IDFA Artistic Director Orwa Nyrabia on ‘Recalibration’ Following Tense 2023 Edition and Rejecting Neutrality: ‘We Cannot Rely on an Ostrich Kind of Policy’

As a seasoned movie reviewer with years of immersion in the cinematic world, I find myself captivated by the story of Orwa Nyrabia, the artistic director of IDFA, Amsterdam’s esteemed documentary film festival. Much like a well-crafted narrative, this man’s journey is one of courage, resilience, and introspection.

2021 was a challenging year at IDFA, one of Amsterdam’s prestigious documentary film festivals. Previously, the festival encountered significant criticism when pro-Palestinian demonstrators disrupted the opening ceremony with a slogan perceived as a call for Palestinian freedom, but viewed by others as an act of hostility towards Israel. As a result, the team found themselves in deep waters, grappling with complex political issues only five weeks after the events of October 7th. This turbulence led many filmmakers to withdraw their work from the festival.

This year’s festival, spanning from November 14th to the 24th, follows an extensive period of discussions, contemplation, and self-reflection, according to its artistic director Orwa Nyrabia. He has announced his intention to resign at the end of June. “Currently, our efforts to protect our methods can seem similar to George W. Bush’s assertions about defending our way of life,” said Nyrabia. “I believe film festivals should strive to be more than that.

Last year, IDFA was the first festival of its scale to occur after October 7th, and I have to admit, it left us feeling shaky,” says the director. “We were attempting to do the right thing while also avoiding pitfalls. In my opinion, that’s a precarious position to be in. This year, our primary focus is on readjusting ourselves.

As a movie enthusiast and reviewer, I’m thrilled to express my optimism about the film industry’s reaction to IDFA’s stance. Frankly, the festival has seen an unprecedented influx of film and project submissions this year. This surge in interest suggests that folks recognize our commitment to self-critique and value what IDFA represents. They want us to triumph over any challenges we might face, especially during these trying times.

Reflecting on my personal journey through this introspective phase, I’ve come to realize that film festivals can’t claim impartiality regarding contentious matters. As a passionate film enthusiast, I understand that we’re not merely curators; we’re active participants in the process. We shape and design each festival, and that’s far from an objective or detached exercise. It’s filled with choices, decisions, and, therefore, statements. We can’t afford to bury our heads like ostriches, pretending neutrality when we’re so deeply involved in the programming process.

Traditionally, film festivals have been known for choosing only top-notch films, thereby earning the reputation as protectors of quality. However, I believe it’s time we acknowledge that ‘quality’ itself is biased and carries traces of past injustices. We must admit that our selections are not purely objective because what constitutes ‘the best’ can greatly vary.

In August, key figures in the industry gathered at a symposium held in Amsterdam to deliberate on how festivals and cultural establishments could cater to protests and debates. The symposium was spearheaded by Nyrabia, and its organizing committee included Tabitha Jackson, who had previously led Sundance, Isabel Arrate Fernandez, the deputy director of IDFA, and Rima Mismar, executive director of the Arab Fund for Arts and Culture.

Nyrabia reflects on the recent discussions, noting that those who criticized us last year were actually encouraging collaboration. They wanted us to work together and remind ourselves of our purpose. He explains that historical documentation often involves dissent, but eventually, as time goes by, people realize that groundbreaking art was a step ahead of its era.

Exploring the foundations of documentary storytelling has inspired IDFA to curate a distinctive collection, named “Dead Angle: Borders.” This assortment showcases pieces like Yolande Zauberman’s Israeli documentary, “Would You Have Sex with an Arab?”, and Lawrence Abu Hamdan’s Lebanese film, “The Diary of a Sky,” along with a highlight reel focusing on Cuba.

Nyrabia notes that despite Cuba being a nation facing hardships often overlooked by mainstream media, it serves as a significant location for documentary films. These movies not only help us contemplate history in a profound manner but also offer glimpses of what lies ahead. Unlike news and media, which focus on events as they occur, films happen before and after these events, with the immediate happening less being their primary concern.

Speaking as a film enthusiast, this year’s opening film selection, Piotr Winiewicz’s “About a Hero,” was made with a clear intention. It’s not just about sparking conversations around AI and emerging technologies in terms of their impact on our industry, but also delving into the profound philosophical concept known as “human singularity.” This choice aims to provoke thoughtful discussions that go beyond the practical implications, exploring the very essence of what it means for humans when technology reaches a point where it surpasses human intelligence.

The documentary-style movie, which explores an AI model designed to emulate Werner Herzog’s work, was among the initial films Nyrabia watched that “places us in a position where we no longer ponder if AI is good or bad, but instead provokes thoughts about the essence of human creativity.” “This topic has deeper implications, and I appreciate having this intriguing exploration serve as the foundation, as it forces us to confront the unease associated with such advancements.

The next IDFA event will mark Nyrabia’s departure as its leader, following his recent announcement that he will be stepping down after seven years in the position. He intends to stay on until July 1st to ensure a well-organized and successful transition, and to guarantee that early preparations for the 2025 edition proceed smoothly, as stated by the festival.

As a passionate cinephile who once stood on the opposite side of the fence, I’ve found my way here. I’ve always been a rebel at heart, constantly seeking what’s unfair in the world, reflects my time at IDFA. I believe it takes real courage to bridge the gap between institutions and filmmakers, allowing both sides to learn from each other’s perspectives. It’s about understanding the challenges faced on the other side of the table. And I’m proud to say we accomplished some remarkable things there.

The director has expressed that his departure is similar to a movie’s final scene, stating he dislikes it when movies end prematurely multiple times. He feels this is the ideal time for him to go, largely due to the exceptional quality of the current program. Although he admits to feeling some sadness, he’s not exactly happy or relieved. Instead, he believes his decision is correct and desires to revert back to being an individual once more.

2024-11-14 19:47

IDFA Artistic Director Orwa Nyrabia on ‘Recalibration’ Following Tense 2023 Edition and Rejecting Neutrality: ‘We Cannot Rely on an Ostrich Kind of Policy’

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