Raindance, like many other film festivals, is increasingly finding itself at the intersection of culture, entertainment, and politics. Here’s how Raindance is dealing with protests and politics:
1.Programming Choices:
Festivals often curate films that engage with current social and political issues. Raindance takes this very seriously. We believe our programming choices can be a form of responding to or reflecting on societal tensions.
For instance, Raindance may showcase films that address themes like racial discrimination, climate change, and political corruption, providing a platform for discussion, awareness and education. We believe that it is our role to comment on social movements of our time.
2.Security Measures:
Festivals have increased security measures to ensure the safety of attendees, filmmakers, and staff. This include more stringent access controls, a visible security presence, and coordination with local law enforcement.
3.Panel Discussions and Q&As:
We believe the role of a festival is to create debate. This doesn’t mean that a Raindance film sombre and preachey. It does mean that a Raindance movie, above all else, entertains. And the best success at Raindance is a film that provkes debate.
Festivals like Raindance incorporate panel discussions and Q&A sessions with filmmakers and experts to directly address political themes presented in the films shown. This can serve as a way to engage with and handle political discourse responsibly and constructively.
4.Policies on Censorship and Freedom of Expression:
Festivals often have to navigate complex issues of censorship, freedom of speech, and political pressure. Some festivals openly resist censorship by selecting films that challenge political norms or criticise governments, which can lead to controversy or even legal challenges.
Raindance is in the awkward position in that if a film breaks censorship rules, the actual cinema could lose its exhibition license. All Raindance movies are rated 18+ in order to protect the exhibitor, This means no one under 18 can be admitted, offering the cinema extra protection.
5.Partnerships and Sponsorships:
The source of funding and sponsorships can also impact how festivals deal with political issues and protests. Some festivals strive for independence to avoid political influence, while others may need to balance relationships with government or corporate sponsors.
6.Virtual and Hybrid Formats:
The rise of virtual and hybrid festival formats pioneered by Raindance and accelerated by the COVID-19 pandemic, has also influenced how festivals engage with politics and protests. Online platforms can potentially reach a global audience and offer a safer space for discussing sensitive or controversial issues.
Each festival’s approach can vary significantly, Their choices are dependant on its geographic location, the political climate, and the specific issues at hand. This adaptive and sometimes proactive approach helps a festival remain relevant and sensitive to the evolving cultural and political landscape.
History of festivals and politics
Yes, several film festivals, including Raindance, have faced threats and significant pressure due to the political content of the films they showcase or the stances they take. These threats can come from government bodies or political groups. Pressure from other organisations can impact the operation and programming of the festivals. To say nothing of the financial impact.
Here are a few notable examples:
Sarajevo Film Festival:
During the Yugoslav Wars, the Sarajevo Film Festival was initiated in a city under siege. The festival itself was a form of cultural resistance against the oppression and violence of the war.
Istanbul Film Festival:
In 2015, the festival faced controversy and protests when it pulled a documentary about Kurdish militants, allegedly due to pressure from the Turkish government. This led to accusations of censorship and protests by filmmakers and attendees.
Moscow International Film Festival:
This festival has occasionally faced criticism and threats for showing films that depict controversial political views or criticise the Russian government. The political climate in Russia can make it particularly challenging for festivals to operate freely without facing government scrutiny or interference.
San Francisco International Film Festival:
In 2009, the festival received backlash and was threatened for planning to honor Dutch filmmaker Theo Van Gogh, who was murdered following his work on films critical of Islamic societies.
Busan International Film Festival:
In 2014, the festival screened a documentary about the Sewol ferry disaster, which was critical of the South Korean government’s response to the tragedy. This led to significant political pressure, funding cuts, and threats against the festival’s organisers, illustrating the risks festivals can face when they engage with politically sensitive subjects.
Raindance Film Festival
The early teens saw huge conflict in the Balkans. Raindance daringly showed A Serbian Movie by Srđan Spasojević. This movie brought the ire of the local London censors. The festival endured hate mail, and I was personally threatened. which showed the rape of a newborn child as an allegorical comment on the wars in Serbia
This wasn’t the first time that I was threatened either. It shows that a festival needs to make programming decisions that comment on world events and social movements. Without festivals determined to programme work unfettered by censorship and threats means that some of the most meaningful stories and causes can reach the public.
These examples show that while film festivals are powerful platforms for free expression and cultural exchange, they can also become focal points for political controversy and conflict, especially when they challenge powerful interests or widespread societal norms.
Explore the Raindance pathway
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Study filmmaking or acting over 2 years at one of our 3 international campus’! This is a full-time University level course. Through Raindance, students will have the opportunity to attend renowned courses delivered by industry professionals and attend our networking events to develop further opportunities.
The Raindance BA in Filmmaking or Performance: The Raindance Film School Top-Up BA (Hons) in Film and Performing Arts Practices is a one year practical course. It’s been designed to provide aspiring, and existing, Film and Performing Arts practitioners the opportunity to develop their existing academic or professional experience up to BA level in a chosen pathway or pathways (producing, directing, screenwriting or acting).
The Raindance MA: Study your MA in Filmmaking or Screenwriting at Raindance Film School (accredited by De Montfort University). They are 21st-century degrees for filmmakers, entrepreneurs, creatives and future academics wishing to upskill or transition into the film and digital media industry. These programmes provides a unique opportunity for you to benefit from the experience of Industry Experts across the world, whilst developing your personal professional practice, as well as your research and independent study skills.
Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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