Tallinn Black Nights Fest Honcho Tiina Lokk on her Program, Fighting Conflicts and Cuts. ‘If Someday A-List Stars Would Like to Come We’ll Find the Money’

As I delve into the world of PÖFF, I am consistently amazed by the resilience and determination of its founder, Tiina Lokk, who has built this festival from the ground up amidst challenging economic conditions and logistical hurdles. Her passion for cinema shines through every aspect of the festival, from the meticulous selection process to the introduction of new sections like the documentary competition.


Tiina Lokk, head of the Tallinn Black Nights Film Festival (commonly known as PÖFF), which is one of the largest film festivals in Northern Europe, has gathered her team of 15 programmers to create another impressive and diverse lineup for the festival’s 28th edition taking place from November 8-23 in Tallinn, Estonia.

This year’s selection is divided into six primary categories, along with 37 sub-categories, showcasing a rich array of cinematic treasures catering to various preferences. The focus is particularly on outstanding films from the Baltic and Nordic countries, as well as Central and Eastern Europe.

250 different features and 323 short movies from 82 diverse nations will be displayed in both PÖFF’s primary program and the children and youth-focused sub-festival Just Film. This includes a total of 57 world debuts and 27 international premieres.

Among the highly anticipated world premieres at the event on Nov. 8, I’m particularly excited about “Long Story Short,” a delightful German comedy that will kick things off. Other notable debuts include Klaus Härö’s heartfelt film “Never Alone,” which Menemsha Films has acquired for U.S. distribution. There’s also the French thriller “Out of Control” starring Omar Sy, the Latvian drama “The Exalted” by Juris Kursietis, and the Chilean psycho-thriller “A Yard of Jackals,” featuring Nestór Cantillana and Blanca Lewin from the HBO series “Fugitives.” Each of these productions promises an unforgettable cinematic experience.

Notable features encompass an emphasis on German and Georgian independent cinema, a Lifetime Tribute dedicated to Estonian director Peeter Simm, a fresh documentary competition category, and the Dennis Davidson Spotlight Award bestowed upon British-Palestinian filmmaker Farah Nabulsi for her initial work “The Teacher.” To top it all off, over 88,000 film enthusiasts can enjoy the new AI Susi suggestion tool to design their personalized screening.

In this conversation, we’ll delve into the thoughts of one of the leading figures in Baltic cinema, who was recognized by EbMaster as one of the 50 women making a significant impact in global entertainment last year. Just before the PÖFF, Lokk shared insights about her festival lineup and the complexities of programming during ongoing international conflicts and financial constraints with EbMaster.

How difficult was it for you and your team to put together your program amid global conflicts?

Last year presented numerous challenges: the Gaza conflict erupted, the Balkans saw intense unrest, and the Russian-Ukrainian war was ongoing. Compared to that, this year has been relatively calm. However, we’re closely monitoring global events, particularly those involving festivals. A growing trend of censorship is surfacing due to conflicts, with individuals holding strong opinions on issues like Palestine vs. Israel, Ukraine vs. Russia, China, Iran, etc., exerting influence over these events. For me, maintaining our program’s freedom and independence is paramount. If we were to compromise on that, I would consider leaving my position.

Do you feel the job of a programmer is more challenging than ever?

Managing the festival today is significantly more challenging than it was when I first joined PÖFF in 1997. While we remain committed to our cultural and educational objectives, we now also focus on fostering a robust industrial component. This industry aspect serves as a catalyst for boosting local and regional audiovisual industries, influencing trends globally. Simultaneously, we strive to provide the optimal environment for each nation to share its narrative and facilitate dialogue between filmmakers and their audience. It is crucial that we vigorously defend every film, its subject matter, and creator. This role comes with great responsibility. In addition to possessing a deep understanding of cinematography and the film industry, I must also stay informed about international politics.

What is your stance about Russian films in your program?

We’re excluding films funded by the Russian state because of the ongoing conflict in Ukraine and it’s clear that Russia is an aggressor in this situation. However, I want to make it clear that I welcome Russian filmmakers who have left their country, as well as those from Iran, Palestine, Israel, Belarus, and others. If we were to exclude certain filmmakers based on the circumstances in their home countries, we might find ourselves with very few nations represented at the festival, given the troubled governments around the world. In this challenging time, it’s essential to maintain hope…

In addition, we’ve set aside a section for films from Georgia. With some Western pollsters doubting the victory of the pro-Russian administration led by Bidzina Ivanishvili in Georgia, it seems particularly important now to provide a platform for Georgian filmmakers who work independently…

As a passionate movie enthusiast, I firmly believe in championing independent filmmakers from Georgia, who create without any shackles of censorship. Growing up and through my youth, I’ve encountered censorship firsthand, and it’s disheartening to see even a hint of it resurfacing in the 21st century! The face of censorship has evolved, too, now often taking the form of financial constraints rather than just outright bans. While it was straightforward during Soviet times, today it wears a more cunning mask.

For a decade now, PÖFF has held A-list festival status. What’s your perspective on being the final major A-festival of the annual film calendar?

During our initial years as a top-tier film festival, it was challenging for us as producers since many others wanted to save their major releases and world premieres for the following year, beyond their production year. However, we’ve managed to shift that conventional wisdom. It seems industry professionals have started recognizing that films screened in our competition programs are doing well on various festival circuits, regardless of their production year.

Tallinn Black Nights Fest Honcho Tiina Lokk on her Program, Fighting Conflicts and Cuts. ‘If Someday A-List Stars Would Like to Come We’ll Find the Money’

Is it easier for you today to secure world premieres?

Indeed, while we strive for realism, it’s important to acknowledge that our circumstances differ significantly from those of cities like Cannes, Venice, Berlin, or San Sebastian. This is largely due to the relatively small population of 1.4 million in Estonia. We don’t harbor ambitions of premiering major U.S. blockbusters or films by renowned directors because the industry’s key players typically focus on platforms at larger festivals in more extensive markets. We understand our limitations and adjust our strategies accordingly.

Today, we find ourselves thriving in a strong position, and have solidified our identity as a film festival that champions director-driven (auteur) films, blending commercial appeal with artistic integrity. Our primary goal is to cater to our vast audience while maintaining high box office returns, which account for approximately one third of our total budget from ticket sales. Striking the right balance, particularly in competition sections, between auteur cinema and more commercially oriented films is crucial for us. We are a festival that values its audience, while simultaneously upholding the artistic quality of auteur cinema within our selection of films.

Are you O.K. budget-wise?

For a single year in our entire festival’s span, we’ve managed to stay afloat. Despite being one of the top festivals with a relatively small budget (€2.7 million: $2.9 million), we’re making it work, but for how long remains to be seen. Estonia currently holds the unfortunate title of having Europe’s weakest economy. Under such challenging circumstances, maintaining any sort of glamour is difficult. Every year, when stars express interest in attending, I enthusiastically agree, yet internally, I’m filled with apprehension due to our financial constraints. The logistics of getting stars to Tallinn are another hurdle – even within Europe, travel to Tallinn isn’t always the most convenient. However, we refuse to back down and have become more resilient in the face of this crisis, thanks to the support of 700 volunteers. If A-list stars ever decide they’d like to visit us, we’ll somehow manage to scrape together the funds!

In spite of the challenges we faced, I must say that this year’s festival lineup is nothing short of extraordinary. I’d be happy to share some insights about the submissions we received and the selection process involved.

Our team of fifteen programmers works collaboratively to review and categorize the numerous submissions we receive. We distribute the films across our main competition, first features, documentaries, as well as special sections such as Rebels with a Cause, Critics’ Picks, Baltic Film Competition, and Just Film for kids and youth. Since April, we’ve collectively screened over 2000 movies, although I sense a decrease in the number of films this year. The ongoing impact of COVID-19 is evident in the global film market; there are simply fewer films available due to production constraints.

Why did you decide to introduce a documentary competition strand?

Year after year, I’m consistently astounded by the vast quantity of documentaries we receive, even with numerous documentary festivals and specialized sections devoted to this genre at others. It was increasingly necessary for us to find a solution to manage this influx effectively.

Moving on, it’s worth noting that the documentary scene in Estonia, and across the Baltics, is flourishing, unlike the fiction film sector which isn’t particularly robust these days, except in Lithuania. Given this context, establishing a dedicated competition section for documentaries to showcase them globally seemed like a logical step. Marianna Kaat and her team successfully organized an engaging international documentary competition with a focus on author cinema. In the future, we aim to foster an industry sector specifically for the documentary film community next year, without encroaching upon existing documentary platforms, particularly in Latvia and Lithuania. Instead, our goal is to function as a supportive platform for documentaries, working collaboratively with them.

Is it tough deciding among your favorites, but are there specific movies you feel particularly honored to present in your main competition category?

In my perspective, our collection of films is as diverse as ever. The landscape of storytelling seems to be leaning more towards narrative structures, yet I hail from an era where movies were more akin to visual expressions than written tales. I appreciate a wide range of genres and captivating narratives, but what truly intrigues me are films that employ symbols, audiovisual elements, and filmmaking techniques in creative, unconventional ways to build their narrative. I’m drawn to complex, multi-layered productions. While there are some remarkable pieces competing, I won’t reveal the ones that have caught my eye!

Have you noticed any thematic trend across the full festival lineup?

A recurring motif throughout all segments this year seems to be the exploration of human relationships, particularly those spanning different generations and delving into psychological aspects. With the onset of COVID-19, there appears to be a shared longing for connection as people have experienced isolation and the absence of togetherness.

Susi, our innovative AI film recommender designed specifically for PÖFF viewers, is about to debut. Aren’t you excited to break new ground with this viewer-friendly tool?

Over the moon with excitement! Meet Susi, our new AI-created child that we have grown quite fond of. We believe the audience will feel the same way too. With so many films to choose from (over 200), making a selection can be challenging, but that’s where Susi shines. By recommending movies based on personal preferences like country, genre, director, or actor, it functions as an exceptional research tool for web users. We hope this recommendation feature will help drive ticket sales at the festival!

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2024-11-08 11:47