Reshaping production practices: European film festivals, new Indonesian cinema, and the creative producer

Abstract

ABSTRACT European film festivals pride themselves for their support of cinemas from developing countries by assisting under-resourced filmmakers, and by becoming co-producers through funds, pitching forums, and co-production arrangements. In engaging European film festivals, many filmmakers from ‘developing’ countries have gained exposure, experience, training, support, and critical capital that has helped their productions and careers. To date, festivals have facilitated the auteur model of the filmmaker, relying on the idea of the inspired authorial genius of the director to carry and realise a film project. With the changing operation and organization of festivals and their activities to a more results-oriented industry model underpinned by neoliberal social relations, new demands are placed on filmmakers who engage with festivals. This article argues that these new modes of engagement reveal the role of the creative producer in the film festival-filmmaker relationship, decentering attention from the director-as-auteur model that has shaped engagement and participation to date. Through a discussion of Indonesian film, and in particular, creative producer Meiske Taurisia (BabiButaFilm/Palari Films), this article shows how the producer provides the complementary skills and abilities to support a project and its director, enabling Indonesian films and their makers to participate in global film festivals.