The Pro Talks
"Cinema should make you feel both comfortable and uncomfortable; it should be a window showing the world as it truly is." Irina Raimundo, the artistic director of the IndieJunior International Film Festival for Children and Youth in Porto, Portugal, and a member of ECFA, joined us this year as a member of our festival's jury. Irina, who once lived in Athens for a while (so we can call her Eirini!), shared her thoughts on what’s happening in her country and the role of cinema, while also revealing what cinema personally means to her.
What does a film need to have in order to participate in a festival and potentially win an award?
A film needs to be good, though defining what “good” means is tricky. After all, what’s good for me might not be what’s good for you. It should definitely have a strong story, be creative, and offer a perspective that we might not have considered before—or that no one has shown in this particular way. Visually, it should follow the language of cinema, not look like something we’d typically see on TV.
What themes do you think filmmakers should focus on when making children’s and youth films?
I think filmmakers should focus on what truly concerns them, what they really want to say, because that will naturally lead to a better film.
How do you select films for your festival? Isn’t it difficult?
Yes, it’s difficult. That’s why we have a three-person jury made up of people from different generations. It’s really important because we then discuss everything together and reach a shared conclusion. For example, a film about AI doesn’t really interest me, but a 20-year-old might be better able to judge if it’s something that would appeal to today’s 15-year-olds.
What makes your festival stand out?
In our city, Porto, there was no festival for children, which is why it was so important for us to establish an event that would bring youth cinema closer to kids, families, schools, and teachers, giving them the chance to watch different types of films. I believe that when people watch a lot of good films, they become more creative in their lives in general.
Are there certain topics that children are particularly interested in?
We can’t always know for sure, but we do know that it’s good for kids aged 12 and up to watch films that touch on certain issues, like gender-based violence between young couples—issues they can think about afterward. I think they like them. Sometimes, they may feel uncomfortable, but that’s part of cinema’s mission. Cinema should make you feel both comfortable and uncomfortable. It’s a window that should show the world as it truly is. We can’t just make comedies.
What do you think we can do to bring children closer to good cinema?
I believe society should help children connect with culture in all its forms. Children need to understand early on that art is good for them—it makes us wiser and, most importantly, it cultivates empathy. Especially in today’s world, we need more empathy. To answer your question: parents, teachers, and anyone close to children should give them opportunities to engage with art, providing them with stimuli at every turn.
This year, our jury was made up of three women, including you. I wanted to ask: Have things changed for women in the film industry?
I can only speak about what’s happening in Portugal, where I live. I’d say things are slowly starting to change, but there’s still a lot of work to be done. There is now an association of women working in cinema, a database with our details. For example, if we’re looking for a producer, we can contact someone from the list. However, opportunities for women are still fewer than for men.
And what does cinema personally mean to you?
It’s a way for me to get to know myself better.