What kind of shorts are you looking for to get in the SXSW programme? What is your aim with programming? At SXSW we program live action, documentary and animated shorts as well as music videos. I'm always looking for a good story that hooks me emotionally. It has to engage me and elicit a reaction. I'm not as interested in traditional experimental cinema, but I adore films that experiment with storytelling. I'm always looking for a unique fresh voice. At the base level I'm interested in showcasing
filmmakers that excite me. I'm looking for stories I haven't seen a million times before. at's a pretty big statement, because everything has been done before, but if I have seen a specific story, I want to see it handled in a unique way or from a new perspective. It's thrilling for me to find a film I love and be able to share that work with the audience at SXSW. Do you have a policy about only selecting films that were submitted to SXSW or do you pick out some shorts from other festivals? ere is no policy for this. Basically, I'll consider anything I see if it's right for SXSW.
at means anything online or at other festivals. However, when making final decisions there is a slight preference for films that have made SXSW a priority and were submitted to us officially. e future of short films is one of the most uncertain questions in our industry at the moment. What’s your take on it: what kind of position will short films be in, let’s say, 10 years? It is hard to say since things have changed so much in even just the last few years, but in a certain way I think the changes to come have already begun. e availability of tech-
nology to make and showcase a film will only continue to become more widely available so the stories will continue to diversify. e biggest change is that the lines between commercial, television, web series, and traditional short and theatrical feature filmmaking are completely blurring. Those words have already started to become meaningless because everything is just becoming "content". The future is in how that content will be produced, curated, distributed and used to change things.
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Anton du Preez
Kristina Schippling
Kristina Schippling
Luca Gennari
Matus Vizar
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