Film Festival Appreciation
Back in November 20222 I attended Abertoir Horror Festival in Aberystwyth, Wales to cover their Blaxploitation event as part of BFI’s In Dreams are Monsters season. It was a trip full of firsts- my first solo trip to Wales, my first time writing an article covering a specific event, and my first time attending a horror-specific film festival.
I’d been to a few film festivals previously, a result of studying film marketing/distribution, so it wasn’t a completely new experience but something about being at this particular festival really got me thinking about film festivals overall and the experience of attending one.
All of which ultimately led to this post, an exploration into one of the oldest forms of appreciating the art of film and filmmaking that is discussed but more so through the lens of awards and celebrity attachment – at least in the case of the big-name festivals.
The History of Film Festivals
Film festivals can be traced back to the rise of film societies and cine-clubs which emerged in various countries during the 1920s. These were a reaction to what was seen as a dominance of the new and powerful Hollywood film industry over the smaller cinemas of non-commercial movements afforded to documentaries and Avant-Garde film, as well as less well-off nations.
Most of these clubs and societies were in Western Europe though there were also some in Latin America and the USA as well. An example of their growth was clear in their ability to thrive in considerably different countries such as France where they leaned towards impressionist and surrealist cinema, and Brazil where they offered the only consistent outlet for domestically produced films.
As these groups continued to grow and spread, they began arranging international gatherings where their members, usually consisting of practising and aspiring filmmakers, could share their ideas and inspirations without the restrictions of national borders.
These were in many ways the predecessors and prototypes for film festivals, something that truly makes complete sense because there is a distinct sense of community in film festivals, especially the smaller niche-specific ones like Abertoir Horror Festival.
Film Festivals and Politics
Film festivals have a long and a varied history, a lot of which is tied up in politics and propaganda; the first proper film festival – Venice International Film Festival – was held in 1932, a result of Italian dictator Benito Mussolini’s enthusiasm for using motion pictures as a tool for political PR and propaganda.
Considering films ability to shape how we view ourselves and society in general, it’s no surprise that the first real film festivals had elements of politics and propaganda at play. At one point in time, film festivals were considered the ‘Olympics of Cinema’ rather than the celebration of filmmaking their roots could be traced back to- again because of government participation in the selection process, resulting in political undertones throughout.
Cannes’ decision to allocate the responsibility of film selection to the festival itself rather than national committees was one of many game-changing roles the festival played in moving film festivals from their politically influenced state to the filmmaking time of appreciation we know them as now.
Last Thoughts
Researching the history of film festivals and understanding the various states of change they went through in years past helped form a greater appreciation for what they are now and their importance culturally.
While it feels like film festivals are mainly spoken about through the lens of celebrity nowadays, it does seem apparent that they have essentially found their way back to the cine-clubs and societies of the 20s becoming places where community engagement is high, new talent is given a platform and audiences are exposed to new film and independent cinema.
From attending film festivals, I know I’ve seen so many films I probably wouldn’t have chosen in an everyday setting. In this instance, I definitely would never have had the experience of watching The Beast Must Die for the first time in a small theatre in Wales surrounded by an audience of genuine horror lovers, a number of which were probably watching the film for the hundredth time making the experience even more enjoyable.
For me at least, therein lies the magic of film festivals; they provide the chance to experience new films in memorable ways, and with so many of them there’s a festival for everyone.
