Animation is a central element of your work. What do you think is the biggest misconception surrounding this art form?
Naturally, the idea that it is made for children, even though throughout film history this has never been exclusively the case. Thanks to online platforms, a wide variety of animated films can find their target audiences even more easily today.
How has the Hungarian animation scene changed over the past decades?
After the regime change, the internationalization of the Hungarian animation scene intensified, while alongside the old studios more and more new workshops appeared on the market. Larger studios mainly operate through co‑productions and foreign commissions, while universities have become key players in training the next generation and in artistic creative work. Similar to the golden age of the former Pannonia Film Studio in the 1970s and 1980s, the author‑driven and festival‑oriented short film trend has strengthened, especially among young creators who are already succeeding on international platforms. Social and personal themes have become more prominent in their films, while feature‑length films blending different genres have also been realized, primarily targeting adult audiences, such as Ruben Brandt, Collector, Blue Pelican, or White Plastic Sky.
Is an animated short film different from a live‑action one?
Often very different, because creating an animation does not involve “directing actors.” However, there is a clear trend that, thanks to digital filmmaking technology, animated films are being composed in a more “live‑action‑like” manner.
How do you watch a film as a jury member, as a curator, and as a “regular” viewer?
With animated films, it’s difficult, but with live‑action films I can be completely carried away by the acting, by the presence of flesh‑and‑blood people on the screen.
What do you expect from this year’s Friss Hús international competition program?
Many exciting films that will make the jury’s task a challenging one.