to agree, though I think that there will be some filmmakers
coming down the pike who will employ these new technologies in different
ways and create a new genre, if you will, of "outstanding" films.

CM What is your take on the constantly growing number of film festivals?
MM (did you know that a few years back, there were TWO Williamsburg (Brooklyn)
film festivals??) Some of them are great; those that deal with specific
kinds of films, those that bring films to areas that might not otherwise see
them are important. So there's a place for them. Are there too many?
Probably, but maybe over time it'll all shake out, everyone will find their
way.

CM Lastly, do you observe a change in your general audience and the press covering the New Director / New Films series?
MM We have a pretty loyal audience. I love seeing familiar faces, these are the
people who really love cinema. We are always ready to welcome new faces as
well, though, and I've seen some. I'd like to see more. As for the press,
well naturally the New York Times changed the way they cover both ND/NF and
the New York Film Festival a few years ago (they used to do a full review of every film). I have to say that I like this way better, the [current] critic's notebook approach. And of
course there are so many online sites, blogs, et cetera now. I'm excited by
all of it, though it remains to be seen if people are reading all of these
sites. We all know how hard it is becoming for film critics these days;
you would think with the huge numbers of new films (of which we talked about
above), there'd be a place for them. I hope for the best for all of them,
because in this field of festivals, serious film criticism is part of the
ongoing dialogue among the curators, press and audience.

CM thanks for responding

Claus Mueller
New York Correspondent