The Huge Challenge of Making Non-Commercial Films
This panel discussion will look at practical real-life examples to examine a series of problems faced by film industry professionals when trying to design funding strategies and create coproduction opportunities for experimental filmmaking. An art form that struggles to find allies outside the usual circuits.
Antoni Pinent is an independent contemporary art curator, visual artist, media archaeologist, producer and animated and experimental filmmaker who has been a guest lecturer at a range of museums, cultural centres, cinematheques, film schools and universities. He graduated in art history and has a PhD in fine art from the University of Barcelona, as well as being given an award by the Museum of Contemporary Cinema Foundation (New York, Paris, 2008). He was at l'Alternativa 2020 in person to give a masterclass offering a peek at his project iSBiC.
Bryan Konefsky is a cultural worker who works as a moving image artist, teacher, lecturer and film festival director. He has taught at the University of New Mexico, University of California and Dongguk in South Korea and founded and now runs Experiments in Cinema, an annual international film festival that showcases cinematic experimentation from around the world. He is the president of Basement Films, one of the few remaining first-generation microcinemas in the United States. In addition to sitting on the board of advisors for the Ann Arbor Film Festival (the oldest experimental festival in the United States), he has also been a guest curator for the Southwest Gay and Lesbian Film Festival and an experimental film judge for the Dallas VideoFest, sponsored by the Dallas Video Association in Texas.
Kamila Kuc is a multimedia artist and writer whose hybrid works explore the transformative potential of apparatuses, dreams and memories in the creation of societal myths and narratives. Of particular interest to her practice are stories that subvert dominant narratives of history, especially those relating to post-Soviet identities. In her recent projects, she has employed diverse archival sources in conjunction with AI tools to examine notions of agency, belonging and identity while attempting to trace out complex lineages of meaning and representation.
Mira Staleva (Plovdiv, Bulgaria), has been actively involved in festival and market management and programming, production, consulting, distribution and exhibition for over 25 years. After studying theology and psychology, she joined the team of Sofia International Film Festival at the very start. She is currently managing director of Sofia IFF/Art Fest Ltd and programmer and head of the festival’s coproduction market Sofia Meetings, as well as a producer and distributor. She is also a member of the European Film Academy, and sits on the board of the EU’s LUX Prize, Cineuropa and CICAE.