Future Frames: Up-and-coming directors at the forefront with the support of Allwyn

The presentation of Future Frames, the annual initiative of the Karlovy Vary International Film Festival, took place on Friday 6 November at the Pavlos Zannas Theatre, with the support of Allwyn and in collaboration with European Film Promotion.

The initiative aims to support the new generation of European cinema. Each year, Future Frames offers ten emerging directors and film school graduates from across Europe the opportunity to present their work and take the next steps in their filmmaking careers.

The panel was composed of Dimitris Tsakaleas and Lida Vartzioti, the directorial duo of the film Sad Girl Weekend, selected at the 2020 Future Frames, David Champaigne, director of the film Self-Sown, presented at this year’s Future Frames, as well as Christos Nikou, mentor of the ten 2026 Future Frame participants.

The films Sad Girl Weekend and Self-Sown were screened as part of the initiative presentation, followed by a discussion moderated by Yannis Palavos, TIFF’s International Program associate. “It is a great joy to see Nora Goldstein, Project and Program Manager of Future Frames, amongst us today,” he mentioned, before passing the baton to the filmmakers.

“Our participation in the program signaled, at least in a way, our rite of passage into filmmaking; it was a great honor,” stressed Dimitris Tsakaleas, while pointing out that it was very touching to watch their film again on the big screen. On his part, David Champaigne added that for him as well Future Frames served as “the ideal way to complete his film studies.”

The discussion initially revolved around practical issues, such as the submission application process, as well as the experiences that young directors gained from taking part in the program, with Christos Nikou sharing his own stance from the mentor’s position.

“The idea is to help students that take part in the program to develop their film and discover their voice, as well as their personal goals, which is the most important part, at least from my standpoint. I see myself more as a cinephile rather than as a film director. I enjoy asking the students who their favorite director is or what their favorite film is. It’s interesting to observe whether these references cross paths with their own work.”

From her part, Lida Vartzioti underscored that Future Frames paved the way for her and Dimitris Tsakaleas, giving them an insight into the industry’s modus operandi amidst a period when their knowledge of cinema was mainly theoretical. “We formed a community with the rest of the participating directors, and we maintain contact with them even today,” she remarked. “This program served as an incentive for us to keep going. It provided us with a confirmation that we are moving towards the right direction,” added Dimitris Tsakaleas.

David Champaigne placed particular emphasis on the network of professional contacts he acquired through his participation in Future Frames. “I am currently at the development stage of my debut feature film, and the fact that I had the chance to talk with such significant producers makes me feel more certain and confident for my future steps,” he highlighted.

In his capacity as a mentor of the young directors within the framework of the program, Christos Nikou adverted at length to the importance of forging an identity as an artist and articulating your own personal voice, especially in times when the trends of the market and the priorities of the funds are likely to restrain the freedom of artistic expression.

“A few years ago, while shooting Apples, funding was targeted mostly to films focusing on the financial crisis. We submitted applications in various countries, but we got turned down everywhere. Only at the last minute we managed to secure small-scale funding from Poland, which allowed us to complete the film. Such policies cut down the margins of the creative process, instead of giving a boost to singularity in art,” he noted.

“We, as film directors, wish for our films to travel to festivals and reach out to the wider audience. However, as time passes we start to sense the shaping of trends and tendencies that are not always so easy to pass by. This way, it becomes really difficult to remain true to what you have set out to do,” added David Champaigne.

Right up next, he went on to say that co-production on a European level is a complicated process, pointing out that very often young directors need to struggle in order to secure their place within this landscape, while Dimitris Tsakaleas seemed moderately optimistic with regard to the presence of the younger generation at the Karlovy Vary Festival.

Making a reference to the grand tribute of the 67th TIFF’s Greek Program, Yannis Palavos commented that the film Sad Girl Weekend reminds him, at least to some extent, of the film Truants by Nikos Grammatikos. “You can bet we are going to reproduce this huge compliment,” joked the two directors. “I find it amazing when you can guess the director of a film just by its style and tone, without having any prior knowledge as to who that person might be,” stated Christos Nikou.

Last but not least, Nora Goldstein put the success of Future Frames into numbers by saying that an impressive 70% of the participants make the transition to feature films. “We round up approximately 65 films, almost two from every European country, which are submitted to the Karlovy Vary Festival. The designated jury evaluates them and selects the best ten out of them. It’s nothing less of a big success,” she mentioned. “It gives you great hope to see that people of acclaimed professional calibre were once in the same place as yourself,” concluded Lida Vartzioti, while also expressing her gratitude towards the people in charge of the program.