Interview with Sabrina Baracetti: Asian cinema has many faces, it is undoubtedly one of the biggest and strongest on the international market

We speak with Sabrina Baracetti about the history of the festival, the program selection, the different sections, Asian cinema and many other topics.


Sabrina Baracetti is the president of Far East Film Festival and artistic director since 1999.  She is also a member of Cineteca del Friuli board of directors, commercial director at Tucker Film and President of the Centro Espressioni Cinematografiche in Udine. She collaborates with magazines such as Il Ponte, Il Paese, Nekelodeon etc, and  works in production, being the co-producer of films such as "Fukuchan of the Fuku Fuku Flats. She also collaborates with many festivals across the world, as juror or adviser, including Toronto International Film Festival, Neuchatel International Fantastic Film Festival, Puchon International Fantastic Film Festival and many others.

We speak with her about the history of the festival, the program selection, the different sections, Asian cinema and many other topics.


Why did you decide to start a festival about Asian cinema, and not any other region? What is the purpose of the festival?

In the 80s and 90s, C.E.C. organized a Festival called Udineincontricinema, which focused on a different subject or author each year. The Festival changed during the 90s with the idea to shed a light on overlooked moments of the history of cinema, focusing on popular cinema and with the idea to have guests in Udine to meet the audience. This led to some retrospectives, dedicated to the Italian popular cinema of the 50s (1995), the Italian political cinema of the 60's and 70's (1996) and European Westerns (1997).

In 1998, we decided to shift the focus to Hong Kong and put together a retrospective that portrayed fifty years of Hong Kong cinema, inviting well-known filmmakers and stars such as Ringo Lam, Johnnie To, Anita Yuen, Cha Chuen-Yee, Peter Chan, Lau Ching-wan and many others. This event had a huge success and enthusiastic crowds of cinemagoers filled the Ferroviario, the movie theatre we used to manage at that time.

Following this success, in 1999 we turned the Udineincontricinema Festival into the Far East Film Festival, extending its visions to other nations and moving to the 1200-seats Theatre “Giovanni da Udine”.

The principal aim of the Far East Film Festival has always been to reduce the cultural distance between the East and the West by showcasing the films which are popular in Asia: the films people are actually going to see at the cinema, the blockbusters and genre films that rarely reached Western audiences except through pirated copies or in other unorthodox ways.

The focus in Udine has always been on popular cinema, with the idea to showcase the whole scope of East Asian moviemaking and not simply its specialized, auteurist and extreme sides.

Why did you choose Udine as the base of the festival? What are the benefits and what the issues with the particular choice?

This wasn’t the result of a choice. The C.E.C. is a cultural association founded in Udine in the 70’s,  which managed for many years a small 200- seat cinema situated near the Railway Station and called Ferroviario.

Nowadays, the association is still dedicated to the public showing of quality cinema, by programming and managing two film theatres in Udine (the Visionario and the Centrale, for a total of five screens). The Far East Film Festival is the most important cultural and artistic project handled by C.E.C. and is something that is deeply linked with the association itself.

Udine is a small town with a population of almost 100.000 people (but with an urban area of almost 180.000) located in Northeastern Italy, in a region called Friuli Venezia-Giulia. Being quite far off the tourist track and not well-known like Rome, Milan, Florence or Bologna affects its visibility, the media coverage and fundings from private entities. At the same time, we can feel the emotional involvement of the town in the Festival and this is an overwhelming force that helps us to keep up the work.


Can you analyze the procedure of the film selection for the program?

The Festival has a number of consultants who live and work in the countries they are covering. They look for films, watch and rate them, keep contacts with production companies. The final selection and the program is a result of a dialogue between the consultants' work and the selection committee in Udine. Attending Festivals in Cannes and Berlin, as well as Asian Festivals (Tokyo, Pusan, Hong Kong) is a big part of the selection process. Moreover, some trips are made to reach producers, directors and consultants during the year in various Asian nations

We screen from 60 to 70 films a year, among new films and retrospective sections, nearly 7 films a day during the 9-day Festival at the Theatre, plus some other films at the Visionario. We also publish a catalogue of roughly 300 pages and a book almost yearly. All our publications are bilingual Italian/English.

Tell us a bit about the different sections of the festival and the peripheral activities during Far East's run (Focus Asia, Campus, Ties that Bind)

The Festival has a main section of competing films and the Jury is the audience. The top three winning titles are those that receive the highest number of votes by the Festival audience.

The idea behind Ties That Bind and Focus Asia is to enforce the mission of the Festival aiming at the Industry. The first one is a workshop launched in 2008 and designed to assist 10 producers from Asia and Europe with potential European-Asian co-production projects. Organized together with EAVE (European Audiovisual Entrepreneurs), it started with the collaboration of Busan International Film Festival and since 2015, it has been realized in partnership with SAAVA (Southeast Asian Audio-Visual Association), founder of the Southeast Asian Film Financing Forum (SAFF) in Singapore.

Focus Asia was launched in 2016 and is a project market dedicated to genre projects with strong co-production or co-financing potential with Asia or Europe. 13 genre film projects including 14 different countries were selected and producers and directors had the chance to meet over 100 decision makers, possible financiers and sales agents from both markets.

Both these Industry events are organized together with the Friuli Venezia Giulia Film Fund.

The Campus is an educational project, dedicated to 10 young (under 26) Asian and European aspiring journalists. The participants are an active part of a programme that includes seminars, interviews and workshops centered on the art of writing and cinema and they are followed by a group of professionals led by the veteran journalist Mathew Scott.


Can you tell us a bit about the financial status of Far East? Is the festival successful in that aspect?

The C.E.C. and the Festival are financed by the Italian Government, the Friuli Venezia Giulia region, and Udine municipal authorities, with the region making the biggest effort.

Almost 70% of the budget comes from public fundings, with the remaining part covered by ticket and pass sales and private sponsors. We have worked hard to ensure more fundings from private sponsors and we have been relatively successful in this; however, there is still a lot to do.

Far East has been on for 19 years. Are there any episodes in the history of the festival you single out? Good and bad.

There are many great episodes we won’t forget, as finally having here Jackie Chan as a guest star after stubbornly inviting him for 17 years, or opening the Festival with a concert by Joe Hisaishi.

Of course there have also been bad moments, the worst probably was during the SARS epidemic in 2003, when the reaction of a part of the town against the Festival prevented us from inviting guests from China and Hong Kong.

In your opinion, how did the festival manage to keep on for so many years and what it the recipe for its success?

Well, maybe there isn’t a recipe for its success, but there is a necessary condition, which is the passion and determination of all the group of people working for it, in Udine and around the world.

What is your opinion of Asian cinema at the moment, and its penetration in Europe? Are there any individual filmmakers that stand out?

Asian cinema has many faces, it is undoubtedly one of the biggest and strongest on the international market (considering China, Japan and Korea) as well as one of the most interesting and emerging one (Indonesia and the Philippines are especially on the rise in Festivals all over the world).

But while Asian films are hugely successful in Asia, they haven’t necessarily broken through outside the Continent. Yes, you have films like "Train to Busan", but this is one mega-hit a year, and Festivals like FEFF still have a role and an outstanding importance in encouraging up-and-coming directors from the East.


How do you imagine the future of the festival, and what are your plans for the next editions?

Next year marks the 20th anniversary edition of the FEFF and we’ll have time to celebrate, but we will also focus on strengthening and developing the collateral activities we’ve started during the last years, Focus Asia in particular.

COMMENTS

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Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Meghe Dhaka Tara,1,Memoir of a Murderer,1,Merantau,1,Mermaid,1,Michael Haertlein,1,Midi Z,1,Midnight Runners,1,Midori The Camelia Girl,1,Mikhail Red,3,Ming-Yeh Rawnsley,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,1,Monika S-r,1,Monologue,1,Moon Lovers,1,Mototsugu Watanabe,2,Mouly Surya,1,Mountains May Depart,1,Mourning Forest,1,Movie,2,Moving,1,Mr. Socrates,1,Mrs Fang,1,Mrs K,1,Mukti Bhawan (Hotel Salvation),1,Mumon: The Land of Stealth,1,Museum,1,My Dad and Mr Ito,1,Myanmar,1,Nah Hyeon,1,Nandita Roy,1,Naoko Ogigami,2,Naomi Kawase,3,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,1,Neeraj Ghaywan,1,Neko Atsume House,1,Neomanila,1,Nepal,1,Neuchâtel International Fantastic Film Festival,1,News,2,Nicholas Poly,4,Night Bus,1,Night is Short,1,Night is Short Walk on Girl,1,Nikkatsu,1,Nikola Cekic,1,Ninja Pussy Cat,1,Nirbaak,1,Niwatsukino Norihiro,1,Noboru Uguchi,1,Nobuhiro Yamashita,2,Nobuyuki Takeuchi,2,Noise,1,Non-fiction Diary,1,Norihiro Niwatsukino,1,Norjmaa,1,North Korea,2,Nurse Diary: Beast Afternoon,1,NYAFF,34,Odd Obsession,1,Old Boy,2,Old Stone,1,Old-School Kung-Fu Fest,3,Omar Rasya Joenoes,2,On the Job,1,On The Line Festival,3,On the Run,1,Onibaba,1,Ophilia,1,Ordinary Person,1,Osamu Sato,1,Our Happy time,1,Outrage Coda,1,Over the Fence,1,Oxide Pang,1,Padmavati,1,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,174,Paresh Mokashi,1,Park Chan-wook,2,Park Hoon-Jung,1,Park In-je,1,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Past and Future,1,Patrick Hofmeister,45,Pedro Morata,5,Peerachai Kerdsint,1,Peng Xiaolian,1,Pepe Diokno,1,Perfect Blue,1,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,11,Pieter - Jan Van Haecke,2,Pieter-Jan Van Haecke,5,Pink Eiga,9,PinkEiga.TV,1,pinku eiga,1,Pinneyum,1,Poet on a Business Trip,1,Poolside Man,1,Posto,1,Press Release,2,Proshoon Rahmaan,2,Psychic,1,Rabbit and Lizard,1,Radiance,1,Rage. Lee Sang-il,1,Rahul Jain,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Rape Zombie: Lust of the Dead 3,1,Ravine of Goodbye,1,Re:Born,1,Real,1,Red Beard,1,Red Persimmons,1,Resistance at Tule Lake,1,Revenge: A love story,1,Review,6,Reviews,185,Reviews.,1,Riri Riza,3,Ritwik Ghatak,2,River of Exploding Durians,1,Robin Weng,1,Roman Porno,1,Rouge,1,Running on Karma,1,Russia,1,RV: Resurrected Victims,1,Ryoo Seung-wan,1,Ryota Sakamaki,1,S. Korea,56,S.Korea,2,Saayak Santra,8,Sabrina Baracetti,1,Sabu,3,Salaam Bombay,1,San Diego Asian Film Festival,6,Sanjay Leela Bhansali,1,Sanjeewa Pushpakumara,2,Sankha Ray,26,Satoru Hirohara,1,Satoshi Kon,1,Satyajit Ray,1,Sayandeep Bandyopadhyay,6,Scarlet Heart,1,Score,1,Seijun Suzuki,2,Sekigahara,1,Sexy S.W.A.T. Team,1,Sha Po Lang,1,Shanjhey Kumar Perumal,1,Shanker Raman,1,Shaw Brothers,1,She's the Boss,1,Shiboprosad Mukherjee,1,Shigeru Umebayashi,1,Shikhar Verma,11,Shikhar Verna,3,Shinji Somai,2,Shinji Sômai,1,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinsuke Ogawa,1,Shinsuke Sato,1,Shinya Tsukamoto,2,Shireen Seno,1,Shirley Abraham,1,Shock Wave,1,Shôhei Imamura,1,Shorts,1,Shotaro Kobayashi,1,Shu Qi,1,Shutter,1,Shyam Ramsay,1,Siddiq Ahamed,1,Sidharth Bharathan,1,Signature,1,Singapore,1,Singh Anand,1,Singing Chen,1,Sinophone,1,Sion Sono,7,Siti,1,Sixth Sense Hooker,1,Slavemen,1,Sleep Curse,1,Sogo Ishii,1,Solitude,1,Solo,1,Someone To Talk To,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,15,Sopawan Boonnimitra,1,Soul,1,SoulMate,1,South Korea,11,Sri Lanka,3,Srijit Mukherji,7,Stanley Kwan,1,Stephen Chow,1,Stephen Fung,1,Steve James,1,Still the Water,1,Stoneman Murders,1,Story in Taipei,1,Strange Circus,1,StudioCanal,3,Subenja Pongkorn,1,Suffering of Ninko,2,Sugihara Survivors: Jewish and Japanese,1,Suicide Club,1,Suman Mukhopadhay,1,Sun-ho Cho,1,Sunao Katabuchi,1,Sunday Beauty Queen,1,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Taiwan,20,Takaaki Hashiguchi,1,Takahide Hori,1,Takao Nakano,1,Takashi Miike,9,Take Care of My Cat,1,Takeo Kikuchi,2,Takeshi Kaneshiro,1,Takeshi Kitano,1,Takuro Nakamura,2,Tamura Senichi,1,Tanit Jitnukul,1,Tanvir Ashraf,1,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Teddy Soeriaatmadja,1,Teenkahon,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,16,Thanatos Drunk,1,The Adventurers,1,The Apology,1,The Bad,1,The Boy and the Beast,3,The boy from Ipanema,1,The Cinema Travellers,1,The Crawler in the Attic,1,The Crazy Family,1,The Day After,1,The Detective,1,The Dollhouse,1,The elephant and the sea,1,The Executioner,1,The Eye's Dream,1,The Forsaken Land,1,The Fortress,1,The Gangster's Daughter,1,The Girl Who Never Knew War,1,The Golden Fortress,1,The Good,1,The Great Passage,1,The Hole,1,The Inugami Family,1,The Iron Ministry,1,The Isthmus,1,The King of Pigs,1,The Last Executioner,1,The Last Painting,1,The Long Excuse,1,The Magic Blade,1,The Man Without a Map,1,The Mayor,1,The Merciless,1,The Mermaid,1,The Muse,1,The Naked Island,1,The Net,1,The Prison,1,The Raid,1,The Raid 2,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,The Room,1,The Salesman,1,The Sleep Curse,1,The Sower,1,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Table,1,The Third Murder,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Tooth and the Nail,1,The Truth Beneath,1,The Villainess,2,The Violin Player,1,The Weird,1,The Windmill Palm Grove,1,Third WIndow,1,This Is Not What I Expected,1,This Is Not What I Expected!,1,Thondimuthalum Driksakshiyum,1,Three Sisters,1,Three Times,1,Tiffany Hsiung,1,Tokyo Ghoul,1,Tokyo Heaven,1,Tokyo Idols,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Torico,2,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshihisa Yokoshima,2,Toshimasha Kobayashi,1,Toshio Matsumoto,1,Toshiya Fujita,1,Town in a Lake,1,Traces of Sin,1,Trailers,53,Train to Busan,1,Tran Ham,1,Translated articles,1,Trapped,1,Triple Threat,1,Tsai Ming-liang,2,Tulsi Ramsay,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Typhoon Club,1,Um Tae-hwa,1,Unbowed,1,V.I.P.,1,Vampire Cleanup Department,1,Vanishing Time A Boy Who Returned,1,Vannaphone Sitthirath,1,various,1,Varnyathil Aashanka,1,Vesoul International Film Festival,6,Vidya Balan,1,Vietnam,3,Vikramaditya Motwane,1,Vimukthi Jayasundara,1,Vinay Shukla,1,Violated Angels,1,Visitor Q,1,Vital,1,Vitaly Mansky,1,Voyage to Terengganu,1,Wai Ka-fai,1,Walk on Girl,1,Wang Bing,2,Wang Lung-wei,1,Wang Ming-tai,1,Warriors of the Dawn,1,Wei-Hao Cheng,1,West North West,2,What A Wonderful Family 2,1,What Time Is It There?,1,Whispering Corridors,1,Whispering Star,1,White Sun,1,Who Killed Cock Robin,1,Whore Angel,1,Wilson Yip,1,Wine War,1,With Prisoners,1,Woman of the Lake,1,Won Shin-Yeon,1,Wong Chun,2,Wong Jing,1,Wong Kar-wai,2,Woo Ming Jin,1,Xaisongkham Induangchanthy,1,Ya-che Yang,1,Yamato (California),2,Yan Pak Wing,2,Yang Ik-june,1,Yang Jong-hyeon,1,Yao Tian,1,Yeon Sang-ho,2,Yes Madam,1,Yeti Obhijaan,2,Yiu-wai Chu,1,Yoji Yamada,1,Yoo Ha,1,Yoonsuk Jung,1,Yosep Anggi Noen,1,Yoshihiro Hanno,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,3,Yoshimasa Jimbo,1,Yoshinari Nishikori,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,1,You Losers!,1,Your Name,1,Yu Aoi,2,Yu Irie,1,Yu Sang-wook,1,Yuen Chor,1,Yuji Shimomura,1,Yûji Tajiri,2,Yujiro Harumoto,2,Yuki Tanada,1,Yukihiko Tsutsumi,1,Yusaku Matsumoto,1,Yutaka Ikejima,2,Yutaro Nakamura,1,Yuya Ishii,2,Zakka Films,1,Zhang Lu,1,Zhang Yimou,1,Zombiology: Enjoy Yourself Tonight,1,
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Asian Film Vault: Interview with Sabrina Baracetti: Asian cinema has many faces, it is undoubtedly one of the biggest and strongest on the international market
Interview with Sabrina Baracetti: Asian cinema has many faces, it is undoubtedly one of the biggest and strongest on the international market
We speak with Sabrina Baracetti about the history of the festival, the program selection, the different sections, Asian cinema and many other topics.
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Asian Film Vault
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