You’re the artistic director of Finále Plzeň since last year. How do you see the current tendencies in Czech film? (popular genres, topics, viewership).

I have to say that I am happy that I could join Finale Plzeň especially now. I feel that the Czech cinema is in a really good stage, with a strong young generation, ready to explore also personal, inconvenient topics, to move borders of the genres, to give comments about the world we're living in. Recently, Czech films, both as majority and minority coproductions, are present at the big international festivals, in Cannes last year two Czech student films competed as part of Cinef section, and all this gives a hope for the future.

What is the role of Finále Plzeň in the Czech film industry?

Finale Plzeň is the biggest national competitive showcase in Czechia, so naturally the Czech film industry professionals gather at the festival and we try to give them platform to discuss relevant issues through different debates, panels and gatherings. Together with Czech Film Center, platform called Czech Springboard is organized, where Czech projects in development are being presented to the group of international experts and are given feedback about their projects. As well we invite international film experts to be part of our juries, as we feel they are able to provide priceless feedback from outside. 

Open-air screening at Finale Plzeň / photo: drbna.cz

In what ways can you help film festivals as a festival consultant?

I’ve been cooperating with various festivals in various ways. Sometimes helping with the selection of the projects for co-production markets, selection for the works in progress or with some other specific tasks.

Is there a specific element (visual accomplishments, acting, editing, etc.) you’re going to pay attention to as a jury member or the overall experience is the most important for you in a film?

Personally, I aim to approach each film with an open mind and allow it to speak to me as a whole. While I do pay attention to specific elements such as acting and cinematography, I believe that if one aspect stands out too prominently, it may not always benefit the film as a whole.

What do you expect from the competition programme of this year’s Friss Hús?

I am eager to see the selection and hope to discover new talents offering fresh perspectives and engaging, relevant topics.

Do you have a favorite Hungarian movie? (short and feature)

I have been following Hungarian cinema quite closely for almost twenty years and there are many titles that I am really fond of, from the classics like Márta Mészáros's Diary to My Children and Béla Tarr’s Werckmeister Harmonies to Szabolcs Hajdu’s It’s Not the Time of My Life. From the latest ones, I was impressed both by the visuals and the strong emotional layer in Anna Nemes’s and Laszló Csuja’s Gentle that competed at Sundance, and by the bold and relevant statement about the Hungary nowadays in both Gábor Reisz's Explanation for Everything and Katalin Moldovai’s Without Air. From the short films that I had a chance to see recently, I was especially impressed by the authenticity of Anna Flora Buda’s 27 that won award for best short film in Cannes last year.