The latest NAFFIT appears to mirror the previous one.
The National Film and Television Festival, known as NAFFIT, kicked off its program without much hullabaloo in early September. The festival, spearheaded by director Predrag Antonijević, left many questioning the selection criteria for the films showcased, a common query for any festival, especially for an inaugural national film festival like NAFFIT, marking a significant cultural event for the country.
Notable omissions from the lineup included films like ‘Zlatibor Winds’ and ‘Talk to Me,’ which recently garnered accolades at prestigious film festivals, prompting industry insiders to question their absence. The absence of acclaimed films like ‘Restitution’ and ‘How is it So Green here?’ also raised eyebrows, considering their critical acclaim and festival success.
The lack of transparency regarding the selection process extended to the composition of the jury, with no information provided on its members. Additionally, the festival organizers only showcased film titles without accompanying details such as the names of directors, actors, and premiere year, missing an opportunity to highlight the rich tapestry of talent featured in the lineup.
The festival’s official opening featured the screening of ‘Mother of Pearl Mist,’ directed by the late Milorad Milinković, setting the tone for the cinematic celebration. Beyond local productions, the festival also offered audiences a glimpse into the latest Hungarian cinematography as a special guest feature for the year.
While notable local talents graced the festival with their works, concerns lingered around the overall program’s coherence and inclusivity. Selections including ‘Insulation,’ a gripping thriller involving a stellar performance from Miloš Biković, and ‘Son’s Will,’ a sci-fi adventure anchored by talented leads like Igor Benčina and Isidora Simjanović, showcased the diverse creative landscape of Serbian cinema.
Other standout entries such as ‘Mother Mara’ and ‘Last Round Guys’ underscored the festival’s commitment to showcasing a wide array of genres, from drama to action-comedy. The inclusion of cross-border collaborations like ‘Megdan: Between Water and Fire’ exemplified the festival’s international appeal and emphasis on fostering cinematic partnerships.
Notwithstanding these highlights, criticisms from industry insiders like Miloš Škundrić, president of the Association of Film Directors of Serbia, shed light on the perceived shortcomings of the festival. Škundrić, instrumental in the festival boycott led by various film organizations, decried the program’s heavy reliance on commercial titles at the expense of more artistically-driven films.
Reiterating the industry’s concerns, Škundrić emphasized the need for greater diversity in film selections, including minority co-productions and larger venues to accommodate diverse audiences. The festival’s tumultuous reception underscores a broader rift within the Serbian film community, reflecting lingering tensions over the festival’s perceived politicization without adequate industry consultation.
In a climate of uncertainty and dissent, the inaugural edition of NAFFIT stands as a polarizing event that has sparked debates over the future direction of Serbian cinema. As industry figures reflect on its legacy, the festival’s legacy remains contested, with questions looming over the prospect of future iterations amid industry pushback and calls for greater artistic integrity and transparency.