On a classic East European trail, one can easily drive past Bratislava, en route more popular destinations like Prague or Budapest. The modestly-sized Slovakian capital, though, can take you by surprise with its eccentric Brutalist architecture, a remnant of its Communist era, which could easily form the backdrop of sci-fi films. Politically, the landlocked country recently took a progressive stance by electing its first female and youngest president, Zuzana Čaputová, 45, an environmental activist, who has been fighting large-scale corruption and advocating queer rights. The European Union (EU) Film Festival aims to spotlight societies like the Slovakian one, which are often consigned to oblivion in India, through the medium of cinema.
The opening film, Backstage, directed by Andrea Sedláčková, is set in a Slovakian small-town where a dance troupe takes part in a television competition to realise their dreams. “The showbiz in Slovakia is very small compared to Mumbai,” says Raimund Magis, Chargé d'affaires, Delegation of the EU to India. “But it is particularly nice to see common ideas of struggles and dreams between the two places.” Although there is a universality of emotions in diverse narratives, the EU Film Festival, in its 24th edition, wants to highlight the social, cultural and cinematic diversity among its member states. This year, there are 23 films screened from 23 EU countries. The festival has travelled across eight Indian cities, starting with Chennai in June, and culminating in Mumbai, starting from this weekend.
Art house cinema
The curatorial sensibility of the festival not just reflects diversity but also an affinity to art house cinema. “These are not mainstream films but those that have been critically appreciated and made the rounds of film festivals,” informs Magis. The organisers reach out to all 28 EU member states with a request to nominate one recent film from their country that best encapsulates the contemporary essence of their society and cinema. “These are films you won’t easily find unless you have travelled to these countries,” adds Magis. But what about the remaining five of the 28 member states? “Some countries are very small and one, as you know, is still deciding whether to stay or leave the EU,” jibes Magis, with laughter.
The festival programming reflects a spectrum of themes, genres and time periods. Set in 1941, Lithuania’s Ashes in the Snow follows an artist and her family who are deported to Siberia amidst Stalin’s brutal dismantling of the Baltic region. Switzerland’s #Female Pleasure, a feature documentary, explores female sexuality in the 21st Century through the five voices. Finland’s dark comedy, Laugh or Die is about World War I prisoners of war, who have been sentenced to death but have to prepare a play to entertain their guards and the commander of German troops. Bulgaria’s Bubblegum is a tribute to the ’80s, where two friends who grew up under socialism, reunite after 25 years. Czech Republic’s 2013 release, Tender Waves, with its retro Communist setting, blends romantic comedy with nostalgia. “It’s all about big emotions, who we are, the big questions of life and what is going on in Europe,” declares Magis.
Euro cinema: (anticlockwise from top) Me and Kaminski from Germany; Backstage from Slovakia; Hope from France; Little England from Greece; and María (and everybody else) from Spain.
Political doscourse
It’s hard to dissociate politics from the socio-cultural discourse in the EU, which has a shared but grim history. Magis informs that the films this year do reflect the contemporary political discussions in EU as well. Belgium’s King of the Belgians, for instance, is a mockumentary about royalty on a road trip, profoundly lost in the Balkans. “It adds to the ongoing discussion about identity in Belgium,” informs Magis. Austria’s entry, Styx, which premiered at the 68th Berlin International Film Festival, follows an emergency doctor who sets sail in the Atlantic Ocean and finds dozens of drowning refugees near a fishing boat in distress. Raising a moral question as Europe is confronted with an influx of refugees, the film tests the conscience of its protagonist. “You realise how political these films are once you engage with Europeans at the festival,” says Magis, hoping that the curiosity generated by these films lead to sustained dialogue and understanding.
European Union Film Festival will take place between September 20 to 26 at Films Division, Pedder Road. All films are with English subtitles and entry allowed for those above 18 on a first-come, first-served basis.