Teams behind this year’s CineMart projects – IFFR’s co-production market – are “very conscious that the world is on fire,” says new head of IFFR Pro Marten Rabarts.
“They needed to be both artistically impeccable and make us feel we can make some kind of difference. Many films spotlight urgent socio-political narratives, exploring themes like authoritarianism, colonialism. We even have near-future dystopias.”
It’s obvious filmmakers are processing their own anxiety about the future, he notes, mentioning Marcelo Gomes and Cao Guimarães’ “Cape of Pleasures” and Cheryl Dunye’s “Black Is Blue.”
“These are both queer filmmakers. There’s real anxiety within the LGBTQ+ community about what the future might look like, particularly with the U.S. move to the right. Cheryl’s based in California, she’s queer royalty and she’s definitely looking at the situation of her community under this new government.”
But it’s not just about quality. It’s also about quantity this year, with CineMart increasing the number of selected titles.
“We have 24 projects [including the immersive selection] and we’ve doubled the number of those in our Darkroom work-in-progress section. We have 12 now [10 feature fiction and two immersive projects] and that’s as big as we’re going to go.”
Despite it being a third consecutive in-person edition, it’ll be the first time “back in full throttle.”
“We are the OG gangster, the OG co-production market, one that has been replicated and copied all around the world. I wanted to bring it back to its full strength,” he says.
“We’ve learnt so much [during the pandemic] and gained new tools, which means that when people land here, they are ready to roll. The work starts immediately. But you can’t communicate your passion for a project through email. Particularly in terms of co-production, you’re creating a relationship that’s going to last for years. That kind of connection happens on the ground and it remains essential.”
Rabarts, former head of SeeNL and director of New Zealand Film Festival, has been attending CineMart for over 30 years before his appointment. He has seen its benefits up close, he says.
“I have evidence it’s been a part of many filmmakers’ journeys. It’s had an impact on their careers.”
While it has always been difficult to make “distinctive, singularly voiced art films,” as the streaming bubble has burst, broadcast television faces further decrease in revenues and “advertising has gone off a cliff,” producers need to bring on even more partners, he stresses.
“If you look at ‘Viêt and Nam’ [previously presented at CineMart in 2021 and supported by the HBF] it was produced out of the Philippines. Producers Bradley Liew and Bianca Balbuena had a number of European partners in Europe and none from Vietnam.” The film was banned in the country.
“Collectivity is one of the ways forward: Cheryl’s film [co-production between U.S., Germany and Greece] has six production companies attached. I won’t be surprised to start seeing five to six different co-producing territories even more in the future, each bringing a smaller amount, but also adding the potential for distribution.”
While CineMart wants to “serve a global community of filmmakers” and show projects that are new to the market – “Producers know they are getting the first bite of a very fresh apple” – it stays true to the festival’s profile.
“People know that if it’s a genre film, it’s going to be a very interesting, challenging genre film. If it’s going to be a comedy, it’s going to be clever and boundary-pushing. Those who look for something more traditional or more obviously commercial, might not come to us. But we need to fulfil our promise,” adds Rabarts.
The 42nd edition of CineMart runs from Feb. 2 – 5.
