This year, the Hofer Filmtage will take place for the 57th time from 24-29 October. Since 2017, Thorsten Schaumann has been the director of the festival. Around 150 films from different countries of production will be shown, although the focus is firmly on German-speaking nations. This year's retrospective is dedicated to German director Maria Schrade. We spoke to Schaumann about this year's programme and how he perceives the new generation of German filmmakers.

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Cineuropa: How does the festival position itself within Germany and on the international film scene?
Thorsten Schaumann: The festival is a launch pad for new discoveries. This occurs in a professional workplace with a familial atmosphere – and this also means that many talents have come back over the years. For example, the opening film this year, 15 Jahre, is by Chris Kraus. The movie is the sequel to Four Minutes [+lire aussi :
bande-annonce
fiche film], which Kraus showed back in 2006 in Hof. Hof has kicked off many careers and still does so today. I believe this is thanks to its intensity and its concentration on skill. It elevates the festival to the level of a flagship event. Furthermore, access to the films and the artists is simple and straightforward. Those who come to Hof share a passion for cinema. That's why I think the term "Hof – Home of Films", which was coined by Wim Wenders, fits it like a glove. I genuinely view us as a service or a framework for filmmakers to be presented in the best possible light. We are a space where the audience may interact with the filmmaker while simultaneously witnessing something unusual. We wish to present premieres – at least the German premiere of a film and, if possible, the European premiere as well.

What role does Hof see for itself in shaping German film policy?
The festival is part of AG Filmfestival, a nationwide task group comprising over 120 German festivals. Of course, each event has its own distinct personality, but we all share the same ideals. In the organisation, we lobby for a variety of issues affecting German film policy, such as the recent amendment to the Film Act [FFG]. At the same time, we have to deal with local issues. I am pleased about and appreciative of the way we are being helped. Of course, securing finance for the event is an ongoing struggle. Fortunately, we have had a favourable response.

How would you describe the current generation of German newcomers?
This year, there are far fewer feature films. Shorts are far more common as graduation films at universities than features. I believe there is uncertainty in the sector, and therefore, everyone wants to bet on the right horse. And the right horse isn't necessarily a debut feature film. I believe the amount of effort needed to be able to make one has also increased. At the same time, bear in mind that there is less money in the market overall. The money that is available will then be funnelled into series formats by TV stations and streaming services, rather than a feature debut. It will be interesting to see where things take us. Overall, features are becoming less popular at the moment among the younger generation, although there are several notable exceptions with bold signatures. It's also likely that there may be a backlog and that additional projects will be completed unexpectedly next year. However, it continues to be a struggle for the next generation.

Is it dependent on the current funding structure?
The funding sums are no longer increasing. With the same money, you get less, owing to inflation. I also believe that the pressure to succeed has been piled on at all levels and that everyone is focusing on successful projects. But what is a successful project? A film that has a strong festival history or just performs well at the box office? Depending on this definition, there is less room for freedom and creativity. And so, experienced filmmakers have it easier than up-and-coming ones, or than anyone who dares to experiment in general. Festivals also have the task of providing a space for people who dare to accomplish something. In Hof, the most valuable young director's prize is awarded for the first feature film: the Friedrich Bauer Gold Award, worth around €35,000. This amount, when awarded to one person, makes a real difference. It provides filmmakers with the time they need to work on their next project. In addition, the award is intended to draw attention to them and help in their search for a distributor. 

How would you describe the films in this year's line-up?
We have a sizeable collection of documentaries. Many of the subjects are political in nature. Several films are also about the search for oneself, self-acceptance and establishing a positive image of oneself.