What kind of knowledge and experience from your advertising work can you apply to filmmaking?
Although the emphases and goals are different in filmmaking, I use the filming routine, leadership skills, technical knowledge, and professional network I gained during my years in advertising on a daily basis.
You have already produced successful short films and a feature-length documentary. What makes a project capture your interest?
I am interested in rebellious, strange, playful film concepts. I find it hard to imagine myself committing to, say, a family drama unless there is a truly unconventional directorial vision behind it. I want to work with as many female creators as possible and to make films about women—partly because, as an audience member, I am deeply interested in the female perspective, and partly because it is a clear goal of mine as a producer to pay special attention to the fact that, in Hungary, gender balance in the film industry is still not equal today. In addition, it has long been a dream of mine to make as many auteur-driven genre films as possible.
You live and work in several countries—what advantages do you experience in a multicultural life?
My connections and experiences in the Spanish and Latin worlds have shaped me greatly, both personally and professionally, but as a film producer I still want to realize stories written in my native language. I like to leave, but I like to come home as well—especially now, when a new chapter is beginning in Hungarian film. Exciting years lie ahead of us, and I am glad to be living in Hungary at the moment and to be part of the liberated energy following the change of government, as well as the renewed collaboration and self-organization within the Hungarian film community.
How do you watch a film as a jury member, curator, or “ordinary” viewer? Can you separate these roles when you watch films purely for pleasure?
If my professional critical mindset switches on while watching a film, then something isn’t right. If a film truly draws me in, I never watch it as a filmmaker—I remember it for the effect it has on me. I watch good films as an ordinary viewer even when I’m watching them as a jury member.
What do you expect from this year’s Hungarian competition at Friss Hús?
I’m really looking forward to getting a comprehensive picture of what themes young directors and writers are interested in right now, and which film language tools they are drawn to. After university, I worked for a few years in the programming departments of short film festivals in Spain and Panama, and I always found it exciting how clear trends emerge after you’ve seen a whole country’s annual short film output. My secret hope is to discover outstanding works and to meet directors and writers I would love to collaborate with in the future.