Now, More Than Ever-The Power of Film

A Conversation with Avignon Festival Director Jerome Rudes

by Jennifer M. Wood | Published February 3, 2007

Jerome Rudes and Jacqueline Bisset

Avignon Film Festival Founder Jerome Rudes
with Actress Jacqueline Bisset.

Though born and educated in America-Texas, to be exact-Jerome Rudes' entrepreneurial spirit first took hold when he created the French-American Film Workshop in Avignon, France 19 years ago. Today, that event continues to prosper-though it's now known as the Avignon Film Festival-and its American sister fest, The New York Avignon Film Festival, continues to stand as one of New York City's film festival highlights. In a conversation with MM, Rudes discusses the origination of his bi-continental event, the process of running these two highly successful events and the power of film to cut through politics.

Jennifer Wood (MM): Can you talk a bit about the mission of the Avignon Film Festival? In addition to American independents, the event showcases new European films. Why do you think European films are important, or of interest, to American audiences and vice versa?

Jerome Rudes (JR): Our mission is discovering independent films from America and Europe, re-discovering classic films and master filmmakers, and facilitating dialogue between young directors, industry experts and audiences. Both festivals are international venues for independent filmmakers from France, Europe and the United States, characterized by quality, elegance, and cordiality. Film is an international art and it seems essential to us to create this "crossroads" of cinema from Europe and America.

MM: The New York event is in its eighth year; the Avignon event is in its 19^th. How do the programs work-is it the same program in both places?

JR: Our American and French festivals are independent but harmonious. Features and shorts may appear in both events, but not necessarily. Both events are controlled by not-for-profit foundations.

MM: What are the differences in audience sensibilities? For example, do American audiences tend to favor one particular genre? Are European audiences more interested in certain stories?

JR: French and American audiences are certainly different, but it would be difficult to generalize except to say that we are seeking films that speak beyond their frontiers, so that the French films we show in New York should have some universal message, and the American films we show in Avignon, the same universality.

MM: Do you think that the programming process at the Avignon Film Fest is different than other "international" film festivals, which are deciding which films from around the world an American audience might respond to?

JR: Yes, I think our programming process is different because it's a little more "pure" and "independent," whatever those adjectives mean in today's film world. I mean to say that we are not convinced to program films by other factors than their quality, power to move an audience and ability to cross borders, not by politics, distributor backing, star power, etc.

MM: As festival director, what types of films are you most interested in seeing submitted? What types of films are you seeing too much of?

JR: We are mostly programming narrative fiction in New York and Avignon, but we do have some very thought-provoking documentaries from time to time. As a "film festival," it took some time to get accustomed to the wave of DV shorts and features that are part of the contemporary indie scene nowadays, but we are screening official selections in video now in both Avignon and New York.

MM: What would be your best words of advice for moviemakers looking to screen at the Avignon Film Fest?

JR: Make the best film you can and stay true to yourself.

MM: What are some of the things that make your festival unique overall?

JR: The uniqueness of both festivals is the informality and openness of the format, which permits audiences to talk with filmmakers about their work. Another important factor is our desire to bring filmmakers from Europe and America together in a 'comradely' atmosphere that fosters friendship. The festivals are planned like feasts from which everyone present can partake.

MM: How have the world events of the past year affected your New York operation? Has the focus of your event changed at all?

JR: The events of 9/11 had a chilling effect on both our festivals, and has made the New York event especially difficult to organize because of the economic difficulties faced by our participating sponsors. However, once a decision was made to move forward, sponsors got behind the event wholeheartedly with the means at hand. Americans coming to Avignon for our June festival may be less enthusiastic about international travel nowadays. But the tragedy has convinced us more than ever that cultural exchange through film is essential in a world with so much chaos and misunderstanding.

MM: Can you talk about some of the Awards presented by the Avignon Film Festival? Some past success stories? Who are some of the filmmakers you've screened at your events?

JR: As far as the award winners, some may go on to successful careers like Arnaud Desplechin, Matthew Harrison, Yolande Zauberman, Agnès Merlet, Michael Corrente, Jean-François Richet, Bob Balaban, Laurent Bouhnik, Bruno Dumont, Christophe Ruggia, Eric Mendelsohn, Jacques Maillot, Elias Merhige and Virginie Wagon. Others may not be heard of immediately, but are quietly working on their projects. At our most recent festival, The Holy Land by Eitan Gorlin was bought by Arrow and we have high hopes for this young filmmaker, too.

MM: In addition to screenings, what sort of events do you offer festival attendees? Both in NY and France?

JR: In addition to screenings, we offer festival-goers in both Avignon and New York a wide variety of seminars, interviews, round-table discussions, Q&As, wine-tastings, communal meals and receptions, all meant to foster cordiality and accessibility.

MM: Film festivals rely heavily on the support of corporate and individual sponsors. Are their any sponsors you'd like to single out and mention for their ongoing support?

JR: The New York festival couldn't exist without Air France, Eastman Kodak, Grand Marnier, Florence J. Gould Foundation, LVT Subtitling, the Roger Smith Hotel, among the most notable sponsors; likewise, we couldn't offer the Avignon festival without the assistance of the Avignon Town Council, Eastman Kodak, Continental Airlines, Canal Plus, CineClassics and the French Ministry of Culture.

MM: How can interested filmmakers learn more about entering your festival?

JR: Most of the info about both festivals is on our Website, http://www.avignonfilmfest.com, including a filmmaker application.

MM: Anything else you'd like to add?

JR: Finally, we are preparing our 20th year anniversary in June 2003 in Avignon and plans call for many of our Avignon alumni to attend.

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COMMENTS | POST A COMMENT

Comment by Mary Dangerfield on 9/17/07 at 3:34 am: May I have the contact email for the person/department
in charge of hiring staff? I would be very interested in
working for the Avignon Film Festival.
I will send you my bio. I am relocating to France.
Merci, Mary