The 44th edition of International Film Festival Rotterdam will took place from January 21st to February 1st. One of the largest public film events in the world, IFFR actively supports independent filmmaking from around the globe and is a recognized platform in Europe for launching new films and talent. — www.iffr.com

Before visiting Rotterdam, I had a dream of having with me only a jacket and a scarf too small for my neck. A strong sense of openness, future forward buildings and fluorescent lighting. Few street lights. Lots of Dim Sum. Maybe overboard to say a dutch version of Blade Runner…but something almost to this effect. And In fact I wasn’t so off, visiting the International Film Festival Rotterdam for the first time, I was struck immediately by the effect WWII clearly had on the city. All buildings with the exception of a few, being new. And then the brightness of the festival itself, which in it’s program this year felt so bold I couldn’t help but wonder if the cities history had some energetic effect. Rotterdam, unequivocally- takes chances and the impact this has on it’s attendees, be it visiting filmmakers or locals, felt like magic.

A city of light

As Long As It Takes is a good example. This particular section in the festival, highlights films which don’t fit perfectly into traditional, short or feature length sections. As a result, there’s a unique opportunity to watch films chosen more exclusively on their quality than anything else.

Cindy Jansen’s film, Auld Lang Synge which runs only 48 minutes would have been a shame to miss had it been for reasons of time alone.

Among the shorts of which were many great films, four stood out especially:

Gustavo Vinagre’s, Nova Dubai , Anita Delaney’s You Me and It, Rachel Rose’s Minute Ago, A and Alexandre Larose’s brouillard – passage #14. Within this, you had shorts in competition. Terence Nance, (an IFP alum) premiered a new work, Swimming in Your Skin Again alongside Roy Villevoye’s 22 minute Voice Over. This program in particular, encompassed work from 10 different countries and was perhaps of all the sections, the most visually eclectic.

IFFR+ which defines itself as “surprising extras” was indeed that. Aaron Naar’s Mateo (soon to be released on VOD later this year) had only one but very special screening accompanied by two vintage Scopitones (what I would characterize as the old school Youtube…if Youtube was made up of 16mm film and was encased in a wooden jukebox). Ie: the dopest thing ever. Somehow. 

Video Art Karaoke @ The Worm (Antonia Baehr makes work for Killing Me Softly)

Bright Future, a section also not to have missed- included works that were in one way or another, about the future, the questions at play and its relationship to the present. Amanda Rose Wilder’s beautiful film, Approaching The Elephant was up there along with Chaitanya Tamhane’s Court. Adam Curtis’ Bitter Lake (not officially in this section, more something unto itself – also on Youtube) is still with me a week later. And I would be wrong not to mention Kevin Jerome Everson’s eight hour film, Park Lanes which was in a section all unto itself.

Dreams Come True @ The American+Canadian Dim Sum Lunch Hosted by IFFR

Whether you make things as a filmmaker, an artist, a mechanic…there’s always a dream, a desire that the powers that be, have equal interest, equal desire to take chances for the better. The selection of work which I had the privilege of seeing at the 44th edition of the International Film Festival Rotterdam was exactly this.

My thoughts in one word: excellent. Or in two words: totally righteous.