The Movie-Fanatic interviews film critics from around the world: Featuring european-films.net’s Boyd van Hoeij

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I think it would be hard for anyone to claim they are particularly fond of European films since the term is more of a geographical denomination than anything else—but from a general love of films and the realization that a lot of European films were getting overlooked because there was almost no information available about them. "

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Tell us how you started doing film reviews and analysis? Which was your first ever film review? Can you tell us more about it, what was the reception like and how did your viewers react to it? Was it a good film or a bad film?

Unlike many critics, I started working in film journalism by chance. I’ve always had an interest in entertainment and the arts and have written for newspapers since I was 15, though I did not study journalism but art history and the classics. During my studies, I was encouraged to keep a research workbook that detailed my personal reactions to all sorts of artistic endeavors I encountered and naturally films were a part of that and the writing about films grew out of that. I don’t remember which film I first wrote about, but my first published film review was of Julie Taymor’s Frida, which I called “a work of art in its own right”. Actually, biopics of artists are extremely difficult to do well, but that one is very good and features Salma Hayek’s best performance ever.

For someone who lives outside Europe, it’s hard to follow the trends in European cinema. There is so much diversity and variety and for a regular filmgoer, it’s sometimes overwhelming. As a film critic, how would you help/guide someone who has just started enjoying European films - aside from the issue of sub-titles, of course!? What films should he/she see and why? What ten essential films would you recommend?

Any ten films on any list are a completely personal choice, but if you’re looking to get a grip on recent European cinema, then these ten names are a good place to start (in no particular order):

Tom Tykwer – German writer-director
Lars von Trier – Danish writer-director
Jean-Pierre Jeunet – French writer-director
Danny Boyle – UK director

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These four filmmakers can be credited with creating a young, new kind of European films that have been successful abroad, and with their success they have made it possible for other young directors to get a chance to develop and find funding. Also check out:

Anders Thomas Jensen – Danish screenwriter and occasional writer-director
Fatih Akin – German-Turkish writer-director
Jean-Pierre Jeunet – French writer-director
Pedro Almodóvar – Spanish writer-director
Aki Kaurismäki – Finnish writer-director
François Ozon – French writer-director
Sandro Petraglia & Stefano Rulli – Italian screenwriters

Film critics and regular moviegoers often clash regarding which films are ‘outstanding and acclaimed’, and which are ‘mediocre and insignificant’. What are your personal criteria when judging a film?

I never bought into the “critics are out of tune with the audience” debate; I think there is no such debate. It will be almost impossible for anyone to always agree with what a critic has to say. That is why there are more critics than one! It all depends on what you want out of a film; very often “regular moviegoers” as you call them, don’t really want a good film, they want a good night out, which is not the same thing. If this is the case, then a review of the film is probably not the only thing that should influence his or her decision-making.

As for my personal criteria, I think I apply a mixture that is familiar for all film critics: personal taste on the one hand and knowledge of the craft on the other. If readers have read me for a while, they will have a good idea of the kind of films I like. Everything lies in making your case: clearly explaining when you are talking about personal taste and when you explaining something technical and why this does or does not work. In the end, all art is subjective so all criticism of art will necessarily also be subjective.

Films have been with us for decades and many of the so-called ‘acclaimed films’ such as La Dolce Vita, the Bicycle Thieves, and Breathless are being re-introduced to new audiences. Tell us, among the so-called classic films, which do you think are over-rated? Which do you think have been overlooked or under-rated? Are there specific films that you wish young audiences would see in order to truly appreciate cinema as a form of art?

Again this is completely personal. Underrated classics, for me, include the works of Jean Vigo, Fons Rademakers and Victor Erice. Overrated classics only exist for those who are unable to go into a film with at least a half-open mind. Though I encourage reading up on classics before seeing them—just to get an idea of what it is about and how one should approach it—it is nevertheless fundamental to the viewing of any film to actually watch it as a blank slate (“tabula rasa” as it is so beautifully called), otherwise it might not get a proper chance to seduce you.

European actors either become Hollywood stars or remain legends in European cinema. Many have accepted the call to America and started living there and acting in films that are appreciated by American audiences, while some stood their ground and remained loyal to their European film connection. As a film reviewer and critic, what are your views regarding the difference between Hollywood films and those produced in Europe?

This answer can only be given by making gross generalizations, so it is not really worthwhile. Is Haneke’s upcoming US remake of his own Funny Games American or European? I would think it is better to say that the biggest difference between European films and Hollywood films are their passports!

Your observations and views on the differences in techniques and approaches between films produced in, for example, Germany, and those produced in Hollywood?

Again, very generally speaking, the two biggest differences between US and EU productions are the money available and (and this is a related fact), the reason the money is given in the first place and the expectation that this money burdens the filmmakers with. Very generally speaking, US films are made with private money that is seen as an investment that will (or should) yield profits in the future. Many European films are partially funded by state money and the investors are interested not only in financial success but also in the development of the seventh art, in new voices in cinema, in the continuation of a tradition, in the preservation of culture and more such lofty ideals. However, this divide also means that in Europe less time is spent on development and pre-production, which is not always a good thing.

There is a drive to discover and promote new talent in Europe today. Among the many new talents being introduced to world-wide audiences, who are some that you think have what it takes to become the stars of tomorrow?

Though pan-European stars are very rare (apart from Catherine Deneuve and Gérard Depardieu, are there any European actors that your grandmother knows about?), there are many very talented people at work in the European film industry today. Here are some names of people whose work is worth checking out:

Young directors: Györgi Palfi, Christophe Honoré, Joe Wright, Joachim Trier, Alessandro Angelini, Ragnar Bragason, Szabolcs Hajdu, Guillaume Canet, Joachim Lafosse, Krisztina Goda, Slawomir Fabicki, Valeska Grisebach, Henner Winckler

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Young actors: Gustaf Skarsgård, Giorgo Pasotti, Juan José Ballesta, Elio Germano, Raul Arévalo, Iván Fenyö, Johan Libéreau

Young actresses: Isild le Besco, Carice van Houten, Keira Knightley, Mélanie Laurent, Beatriz Batarda, Kim Schnitzer

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The film festivals at, among others, Cannes, Venice and Berlin, are some of the most highly anticipated events in the European cinema calendar. For a novice in wishing to attend these festivals, how would you differentiate between them? What makes them unique? And as a film critic who has regularly attended these festivals, what are some of your most memorable experiences, both in film viewing and outside the theatre during the festival activities?

Cannes is different from the other festivals in that no regular moviegoers are allowed in. It is a professionals-only festival - that it is also the most glamorous goes to show that even industry types like to be blinded by sparkles! Cannes focuses on author cinema in the French sense of the work (“auteur”) and is the single most important event. It takes place at the same time as the Cannes Film Market and thus attracts thousands of film professionals.

Venice does not have a proper film market and Berlin’s market is much smaller in scale and more focused on Europe. Venice, being held in September, is the showcase for Hollywood’s Oscar contenders and also very strong in Italian and Asian cinema. Berlin is a showcase for German cinema and is known for its political and social films and more off-the-beaten-track choices.

As for my most memorable experience during a festival, they are numerous: it is every time the lights go down and all is still possible!

How important are film festivals to the movie industry in Europe?

For better or for worse, they are the primary way of getting films noticed abroad, which means that the selection committees wield enormous power over the many films and filmmakers out there. Unfortunately they do not only have to take the quality of the film into consideration, but also other factors such as how to decorate their red carpets with stars…

You maintain one of the most resourceful sites on the net for European film. Tell us how you started the site?

It grew not so much out of a particular passion for European films—I think it would be hard for anyone to claim they are particularly fond of European films since the term is more of a geographical denomination than anything else—but from a general love of films and the realization that a lot of European films were getting overlooked because there was almost no information available about them. So I try to compensate for that with the website, aiming to write accessible reviews for (and here I’m grossly generalizing again) the art house-curious filmgoers. In short: it is not necessary to know who Godard is to enjoy the website and the films it highlights (though I am the first to underline that knowing who he is can certainly make moviegoing even more enjoyable). But the aim is to get the general audience informed on what is out there and make them curious about all sorts intriguing titles, from an obscure Czech independent film to the latest offering from a celebrated European filmmaker.

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tMF wishes to thank Boyd van Hoeij for taking the time to answer our interview questions, inspite of his hectic schedule attending film festivals and reviewing films! Interview conducted by Jed Medina, exclusively for the Movie-Fanatic.

[ Visit European-Films.net ]

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