America’s friendship with France dates back 250 years; the country’s money, army, and navy helped the United States win the Revolutionary War. And American and French moviegoers have had a mutual admiration society almost since the cameras started rolling.
That’s why the American French Film Festival, celebrating its 30th anniversary, is important. Originates from the marriage of US and French institutions: presented and produced by the French-American Cultural Fund; It is a collaboration between the Directors Guild of America, the Motion Picture Guild, the Society of Authors, Composers and Music Publishers of France, and the Writers Guild of America West in collaboration with CNC, France’s national film organization.
“The festival has become much more than a show. It has become a bridge between two continents,” says Anouchka van Riel, deputy festival director. Industrial origins are vital to establishing and maintaining intercontinental ties.
Take the opening night movie, “In the Waves.” An animated film based on a US comic book that was purchased by French producers and worked on at the festival. The English-language film is set on the Southern California coast and is directed by French-Vietnamese animator Phuong Mai Nguyen; Netflix acquired the film at Cannes.
“The two countries are intertwined, and we think it’s really a trend, and we’re really happy about it,” Van Riel says. “Cinema art can be done across continents, and I think that’s a story that has emerged from the past three years at the festival and this year confirms it.”
François Truffart, the festival’s executive producer and programmer, thinks that since 2004 (also the year Van Riel started), the festival has helped change the perception of what French films are, and notes that audiences have grown exponentially over the years. It also programs a wide range of genres and films (including documentaries, animations, shorts) that showcase the breadth of cinema from French creators, producers and zona films.
“There are many different types of films, but we are sure that we will have an audience for each of them. Perhaps this is the greatest achievement,” he says, adding that even organizing such a large event with 60 films, shorts and series is an achievement, given the turbulent state of the global economy.
The festival, which will end on November 8, includes many films participating in the international Oscar race: Andrey Zvyagintsev’s “Minotaur”, which France entered the race, Ryūsuke Hamaguchi’s “Sudden” (Japan), Lucas Dhont’s “Coward” (Belgium), Cristian Mungiu’s Cannes Palme d’Or winner “Fjord” (Romania) and Laïla. “Strawberry” from Marrakchi (Morocco).
“We’re in a world where it’s become very important for people to try to share and understand different perspectives,” Truffart says. “When I choose a film, I always want to have in mind something that is very unique and original for the American audience, but also shares universal themes.”
He notes that over the years, audiences have embraced films with a new perspective and a new approach.
The festival has been screening series since 2015 and has introduced some blockbuster shows over the years, and Truffart says it’s important for the festival to have a competitive element because “that’s Hollywood’s view.” Industry panels, interviews and workshops are also programmed at the festival.
Van Riel gets excited when talking about free screenings for local high school students. “Every morning at DGA, we have a 600-seat theater full of high school students, and they watch a movie, followed by a Q&A, and that’s the most magical moment,” he says.
It helps create a new audience for the American French Film Festival and opens up their world.
For the festival program, see: theamericanfrenchfilmfestival.org