{"id":2638,"date":"2026-06-21T20:34:22","date_gmt":"2026-06-21T20:34:22","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2638"},"modified":"2026-06-21T20:34:22","modified_gmt":"2026-06-21T20:34:22","slug":"karlovy-vary-film-festival-topper-karel-och-talks-about-the-60th-edition-lineup-and-its-cinematic-ambitions-for-regional-filmmakers-and-beyond","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2638","title":{"rendered":"Karlovy Vary Film Festival Topper Karel Och Talks About the 60th Edition Lineup and Its Cinematic Ambitions for Regional Filmmakers and Beyond"},"content":{"rendered":"
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\n\tAmong pop-up bars, bandstands and opulent, 19th century spa buildings painted in sherbet pastels, the Karlovy Vary Intl. Film Festival (KVIFF) takes place each year in July, at the halfway mark between Cannes and Venice. For those weirdos among us who make a chunk of our living running the gauntlet of summer festivals, the Czech event is a fixture, and for me, personally, as my longest continually attended festival, it is something of a home away from home. I had the pleasure of sitting on the Crystal Globe competition jury last year, and look forward to returning this time in no small part because the festival will celebrate its 60th edition (and it\u2019s 80-year legacy as it was founded in 1946), with a program that was designed, as artistic director Karel Och says, \u201cin a spirit of humility. We look back at the festival\u2019s history and want to honor the work of our predecessors.\u201d<\/p>\n

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\n\tDespite its youthful energy \u2014 the festival actively promotes student attendance, with a camp site nearby and the constant thrum of live music outdoors \u2014 this sense of stability and continuity is central to the KVIFF experience. Och himself, who took the reins in 2010, is only the fest\u2019s third artistic director. And when the fest\u2019s beloved Ji\u0159\u00ed Barto\u0161ka passed away in May of last year, it was announced that, even posthumously, he will remain KVIFF president, a position he had held since 1994. Prior to the Barto\u0161ka era, there were some rocky periods under communism, but even then, organizers fought for artistic independence despite state censorship. Och recounts how, \u201cin 1970, just two years after Soviet tanks rolled into Czechoslovakia, Ken Loach\u2019s \u2018Kes\u2019 won the festival.\u201d\u00a0\u00a0<\/p>\n

\n\tThe festival has a strong track record in retrospectives and will this time dedicate its Out of the Past sidebar to a hand-picked selection of KVIFF\u2019s historical highlights, including \u201cKes,\u201d as well as \u201cBarravento\u201d (1961), a pioneering work of the Brazilian Cinema Novo movement from director Glauber Rocha. And \u201cA Matter of Life and Death,\u201d by Michael Powell and Emeric Pressburger \u2014 which played at the second-ever edition \u2014 will also be shown because, says Och, \u201cAny reason to screen this wonderful film is good enough for me.\u201d<\/p>\n

\n\tPerhaps the highest compliment for any festival is that its filmmakers tend to be repeats. Northern Irish director Mark Cousins, who won the Crystal Globe in 2024 for \u201cA Sudden Glimpse to Deeper Things,\u201d brings the world premiere of episodes 7 and 8 of \u201cThe Story of Documentary Film\u201d to the special screenings section, having premiered previous installments in Sundance, Berlin and Cannes. And the Crystal Globe competition also features KVIFF returnees: Bulgarian duo Kristina Grozeva and Petar Valchanov, who won top honors in 2019 for \u201cThe Father,\u201d are back with tragicomedy \u201cBlack Money for White Nights,\u201d while Czech filmmaker \u0160imon Hol\u00fd (\u201cChica Checa\u201d) and Cypriot director Tonia Mishiali (\u201cThe Lion at my Back\u201d) are both promoted into the Crystal Globe fray, having previously featured in the second competition.\u00a0<\/p>\n

\n\tBut one cannot rely on old friends and past glories alone, and Och also mentions atypical competitors, films from Colombia (\u201cFive Years, Four Months\u201d), Myanmar (\u201cFruit Gathering\u201d) and the first-ever Swiss entry (\u201cA Happy Family\u201d). And support for MENA filmmakers continues with Lebanese director Karim Kassem\u2019s genre hybrid \u201cPipes\u201d and \u201cHijamat,\u201d produced and edited by Jafar Panahi, and directed by Panahi\u2019s frequent co-writer Nader Saeivar. \u00a0<\/p>\n

\n\tOne of the bigger shifts in KVIFF\u2019s evolution occurred in 2022, when the long-running East of the West competition was replaced by Proxima, a new section without geographic restrictions. It\u2019s a change that Och affirms has taken root. \u201cPeople \u2014 producers, sales agents \u2014 do, I believe, understand the type of films we\u2019re looking for: a certain youthful spirit, be it in the movies of young filmmakers or seasoned filmmakers who change course and go for something different \u2026 One of the reasons we decided to abandon East of the West,\u201d he continues, \u201cwas to give more opportunities to filmmakers from Asia and Latin America.\u201d This is borne out by this year\u2019s Proxima competition, which includes movies from India (\u201cThe Ink-Stained Hand and the Missing Thumb\u201d), Japan (\u201cIncinerator\u201d), Argentina (\u201cTruck Driver\u201d) and Mexico (\u201cAgainst Nature\u201d).\u00a0\u00a0<\/p>\n

\n\tIndeed, when pressed about overarching themes that emerged during the programming process this year, crossing borders is much on Och\u2019s mind. \u201cWe have, more than usual, films directed by filmmakers not in the countries where they were born or where they grew up \u2026 So you have two Italians in the Proxima competition doing films in England [\u201cRain Catcher\u201d] or in Cambodia [\u201cHomo Cive Natura\u201d]. So that might be about the world getting smaller, or more accessible, with filmmakers being able to travel to find financing, to be more inventive and more daring.\u201d\u00a0<\/p>\n

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\n\tAnother trend is women being centered in many of these narratives, regardless of the gender of the director. \u201cWe see many female heroes, be it individual or a duo, maybe having an improbable connection. And these films are often, or at least equally, directed by men and women.\u201d Both these trends \u2014 filmmakers working outside their native countries, and male directors centering stories of women and female friendships \u2014 were also prevalent in the Cannes selection, as was a third, much-remarked-on phenomenon: the comparative lack of U.S. titles. But Och maintains that \u201cwe did get submissions from the U.S., and we did watch most of the American films at Sundance, but we did not find a suitable candidate for the competition.\u201d\u00a0<\/p>\n

\n\tHowever, he says, \u201cWe did find candidates for our non-competitive program. And maybe this is an opportunity to voice something, and that is that independent films from the United States are more and more often being subjected to strategies which used to be dedicated to bigger, more commercial films, in terms of holdbacks. I am talking specifically about \u2018Josephine,\u2019 which played in Sundance and Berlin. We invited \u2018Josephine\u2019 \u2014 we even acquired it for local distribution \u2014\u00a0 but we were told that there won\u2019t be any screenings of the film allowed during the summer \u2026 an extremely frustrating tendency which is seriously harming the summer festivals as the launching pads for local distribution.\u201d\u00a0<\/p>\n

\n\tStill, the U.S. no-show will scarcely affect the official selection, which, as ever, balances international titles with more local projects. Och insists that the Czech and Slovak films competing are anything but token inclusions. \u201cWe are not a national institute. We shouldn\u2019t be expected to promote local cinema at any cost. We want to present films that we consider interesting, not just for the Czech Republic, but for foreign viewers as well. And I have to mention last year\u2019s winner that did very well,\u201d he continues, referencing the 2025 Crystal Globe winner, Miro Remo\u2019s Czech-Slovak documentary \u201cBetter Go Mad in the Wild,\u201d which received invitations from over 60 international festivals following its win.<\/p>\n

\n\tSo it is fitting that when I ask Och to overcome his diplomatic scruples and give us a personal program highlight, he should again namecheck a local production. \u201c\u2019Only Beautiful Things to Look At,\u2019 which is directed by Ivan Ostrosky, describes a very dark part of recent Czechoslovak history \u2026 It\u2019s a very, very beautiful film which I dare to predict will have a very strong international career.\u201d <\/p>\n

\n\tA regional breakout would be a bonus for KVIFF60, but whatever happens, the festival\u2019s unpretentious, convivial spirit is unlikely to flag \u2014 one kind of summed up in the wonderful \u201cBetter Go Mad in the Wild,\u201d when one of its twin-brother subjects, pondering the lofty question of his legacy, settles on \u201cI\u2019ll just say it was nice to be here with you.\u201d<\/p>\n

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Karlovy Vary Film Festival Topper Karel Och Talks About the 60th Edition Lineup and Its Cinematic Ambitions.<\/p>\n","protected":false},"author":1,"featured_media":2637,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2245],"class_list":["post-2638","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-karlovy-vary-intl-film-festival"],"yoast_head":"\nKarlovy Vary Film Festival Topper Karel Och Talks About the 60th Edition Lineup and Its Cinematic Ambitions for Regional Filmmakers and Beyond - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=2638\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Karlovy Vary Film Festival Topper Karel Och Talks About the 60th Edition Lineup and Its Cinematic Ambitions for Regional Filmmakers and Beyond - Relocation Observer\" \/>\n<meta property=\"og:description\" content=\"Karlovy Vary Film Festival Topper Karel Och Talks About the 60th Edition Lineup and Its Cinematic Ambitions.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/relocationobserver.com\/?p=2638\" \/>\n<meta property=\"og:site_name\" content=\"Relocation Observer\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-21T20:34:22+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=2638#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=2638\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/#\\\/schema\\\/person\\\/2243ff062b31c5195cd0d9f83884e83e\"},\"headline\":\"Karlovy Vary Film Festival Topper Karel Och Talks About the 60th Edition Lineup and Its Cinematic Ambitions for Regional Filmmakers and Beyond\",\"datePublished\":\"2026-06-21T20:34:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=2638\"},\"wordCount\":1367,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/relocationobserver.com\\\/?p=2638#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/relocationobserver.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/2656864e88ae846ef3fd4717b9abf4b4.webp\",\"keywords\":[\"Karlovy Vary Intl. 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