Malik Berkati from Switzerland is another member of the FIPRESCI jury at the 31st IFF Art Film. Based in Berlin, he works as a journalist and film critic focusing on culture and social issues. He is editor-in-chief of the international online magazine j:mag and has long served as a juror at international film festivals in Europe and Asia. Malik Berkati is a member of FIPRESCI (the International Federation of Film Critics) as well as other professional organisations (the European Film Academy and the German Film Critics Association).
Welcome, Malik, to IFF Art Film. Is this your first visit to Slovakia?
No, I visited Slovakia back in the days of Czechoslovakia — Bratislava and Brno. But this is my first time in Košice.
How do you perceive the atmosphere of the festival?
It’s fantastic. Very warm, relaxed — I like it a lot.
You’re on the FIPRESCI jury here. Could you explain to viewers what FIPRESCI stands for?
FIPRESCI is the federation of all the world’s film critics. We have members from every continent; it’s an association of national film-critic organisations.
How does one become a member?
First, you have to belong to your national journalists’ association — in Germany, Switzerland, Australia, wherever — and that association is then part of the FIPRESCI federation.
You’re working here with colleagues and have already seen several films. How do you find cooperation within the jury?
It’s great to be on a jury made up of film critics, because we share a similar professional outlook. We don’t always agree on the films, but we share the same expert perspective.
When you watch a film, what do you focus on? What matters to you?
Everything matters — how the film is shot, the script, the acting, and technical aspects like light and sound. For us critics it’s holistic, never just one aspect.
Today we have many streaming platforms and even AI-generated reviews. Does that affect your work?
Definitely. As for streaming, I feel — and I’m not alone — that critics’ job is to remind people why it’s important to go to the cinema and see a film on the big screen: for the music, the emotions, the big-screen experience. And regarding AI: yes, AI can write a review, but it won’t be the same as what I write as a human, because I have emotions. Criticism isn’t a science; it’s also about passion. AI can imitate that, but it will never come from the heart.
I completely agree. Emotions are vital to film; when they’re missing, so is a good film.
Exactly. If a film doesn’t stir emotion in you, it may be technically fine, but art has to contain emotion. One more thing: AI lacks context. We have context — we can place a film in its social, political or cultural framework; AI can only do that partially, and it doesn’t feel reality.
What key criteria will you use when judging films here at IFF Art Film? Have you discussed that with your colleagues?
We have no fixed criteria. We go into each film openly and let it speak to us. You can’t say in advance what will be decisive.
And has anything about the audience or Košice surprised you?
Yes — yesterday I was surprised by how strongly the audience responded to a film. People laughed, reacted, lived with the film. It was beautiful to see.
Do you have a favourite film?
In general? It changes every day — it’s about emotion. Sometimes I recall a childhood favourite. But if I have to name one, perhaps Wings of Desire (1987) by Wim Wenders. Tomorrow it might be a different one.
If you could change the ending of a famous film, would you?
No. Even if the ending is bad, it’s the director’s responsibility. It’s not my story; I wouldn’t interfere.
What is your first strong film memory?
When I was little and went to the cinema with my father for the first time without my mother and sister, and we saw Star Wars. It wasn’t the first film I ever saw, but I remember it to this day.
When did you decide to become a film critic?
I’m not sure I decided — it just happened. In high school and university I was passionate about movies; I even skipped classes to go to 2 p.m. screenings where I was the only viewer. I studied political science, became a journalist and realised film was my passion. And it’s good to have another background, not just film studies, so you can explore the whole world of cinema.
How do you think the world of film and cinemas has changed in the years you’ve worked in the field?
I have to say I don’t watch films on platforms; I’m against it. Occasionally at festivals I see films made for platforms, but they’re often just formatted, or they try to pose as cinema art to prove their quality — to me it’s fake. And I see people returning to theatres; they want films on the big screen, they want to share emotions and impressions with others. I’m not sure streaming platforms are the future — maybe not.
Festivals often screen older films. Here in Košice we have classic Slovak films as well as The Texas Chain Saw Massacre. Do you think it’s important to show these films to younger audiences on the big screen?
Absolutely. Classic films were made for the big screen. If they’re in good condition or well restored, it’s vital to see them in a cinema.
The 31st IFF ART FILM is made possible thanks to the support of:
Organizer: ART FILM FEST s.r.o.
Co-organizers: Mesto Košice · K13 – Košické kultúrne centrá · Visit Košice · ART FILM FEST, n.o. · LGM, s.r.o. · FORLIVE
Financial support: Audiovizuálny fond · Nadácia SPP
Co-financed by: Košický samosprávny kraj through the Terra Incognita programme
Main Partners: národná lotériová spoločnosť TIPOS · Slovenská elektrizačná prenosová sústava, a.s. · CODES Brand House
Main Media Partners: TV JOJ · Pravda · Eurotelevízia
Automotive Partner: Moris Slovakia
Advertising Partners: Best Press · U. S. Steel Košice · ANTIK telecom · Kino Úsmev · LOKO TRANS Media · CORE Labs · Technická univerzita v Košiciach
Technology Partners: NOV · ZEBRA · Deutsche Telekom Systems Solutions Slovakia · T4H · LEDGO · DELTA OnLine · ARICOMA · TelekomCLOUD
Official Suppliers: DKC Veritas · Kaviareň Slávia · PLOOM · Krušovice BOHÉM · pramenitá voda Lucka · DOMOS SLOVAKIA · Reštaurácia Contessa · Aupark Shopping Center Košice · Pierre Baguette · Julius Meinl · Red Fox Golf Club
Official wines: Kubbo Select · Ostrožovič
Media Partners: JOJ play · JOJ 24 · Film Europe · Rádio KOŠICE · Aktuality.sk · Forbes · Startitup.sk · Korzár · Slovenka · SITA · TASR · Mediaboard · See & Go · Česko-Slovenská filmová databáze – ČSFD · BigMedia · Košice City Guide · Košice v skratke · Film.sk · diva.sk · koktejl.sk · zenskyweb.sk · MOJAkultúra · Kino Sterio · Dopravný podnik mesta Košice · AHOJ TV
Partners: JOJ Cinema · Jojko · Veľvyslanectvo Indie v Bratislave · Carmeuse Slovakia · DDDental · TINY Houses · ECO Technologies · Letisko Košice · Local Nomad Tours · Slovenský filmový ústav · Taper · YumEarth · Puella vône · Kvety Garomi · čLOVEčina hra · Rakúske kultúrne fórum · TESCO Store SK · CPK Transport · Tabačka Kulturfabrik · King Media · Východoslovenské múzeum v Košiciach · Letní filmová škola · KPK Reklama · MIHYRING · Zoberma taxi · Hair Factory Košice · Veľvyslanectví České republiky v Bratislavě
Gastronomy Partners: Pub u Kohúta · El Nacional · OhniskO Fire Dining & Brew Bar · Maiko Sushi · Macarons Košice · šum vináreň · Café de Paris · Casa Trade – Casablanca cafe · TATRATEA · Moritz Eis
