TIFF Jury President Warns of Film Distribution Crisis

Carlo Chatrian, the distinguished Jury President of the Tokyo International Film Festival (TIFF), has recently cast a spotlight on a critical challenge facing the independent film industry: the intensifying distribution crisis. Speaking at the festival’s jury press conference, Chatrian voiced profound concern regarding the limited opportunities for many arthouse films to reach audiences beyond the festival circuit, underscoring a growing hurdle for filmmakers worldwide.

Currently serving as the director of the National Museum of Cinema in Turin and a former artistic director of both the Locarno Film Festival and Berlinale, Chatrian’s observations carry significant weight within the international cinema community. His statements at the 38th edition of TIFF, which ran through November 5, resonated with a sense of urgency about the future of diverse cinematic storytelling.

The Alarming Reality of Independent Film Distribution

During the press conference, Carlo Chatrian lamented the disheartening reality that a significant number of films selected for the Tokyo Film Festival’s competition lacked distribution deals. “I am not sure, but I believe most of the films selected at the festival don’t have distribution, and maybe they will have through other networks, but this is something that makes me sad,” Chatrian remarked. He highlighted that despite their artistic merit and compelling narratives, many “strong, beautiful films” face incredibly limited chances of being seen, often restricted to festival screenings.

This observation by the Tokyo Film Festival Competition Jury President Carlo Chatrian sounds an alarm on distribution crisis that has been simmering for years, exacerbated by shifts in audience viewing habits and the evolving landscape of film financing and exhibition. For independent filmmakers, securing distribution is often the most formidable challenge after completing their creative work.

The Pivotal Role of Film Festivals and the Press

In light of these distribution challenges, Chatrian emphasized the increasingly critical role played by film festivals and media coverage. He described festivals as “big filter[s]” that meticulously select a few titles from a vast global audiovisual production, thereby bringing them to public and industry attention.

Addressing the journalists present, Chatrian underscored the indispensable nature of their work in helping these films find an audience, stating, “Your work is as important as our [work].” This highlights a symbiotic relationship where festivals curate and validate, while the press amplifies and informs, bridging the gap between artistic creation and public consumption.

Fellow jury member Vivian Qu, a Chinese director-producer, echoed Chatrian’s sentiments, referring to film festivals as “probably the last sacred place for cinema viewing.” She stressed that the role of festivals is “even more important now than before,” asserting that filmmakers, programmers, and actors share a collective responsibility to showcase their stories and affirm cinema’s enduring relevance and importance in contemporary life.

Perspectives from the Tokyo Film Festival Jury

The five-member jury at TIFF, led by Chatrian, comprised diverse talents from the international film community. Alongside Chatrian and Vivian Qu, the jury included French editor Matthieu Laclau, known for his work with Jia Zhangke; Japanese actor-filmmaker Saitoh Takumi; and Taiwanese actress Gwei Lun-Mei. Each member offered unique insights into the evaluation process and the broader state of cinema.

Saitoh Takumi reflected on cinema’s power to transcend borders, noting that in an era keenly aware of national divisions, film offers a means to “overcome these differences, or borders.” French editor Laclau emphasized the emotional impact he seeks in films, desiring to be “moved by the actors and by the story” and always hoping “to be surprised” by something new.

Gwei Lun-Mei shared a similar perspective on emotional resonance, stressing the importance of films moving people’s hearts and offering audiences new experiences and knowledge. These individual jury perspectives collectively highlighted the artistic and emotional value these films hold, making the distribution crisis all the more poignant.

The Challenge of Jury Evaluation

Chatrian acknowledged the inherent difficulty in comparing the diverse slate of competition titles, which represent a wide array of cinematic styles and cultural contexts. Despite his background as a programmer, Chatrian clarified his approach to leading the jury, stating, “I don’t consider myself like the dictator… As I don’t make film, I don’t have a view to impose. More I try to understand where a film wants to take me.”

His goal, he explained, is to “facilitate the conversation, to let everyone express their feelings, their emotion, their thoughts, and convey the best solution.” This collaborative approach underscores the subjective yet deeply considered process of evaluating art, with a shared expectation to “be surprised, to be amazed by something I didn’t foresee.”

FAQ Section

Q1: Who is Carlo Chatrian?

Carlo Chatrian is the current director of the National Museum of Cinema in Turin and previously served as the artistic director for both the Locarno Film Festival and the Berlinale. He was the Jury President for the competition section of the Tokyo International Film Festival.

Q2: What is the “distribution crisis” Chatrian refers to?

The distribution crisis refers to the significant difficulty independent and arthouse films face in securing distribution deals that would allow them to be screened in cinemas or widely accessed by audiences beyond film festivals. Many critically acclaimed films struggle to find a wider release.

Q3: Why are film festivals considered so important in this context?

Film festivals serve as crucial platforms for independent films, acting as “big filter[s]” to showcase diverse cinematic works that might otherwise go unnoticed. They provide a vital opportunity for films to be seen by industry professionals, critics, and audiences, and potentially attract distribution.

Conclusion

The alarm sounded by Tokyo Film Festival Competition Jury President Carlo Chatrian on the distribution crisis serves as a stark reminder of the ongoing fragility within the independent film ecosystem. While film festivals like TIFF continue to serve as indispensable showcases for artistic expression and diverse storytelling, the challenge of ensuring these films reach a broader audience remains pressing. The collective sentiments of the jury members underscore not only the artistic merit of the films presented but also the shared commitment to preserving and promoting cinema as a vital cultural force. Addressing this distribution gap will require continued dialogue and innovative solutions to ensure that compelling cinematic voices do not fade into obscurity.