Forty-four seconds to one hundred and sixteen minutes

This is my fifth year as the head of Slovenia’s national film festival. To mark this “mini anniversary,” it would be fitting to pause for a moment and ask oneself… Ask what? I am not a big fan of people celebrating various anniversaries by flaunting their achievements and congratulating themselves or, at best, each other. I find this too alienating—not only from reality, but also from the essence that the question should address. And that question is, always and forever: What does this mean?

As already noted in previous editions, our dedicated team has managed to stabilise the festival to such an extent that it runs as smoothly as possible, and we have taken some pride in saying that the Festival of Slovenian Film Portorož is one of the few national film festivals in the region. And that, unlike some other festivals, it stands out for not showing solely for feature films, and mainly fiction, but featuring all film genres and formats. Therefore, the competition and panorama programmes this year, as in previous editions, feature fiction films, documentaries, experimental films, animated films and hybrid films of various lengths, from feature-length to medium-length and short films. This colourful palette also includes student films and so-called minority co-productions, i.e. films from other countries in which Slovenia is a minority co-producer. Over the six days of the festival, the competition programme alone will showcase 20 feature-length films, 4 medium-length films and 23 short films. Twenty-two student works will compete for the “student Vesna” award. The longest film of the festival runs for one hundred and sixteen minutes, while the shortest is only forty-four seconds long.

True, this is quite a span, one which illustrates the full diversity of the Slovenian film landscape, especially in terms of different approaches, mindsets, beliefs, tastes, desires, intentions, expectations, visions, and so on. And? What does this mean? Even a cursory glance at this vivid palette suggests that the Festival of Slovenian Film sparks different views on what a festival should be. Not only views, but also demands. Especially among those who see the festival as an annual service they are entitled to. That is, of course, if they so desire and do not offer their film to another “customer” first. That said, it must be acknowledged that the applicable rules currently allow them to do so. And precisely because of this and my previous conclusions – that the purpose of the festival is to showcase contemporary Slovenian cinema regardless of its festival and distribution history, that the festival is an event that should provide, as much as possible, an equal rundown of various creative and production approaches, and accommodate everyone in its midst in a suitable way –, at the end of this kaleidoscope of opinions, we are left with a very simple question about our attitude towards this exclusively national film event. Because once we answer this question honestly, it will be much easier to assess the dilemmas relating to its content, quantity, and location. Let us recall the beginnings, when the festival of Slovenian cinema offered an overview of the then much smaller annual yield of Slovenian feature films. Over the years, production has reached significant proportions, with people expecting festival treatment that meets their own criteria of what is adequate. Needless to say, it is also possible to do things differently.

But this year, everything, including the date, remains the same. Well, nearly everything, since higher prices have forced us to raise the value of the ‘Cinema Euro’. For the benefit of students, a contribution of two euros will be required for each complimentary ticket. I believe no major apologies are needed here, as students from the Ljubljana Academy of Theatre, Radio, Film and Television, the School of Arts at the University of Nova Gorica, and the Ljubljana Academy of Fine Arts and Design are our dear and vital guests. As has been said many times before, they have become an indispensable part of our audience and, in addition to attending screenings, are also “in charge of” the good atmosphere at other, not only social events. In other words, they are the festival’s “good vibe managers”.

A successful and well-established collaboration continues with our traditional co-producer, Avditorij Portorož. As last year, the festival takes place at two main venues: Avditorij and Magazin Grando, the latter having successfully replaced the former location of Monfort in the festival’s 27th edition. In addition to the competition and panorama programmes, several special screenings will also be held at these venues. Two will be dedicated to the 120th anniversary of Slovenian cinema, one to the first ‘Friend of Slovenian Film’, and one will take place as part of events honouring those who make their mark on film through set design, costume design, and make-up. On Tuesday and Sunday, matinees feature programmes for young audiences, and on Sunday, the focus is on television series, which are slowly but surely making their way into film festivals.

This year’s Milka and Metod Badjura Award goes to a professional who, throughout his long and prolific career, has collaborated on more than 170 film and television titles, thereby creating an extensive body of varied film editing work. As the judges wrote in their statement, Janez Bricelj has always stayed loyal to cinema and to the profession that requires editors to take an independent creative approach, not only relying on the script but searching the footage for the potential to make a good film. We are delighted that this year’s award goes to a representative of the creative profession that often remains hidden in the dim light of the editing studio.

A major international event is also scheduled to take place during the festival. In Piran, on Prvomajski trg, where several Slovenian and international films have been shot, a TREASURE OF EUROPEAN FILM CULTURE plaque will be unveiled in the presence of high-ranking representatives of the European Film Academy. This will see Piran, and with it the whole of Slovenia, join the ranks of European film locations of historical value.

This is the first time we have a female Friend of Slovenian Film, and she comes from Italy. The honorary title for 2025 has been awarded to Nicoletta Romeo, director of the Trieste Film Festival, who has been drawing attention to Slovenian films and filmmakers for many years. According to her, Slovenian cinema has always played a pivotal role at the Trieste Film Festival, offering a distinctive voice in the cinematic landscape of Central and Eastern Europe.

As usual, let me conclude with another very diverse line-up of industry events. Their topics range from intimacy coordination to how to use music in your film. They encompass a broad spectrum, addressing both professional and social issues related to film. In collaboration with the Slovenian Association of Set Designers, Costume Designers, and Make-up Artists, we will dedicate a series of events to these aspects of filmmaking. In collaboration with the Piran Coastal Galleries, we will explore the intersection of cinema and the visual arts. We will conclude the industry programme with a discussion about TV series, the growing dilemma of including series in film festival line-ups, and their funding. In short, we will look into how, with what concept, and according to what criteria, series should or could participate.

After days filled with film screenings, we dive into festival nights with top Slovenian DJs.

So, forty-four seconds to one hundred and sixteen minutes. Somewhere along these lines, we’ll meet in Portorož between 21 and 26 October.

It goes without saying that you are all warmly welcome to join us.

Bojan Labović
Director of Festival of Slovenian Film Portorož