What is FIPRESCI?
Fédération Internationale de la Presse Cinématographique
International Federation of Film Critics

The idea of creating an international federation of film critics was born in the late 20s in France, a country where cinema has always been recognized as an art form. Later, more European countries joined the organization, and today there are FIPRESCI branches in over 45 countries all over the world. Nevertheless, it has retained its initial vision: to understand cinema as an industry, but to love it as a part of national culture; to accept it as entertainment but to adore it as art.

The aim of the "juries of the international film critics" (FIPRESCI Juries) are to foster national cinema, and in particular to support young talents. The juries have been established at 35 international film festivals, among them the majors in Cannes, Toronto, Berlin, Venice, Karlovy Vary or San Sebastian, as well as also some smaller and even specialized festivals such as Rotterdam, Thessaloniki, Amsterdam, Hong Kong or Havana. The jury aims to present their prize in a wide range of festivals (thus creating a kind of cultural tourism). FIPRESCI has been accused of functioning as a travel agency for its members, providing them with air tickets, accommodations and first class accreditation to world-class festivals. This is true, no doubt.

On the other hand, newspapers offer their critics less and less space for reports on festivals (Cannes being the exception), and specialist magazines often do not have the financing to send their critics to festivals. To be more drastic: dailies or weeklies offer their critics less space for film criticism in general, favoring entertainment "filler" and interviews with stars, and most film magazines are barely surviving. Some pessimists even talk of the "vanishing film critic." In this rather bleak situation, FIPRESCI work offers many critics the chance to keep contact with the world of film production as well as with filmmakers. FIPRESCI fosters a more intellectual, informed approach to film journalism. Moreover, festivals with these juries receive additional coverage (which very often they would not get without the jury). And, last but not least, the Film Critic's prize has prestige and is sometimes considered to be more important that some official festival prizes.

In addition, the organization bestows two annual awards. The Film of the Year (Grand Prix) is determined by all members in a worldwide vote. The winner is presented at the opening ceremony of the San Sebastian Film Festival. The first winner, in 1999, was Pedro Almodóvar's All About My Mother; this year the prize has been awarded to Paul Thomas Anderson's Magnolia. The other prize, the European Film Award of the Critics (aka Felix of the Critics), is part of the European Film Awards organized by the European Film Academy. This year's ceremony takes place during the beginning of December in Paris. Past winners include Otar Ioselliani, Manoel de Oliveira, Lars von Trier, and Michael Haneke.

FIPRESCI also organizes regular workshops and seminars to discuss the aesthetics and politics of national cinema. Recent seminars have explored the notion of national cinema and whether or not it is still appropriate to describe the role of cinema in the multicultural societies of today and in face of globalization. The practical work of the organization is done by the General Secretary (based in Munich), and is supported by a Board (comprised of the actual president, UK critic Derek Malcolm; the vice-presidents Michel Ciment from France, Dave Kehr from the US, Osman Kibar from Norway and Andrei Plakhov from Russia). The member associations meet once a year (traditionally in Saint-Vincent, Italy, at the occasion of the Premio Grolle d'Oro festival), to discuss the general politics of the organization. Members are the associations of film critics in almost all European countries, as well as in the US and Canada and in big parts of Asia and Latin America, with the goal of boosting African representation. The organization runs a mailing list with news on actual events, festivals, awards, and a website.

Unfortunately, the financial means of the organization are ridiculously small (and made up by membership fees only). Most of the work is done by enthusiasts who love cinema and wish to help good films reach a larger public. For sure, this is, in the times of a so-called New Economy rather outdated and makes film critics seem like dinosaurs. But what would be bad in this?

Klaus Eder
General Secretary of FIPRESCI

The Pleasures and Displeasures of Attending Festivals
by Klaus Eder