Karlovy Vary Film Festival Competition Features Mix of Poetic and Political Films

Marta Balaga
·4 min read

The Karlovy Vary Film Festival, which takes place in an elegant spa resort in the Bohemian region of the Czech Republic, is set to get political during its 57th edition, but in a subtle way.

“I am not sure if you can even use the word ‘subtle’ when talking about politics, but it doesn’t always have to be in your face. You can be political by showing the existential struggles of an elderly lady who gets framed by some crooks,” says artistic director Karel Och, mentioning Stephan Komandarev’s “Blaga’s Lessons,” which will vie for the Crystal Globe.

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While the main competition features many stories about people trying to return home or simply find their place in the world, he adds, the festival will also celebrate Iran with a separate section “Another Birth. Iranian Cinema Here and Now.” “Before our consultant Lorenzo Esposito came up with this name, we thought about ‘Iranian Underground,’ but you can be political also by being poetic. We are not telling our audience how to react. We want them to be our partners,” notes Och. Observing that satire is also making a comeback.

“Maybe it’s something filmmakers opt for when dealing with difficult subjects, just like in Ernst De Geer’s ‘The Hypnosis.’ It reminds me of some Nordic films of the past, of their extremity and awkwardness. It’s a smile mixed with embarrassment.”

Apart from Tinatin Kajrishvili’s “Citizen Saint,” Cyril Aris’ “Dancing on the Edge of a Volcano,” “Empty Nets” by Behrooz Karamizade, Babak Jalali’s “Fremont,” “The Girls Are Alright” by Itsaso Arana and “Where the Wind Blows” by Marco Righi, the main competition will also welcome two Czech-Slovak titles, “A Sensitive Person” by Tomáš Klein and “We Have Never Been Modern” by Matěj Chlupáček.

“Whenever we choose Czech films, they have to appeal to an international audience. It’s crucial. We are not here to promote Czech cinema at all costs. We want to be selective,” says Och, adding that “We Have Never Been Modern” can speak to “anyone in the world.”

“Coming from a smaller country where films don’t always enjoy a rich foreign career, it makes me happy and proud. ‘A Sensitive Person,’ on the other hand, is closely connected to a certain Czech reality and based on a book that’s not an easy read, but it grabs you by the shoulders and shakes you.”

While “Red Rooms” by Canada’s Pascal Plante is also bound to raise eyebrows — “It’s well-orchestrated and satisfying, but very disturbing. You will need a break and maybe a shot after it,” laughs programmer Martin Horyna — the festival’s section Proxima, which debuted last year, promises even more surprises.

“I’m looking forward to experiencing fresh stories and unique cinematic language,” says one of its jurors, filmmaker Šimon Šafránek, while Horyna adds: “It’s not always about being brutal, challenging and pushing boundaries. I would say that Proxima is a place for films that are fresh, cool and shot in an elegant manner. It should serve as a window into the future of arthouse cinema.”

Albert Hospodářský’s “Brutal Heat,” “The Song of the Auricanturi” by Camila Rodríguez Triana, Olga Chajdas’ “Imago,” Iran’s “Dark Matter” by Karim Lakzadeh and South Korea’s “Birth,” directed by Ji-young Yoo, are among the selected titles.

“These films can tick certain boxes, but they are also surprising,” says Horyna.

Russell Crowe is set to pick up the Crystal Globe for Outstanding Artistic Contribution to World Cinema and perform with his band Indoor Garden Party. Also to be honored: Ewan McGregor and Alicia Vikander. They will each receive the President’s Award, and present their latest films. The festival will open with “Firebrand,” in which Vikander has the leading role of Katherine Parr. McGregor will present “You Sing Loud, I Sing Louder,” in which he stars alongside his daughter Clara McGregor.

But rewarding cinema experiences shouldn’t be limited just to festivals, he observes.

“It will sound very elitist, but I’ve had several bad experiences in cinemas recently, with people misbehaving, eating or even taking selfies during a Bergman movie. It’s absurd and it makes you go: ‘This would never happen at home.’ ”

“As festivals, we really have to recreate this space for cinemagoing and help regular distribution. It’s our responsibility too.”

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