NZIFF 2019 Programmer Sandra Reid talks the 2019 New Zealand International Film Festival

NZIFF 2019 Programmer Sandra Reid talks the 2019 New Zealand International Film Festival

The 2019  New Zealand International Film Festival is one week away, and cinephiles are scrabbling to get time off, organise calendars and choose their seats.

Programmer Sandra Reid sat down to answer questions about this year's festival, life after 50, and why all of the selections are her favourite children.

Hi Sandra, how does it feel now the programme is out there, and the films are selling?
Hi Darren. On the programming side of things, the period between the programme launch and the festival getting underway is almost pervaded by a sense of relief – scheduling is a mammoth task and so it is good to have it over with (although it does continue on as NZIFF travels throughout the country). The selection has been decided, films confirmed, the programme shaped. But of course, this period can also be a little nerve-wracking at the start, when we wait to see how our audience responds to the selection.

What trends are emerging in terms of sales?
As expected, titles like APOLLO 11, AMAZING GRACE, BELLBIRD, HERBS – SONGS FOR FREEDOM, LA BELLE EPOQUE, A SEAT AT THE TABLE are selling well and we’re generally satisfied with the way ticket sales are going for the moment, although we’d always like less obvious titles to do as well as some of the big titles. 

What trends have you seen in terms of films up for consideration this year, and how was Cannes this year? 
No particular trends stood out in the films submitted for consideration, but should they exist they may escape us as we’re not necessarily on the lookout for them, of for themes or subjects. I’m thrilled by the range of subjects and experiences recounted in the films direct from Cannes this year.
There were a couple of other titles we would have liked to have seen on our line-up, but Netflix acquisition or early release date prevented this. However, overall, I think we secured a very strong selection from across Cannes’ various sections (Competition, Un Certain Regard, etc.), with several titles in prestigious slots (Opening Night, Centrepiece…).

You hit 50 last year, and had to sadly farewell Bill Gosden, what's it been like programming a festival without his direct day-to-day involvement?
It’s great that what turned out to be Bill’s final festival happened to be a 50th anniversary and one that broke our box office records. We’ve worked closely with Bill over many years and I think we have a shared vision of what NZIFF’s mission is and this provides us with a good guiding throughline. So in many ways maintaining the tradition of a diverse and rich programme came quite naturally.

There are plenty of films this year which feel like Civic events - Apollo 11, Apocalypse Now, Come To Daddy - which other "event films" should we not miss out on? 
The first two films you mention are indeed big spectacle events. While Ant Timpson’s feature directorial debut COME TO DADDY is spectacular in a more contained way – and also highly original. I enjoyed the film very much and look forward to seeing it again on the big screen and with an audience.

Bellbird

Although on a different scale, BELLBIRD, the beautiful feature debut by Hamish Bennett, will also more than fill the Civic screen. BACURAU, a terrific Brazilian film, which jointly won the coveted Jury Prize at Cannes, along with the equally terrific French street thriller LES MISERABLES, are big screen events, as is MAIDEN.

The most controversial film on your programme appears to be The Nightingale - given reception of that in Australia, how do you think it will play here?
THE NIGHTINGALE’s reception in Australia may reflect that Australians are less comfortable/used to seeing their colonial history depicted on screen in all its brutality and hence find it very confronting. I hope that our programme note makes the film’s tone and contents clear and that our audience is better primed to expect a powerful if challenging film.

The Nightingale

There are films this year that appear to be the less you know, the better the experience will be - Come to Daddy, Bacurau, a new Chris Morris - what are you hoping each film will bring its audience?
With our programme notes, we try to indicate what audiences may expect in terms of plot and tone, without revealing everything about the films – after all, we want spectators to be able to each have their own experience of a film, albeit as part of an audience. Film watching, like filmmaking, is a collective experience.

In viewing the films this year, what are the moments that have stood out to you in terms of experience, and/ or film themselves?
So many moments: since learning that AMAZING GRACE was out in the world, I couldn’t wait to see it, and got to do so at the Berlin Film Festival back in February. I still get goose bumps thinking about Aretha behind a piano, singing so divinely, with an amazing band and choir. I’ll be going to see it again. Likewise, PORTRAIT OF A LADY ON FIRE. I’m looking forward to seeing this marvellous film again outside of the overheated atmosphere of Cannes.  It was wonderful to revisit Agnès Varda’s films to select a few as part of our homage to this grande dame of world cinema. I’m really thrilled with the films in the MUSIC AND DANCE section.

The calibre of guests heading this way is also very strong this year - which do you think audiences will respond most to?
Hard to know, given that the films by the international guests are all extremely different, ranging from documentaries about teens seeking online social media fame in the United States to the experience of 10-year-old Dujuan, an Aboriginal boy, and from dystopian horror to a feminist re-working of the Punch and Judy story. Hence, I can only imagine that appeal will depend on what spectators are seeking from the experience of each film.

What's the one film you want to see a venue packed out for?
Oh, all the films on the programme!

What do you make of the animation section - which should we be looking out for?
I can’t comment in depth on the ANIMATION NOW! programme, which is curated by Malcolm Turner, although I have seen a few of the films – I like short, abstract animation very much and I am a fan of Rosto, the late, great Dutch animator/artist/musician. But Malcolm is an expert in the field, and his passion for short-form animation informs all his programmes, so they are all bound to be fascinating. I have seen RUBEN BRANDT, COLLECTOR and was dazzled by it. DILILI IN PARIS also looks like it’s gorgeous.

If you had to pick an unmissable Kiwi film, which would it be and why?
I dislike singling out titles over others – which is anathema to our goal. However, for the sake of this question, I’d say BELLBIRD (but this is in no way a reflection on the quality of the other Kiwi films). Hamish Bennett’s debut film is the only dramatic feature on the Aotearoa line-up and therefore special indeed. Hamish’s short Ross & Beth scooped all the awards at New Zealand’s Best Short Competition in 2014 and his feature debut is a great achievement. I also think Bea Joblin’s debut BIRTHS, DEATHS and MARRIAGES deserves a mention. It’s smart, sassy and funny and Bea has done a great job marshalling a large cast.

Bacurau

If you had to pick an unmissable international film, which would it be and why?
That’s too hard a question to answer. You could randomly turn to any page of the programme and I’d be able to point out a film. I love the opening film LA BELLE EPOQUE. Not forgetting BACURAU, MAIDEN… I could just go through the titles in alphabetical order.

In Fabric

What's the one film you feel will surprise everyone, and the one film everyone should drop everything to see - and why?
I’m extremely fond of IN FABRIC, which is beautifully crafted while being totally out there. It made me laugh out loud. I accept that it wouldn’t be to everyone’s taste, but I think it’s worth venturing to. BEANPOLE is also incredibly striking and accomplished. ANGELO…

Just finally, which film will you luxuriate in (either first time or again), and why is this a film that you'll have your phone turned off for?
I have my phone turned off at all screenings – and hope that spectators who come to NZIFF know the drill! I’ve never seen KIND HEARTS AND CORONETS, so I’m really looking forward to seeing the beautiful restored version of one the greatest of screen comedies. I’m very interested in seeing Coppola’s version of his masterpiece: APOCALYPSE NOW: FINAL CUT. Forty years on, I’m sure the film is as powerful as ever.
 And then there’s Ari Aster’s MIDSOMMAR, a late confirmation that we’ve just announced. Now, I am totally looking forward to that!

Midsommar