A film festival thinking itself

Abstract

Between the 21 st and 29 th of September 2018, the San Sebastian International Film Festival (SSIFF) celebrated its 66 th edition. The editorial in the official catalogue pointed out that the festival had reached a "crossroads" in which "safe and recognisable paths branch off onto unexpected tracks, or cross others which, despite having a rather uncertain destiny, may precisely be even more tempting" ("Crossroads"). Admittedly, at this year's festival one could easily find some of the customary ingredients of the SSIFF's "success formula" that have consolidated its position as the highest-profile film event in the Spanish-speaking world, and one of the most important cultural events in Spain. 1 This year's festival offered its signature eclectic programme, ranging from high-budget international films such as High Life (Claire Denis, 2018) to a comprehensive panorama of current Spanish and Latin American film production. Additionally, the SSIFF's red carpet attracted a great number of stars that drew the attention of local fans and mainstream media, while the festival confirmed its audience-friendly approach with many soldout screenings and events. Less visible in the media coverage of the festival are its industry activities, oriented at reinforcing the SSIFF's reputation as a key meeting point between Europe and Latin America. These include, among others, the 34 th edition of the flagship competitive postproduction funds (established in 2002 in collaboration with the Toulouse-based Latin American film festival Cinélatino) Cine en construcción/Films in Progress, and the VII Europe-Latin America Co-Production Forum, an initiative that has seen a sustained expansion since its establishment in 2012. 2