Artists, Not Nations: Festival Leaders Defend Cultural Freedom

When Art Meets Politics

Picture this: You're at a film festival, surrounded by passionate filmmakers, critics, and cinephiles from around the globe. Suddenly, you're told that your presence is conditional on your country's political standing. That's not just a bureaucratic hiccup — it's a direct assault on artistic freedom.

At the Lumière Summit in Saint-Paul-de-Vence, France, this scenario became a stark reality for festival leaders who gathered to discuss how their institutions are navigating the increasingly volatile intersection of art and politics. The conversation, titled “Easy to Criticize, Impossible to Replace: Rethinking the Festival,” was moderated by Rajendra Roy, chief curator of film at MoMA. The room buzzed with urgency as directors from Cannes, Berlin, Toronto, San Sebastián, Annecy, Mumbai, Durban, the Red Sea, and South by Southwest shared their concerns.

"We don't judge artists by their passport, we judge them by their works," said Laurence Herszberg, general director of Séries Mania, in a statement that encapsulated the core message of the day.

A New Kind of Gatekeeping

Herszberg's words cut through the noise like a knife through silk. As the general director of a festival that's free to all and hosts 1,500 seats, she has no control over who enters — but she does have a responsibility to those whose art is at risk.

"We feel more and more under pressure from different groups," Herszberg explained. "They might be politicians, they might be just people who disagree with the representation of some countries."

This kind of gatekeeping isn't new — but it's evolving, becoming more insidious and politically charged. Festivals are no longer just showcases for talent; they've become battlegrounds for ideology. And in this war, the artists are often the collateral damage.

What Was Once Free Is Now Fragile

Cameron Bailey, CEO of the Toronto International Film Festival (TIFF), echoed Herszberg's concerns. Speaking from his experience as a programmer back in 1990, Bailey recalled how festivals once felt like “completely free and open spaces.”

"Filmmakers are not their nations, and shouldn't be treated as such by anyone," Bailey said, underscoring the point that artistic expression should transcend political boundaries.

TIFF's new market, launching this year, is a reflection of Bailey's broader vision — one where festivals act as both incubators and catalysts for global storytelling. "The market is also part of that ecosystem – I mean, a terrible way to put it would be that it's the fertilizer of the ecosystem, but really, it's what feeds" a constant supply of ambitious films.

Global Voices, Local Challenges

From Berlin to Durban, festival directors across the globe are grappling with similar pressures — though each faces unique obstacles. Tricia Tuttle, director of the Berlinale, pointed to audience development as her primary strategy for resilience. "The answer for me to all of these challenges is to really think about audiences," she said, emphasizing the importance of connecting with people who may not yet be cinema fans.

Iris Knobloch, president of Cannes, offered a different perspective. With 40,000 accredited participants from 140 countries and over 4,000 journalists in attendance, her festival remains a beacon for global talent. "For me, that is the real shining light on films and the talent all over the world," Knobloch stated.

In Africa, the challenge is less about political interference and more about infrastructure. Magdalene Reddy, director of the Durban FilmMart Institute, pointed out that the core issue in Africa isn't finding audiences — it's reaching them. "For us, engaging with audiences is really going into the community," she said.

The Press: Friend or Foe?

As if navigating political storms wasn't enough, festival leaders also have to grapple with the media's shifting role. Peter Debruge, now director of the South by Southwest Film & TV Festival, spoke about how studio films serve as the “sizzle” that draws press attention and audiences to lesser-known discoveries.

"The studio-level films are the sizzle that brings the attention, the press, and the audiences to the discoveries," Debruge said. But he also acknowledged that with online news cycles and shrinking press resources, there's a growing risk of losing the depth and respect that films deserve in their coverage.

Maialen Beloki, deputy director of San Sebastián, added that the race for breaking news online has diminished the time and attention filmmakers receive. "We are losing our capacity to talk about the films with some time and with some respect," she said, calling for a reevaluation of how press coverage is conducted.

Building Bridges, Not Barriers

The festival leaders' stories reflect more than just institutional challenges — they point to a deeper cultural conflict. For many, festivals are not just business ventures but sanctuaries where stories are told, shared, and celebrated across borders. Shivendra Singh Dungarpur, founding director of the Film Heritage Foundation, emphasized that his MAMI Festival in Mumbai is open to all. "I believe that a film festival has to be for everyone," he said.

Dungarpur's approach — partnering with cinema chains to bring independent films to underserved communities — shows how festivals can democratize access to culture, regardless of geographic or economic barriers.

Similarly, Mickaël Marin from Annecy Animation Film Festival has worked to expand his event's reach beyond its traditional professional audience. "We have a worldwide community of animation coming here in Annecy, from the school, from the student, up to the platform," he said.

What's Next for Global Cinema?

The Lumière Summit panel wasn't just a lament — it was a call to arms. Festival leaders are not giving up on the ideals that make cinema so vital to our global community. But they also know that these ideals can only survive if we protect them from political and ideological interference.

As the panel closed, moderator Roy posed a provocative question: "Could festivals survive without the American industry?" The response was telling — only one panelist, Magdalene Reddy of Durban, answered no. But her answer wasn't a rejection of American influence; it was a reminder that African content and voices deserve a place at the table — not just as an afterthought, but as part of the global narrative.

Ultimately, the festival leaders' message is clear: Art isn't political, and neither should it be. As long as we continue to support artists and filmmakers who challenge us, question us, and inspire us — no matter where they come from — cinema will remain a universal language that speaks truth, not politics.

Final Thoughts

The Lumière Summit panel reminded me of the old saying: “Art is eternal.” But it's also fragile. And in today's climate, the only way to protect art is to fight for its freedom — especially when the very idea of freedom is under attack.