{"id":45180,"date":"2025-06-24T15:00:18","date_gmt":"2025-06-24T13:00:18","guid":{"rendered":"https:\/\/iffartfilm.com\/?p=45180"},"modified":"2025-06-27T13:55:14","modified_gmt":"2025-06-27T11:55:14","slug":"maria-ferencuhova-our-only-criterion-is-to-decide-freely-according-to-our-taste-and-professional-experience-and-that-can-only-leave-a-good-film-as-the-winner","status":"publish","type":"post","link":"https:\/\/iffartfilm.com\/en\/blog\/news\/2025\/06\/maria-ferencuhova-our-only-criterion-is-to-decide-freely-according-to-our-taste-and-professional-experience-and-that-can-only-leave-a-good-film-as-the-winner\/","title":{"rendered":"M\u00e1ria Feren\u010duhov\u00e1: \u201cOur only criterion is to decide freely according to our taste and professional experience \u2014 and that can only leave a good film as the winner.\u201d"},"content":{"rendered":"<p>At the 31st IFF Art Film this year, the Blue Angel \/ FIPRESCI Prize is being presented for the very first time, based on the decisions of a FIPRESCI jury. The members of this independent jury belong to the International Federation of Film Critics (FIPRESCI \u2013 F\u00e9d\u00e9ration Internationale de la Presse Cin\u00e9matographique) and focus on honouring films that excel in artistic, technical, or thematic quality. This year\u2019s jury consists of M\u00e1ria Feren\u010duhov\u00e1, Jonathan Murray from the United Kingdom, and Berlin-based Malik Berkati.<\/p>\n<p>The jury will evaluate three titles from the International Competition of Feature Films \u2014 <strong>Toxic<\/strong>, <strong>Perla<\/strong>, and <strong>DJ Ahmet<\/strong>\u00a0\u2014 as well as three films from the International Competition of Central and Eastern European Films \u2014 <strong>It\u2019s Not My Film<\/strong>, <strong>Chronicle<\/strong>, and <strong>Honeymoon<\/strong>. In the Slovak Season section, the jury will assess two feature-length pictures: <strong>The Sluggard Clan<\/strong>\u00a0and <strong>Team Havnaa<\/strong>.<\/p>\n<p><iframe loading=\"lazy\" title=\"IFF AF 25 | M\u00e1ria Feren\u010duhov\u00e1\" width=\"1220\" height=\"686\" src=\"https:\/\/www.youtube.com\/embed\/PV5PyV-zPM0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>M\u00e1ria, what first drew you to film criticism, and what fascinates you most about judging films?<\/strong><\/p>\n<p><em>It all started with screenwriting when I was a student and realised that writing a screenplay isn\u2019t the same as writing literature. I discovered that what I could do with films wasn\u2019t to write something that might one day become a film, but rather to take a finished film and shape it into text I could be happy with. Criticism was basically a solution born of necessity \u2014 once I understood that I perhaps still needed to mature as a screenwriter or do something else altogether.<\/em><\/p>\n<p><strong>How do you see the Slovak film industry today, and what should it do to gain greater international recognition?<\/strong><\/p>\n<p><em>Slovak cinema already enjoys international recognition \u2014 our animated, documentary, and fiction films catch the eye of festivals, they\u2019re invited, placed in competitions, and they win awards. What distributors and the industry itself could do differently is to deliberately entice audiences into cinemas: learn to work with the target group a film is intended for and draw that group into the viewing experience. Although things are changing, I still sense a distorted view in Slovakia that our national cinema isn\u2019t worth much. Perhaps it\u2019s a side-effect of frequent TV-series watching or the fact that only a small slice of the population is in the habit of going to the cinema.<\/em><\/p>\n<p><strong>When judging films, what do you focus on most \u2014 originality, acting, or technical aspects?<\/strong><\/p>\n<p><em>A film is a complex of all those elements, and I can\u2019t fully separate them. The camera work or the film\u2019s formal treatment might captivate me, but if that\u2019s the only strong side, it means something\u2019s missing. When I consider a film truly outstanding, all these aspects are usually in balance. If one is deliberately suppressed \u2014 if the film feels dirty, raw \u2014 I ask myself what intent lies behind that. When that intention is clear, or dawns on me while watching, I take it as something that helps make the film even more engaging and impactful for the viewer.<\/em><\/p>\n<p><strong>When was the last time a film completely surprised you and changed your view of cinema?<\/strong><\/p>\n<p><em>I think those surprises come mainly when you\u2019re young \u2014 my formative viewing years were roughly between seventeen and twenty-five. I remember films like Pasolini\u2019s Teorema, Kubrick\u2019s A Clockwork Orange, works by Lars von Trier, by Agn\u00e8s Varda, or the whole French New Wave; they shaped me greatly and influenced my later critical tastes. It still happens today, though: sometimes I react to a film physically, which didn\u2019t happen to me in my youth. Perhaps it\u2019s because contemporary films use different means; they\u2019re more visceral, aimed at both body and mind. Films can still surprise me, just less often. But I haven\u2019t reached the stage of feeling I\u2019ve seen everything.<\/em><\/p>\n<p><strong>What does being part of the FIPRESCI jury at IFF Art Film mean to you, and how does this experience compare with other festivals?<\/strong><\/p>\n<p><em>Being on a FIPRESCI jury is a big deal. I don\u2019t mean globally renowned festivals, but the fact that we have a FIPRESCI competition in Slovakia, specifically at Art Film, matters to me. Art Film is one of my favourite festivals. When I was a first-year university student, I did exactly the job you\u2019re doing now. This festival has accompanied my professional life ever since \u2014 as journalist, industry-section participant, juror, or audience member. My son practically grew up at Art Film, and so did I, professionally.<\/em><\/p>\n<p><strong>As a FIPRESCI juror at IFF Art Film \u2014 what do you see as the most important aspect when judging competition films?<\/strong><\/p>\n<p><em>We\u2019re a jury that tries to stay open-minded and unprejudiced, so we set no criteria in advance. Some films we might already have seen at other festivals, but many are new to me. We discuss how my two colleagues perceive them \u2014 for instance, how they see the new Slovak film by Ras\u0165o Boro\u0161, which is unique by our standards yet linked to many contemporary and older works that serve us as historical and aesthetic references. We compare our viewing, cultural, and human experiences. It\u2019s a constant work in progress. If we have differing opinions on a film, we\u2019re ready to argue \u2014 with love and respect. But so far, after spending several days together, I feel we\u2019re more likely to agree than clash.<\/em><\/p>\n<p><strong>What are your biggest challenges when deciding on a winner? Is it comparing different cultural perspectives, technical factors, or artistic ones?<\/strong><\/p>\n<p><em>It\u2019s always individual, case by case. Everyone comes with a different professional background, set of preferences, genre and aesthetic taste. This is my first purely critical jury, so from that angle we\u2019re rather similarly configured. We don\u2019t need to argue over whether a film is well post-produced. We can appreciate good sound design even if we don\u2019t see into every phase of production or post-production. We judge only the result. Perhaps we\u2019re less influenced by funding criteria or cultural-policy demands. For me it\u2019s about openness and freedom \u2014 which doesn\u2019t directly answer the question of criteria, but if our criterion is the freedom to decide according to our tastes, viewing experiences, and professional expertise, then only a good film can emerge as the winner.<\/em><\/p>\n<p><strong>What changes in cinema over the past ten years have surprised you most?<\/strong><\/p>\n<p><em>I don\u2019t think cinema has fundamentally changed in the past decade. Once digitisation took hold and we no longer had to confront video material being blown up to 35 mm \u2013 which used to be a production necessity rather than an avant-garde gesture, especially in Slovakia \u2013 things stabilised. Today a grainy or video look is more a narrative or avant-garde decision; it doesn\u2019t feel unexpected. Cinema is still a very young art with many historical phases and cycles, but nothing in recent years has shocked me. Yet, as I mentioned about the bodily viewing experience, I\u2019ve noticed a pushing of boundaries aimed much more at the body \u2014 or maybe I\u2019m just more sensitive to such films, and these devices were used before. If I recall experimental works where a director strapped a camera to his leg, or tight shots of a rippling sea that induce nausea \u2014 those techniques existed long ago. I\u2019m more inclined to track how my own perception of cinema changes than to evaluate shifts in Slovak or world filmmaking.<\/em><\/p>\n<hr \/>\n<p><b>The 31st IFF ART FILM is made possible thanks to the support of:<\/b><\/p>\n<p><b>Organizer:<\/b><span style=\"font-weight: 400;\"> ART FILM FEST s.r.o.<\/span><\/p>\n<p><b>Co-organizers:<\/b><span style=\"font-weight: 400;\"> Mesto Ko\u0161ice \u00b7 K13 \u2013 Ko\u0161ick\u00e9 kult\u00farne centr\u00e1 \u00b7 Visit Ko\u0161ice \u00b7 ART FILM FEST, n.o. \u00b7 LGM, s.r.o. \u00b7 FORLIVE<\/span><\/p>\n<p><b>Financial support:<\/b><span style=\"font-weight: 400;\"> Audiovizu\u00e1lny fond \u00b7 Nad\u00e1cia SPP<\/span><\/p>\n<p><b>Co-financed by:<\/b><span style=\"font-weight: 400;\"> Ko\u0161ick\u00fd samospr\u00e1vny kraj through the Terra Incognita programme<\/span><\/p>\n<p><b>Main Partners<\/b><span style=\"font-weight: 400;\">: n\u00e1rodn\u00e1 lot\u00e9riov\u00e1 spolo\u010dnos\u0165 TIPOS \u00b7 Slovensk\u00e1 elektriza\u010dn\u00e1 prenosov\u00e1 s\u00fastava, a.s. \u00b7 CODES Brand House<\/span><\/p>\n<p><b>Main Media Partners: <\/b><span style=\"font-weight: 400;\">TV JOJ \u00b7 Pravda \u00b7 Eurotelev\u00edzia<\/span><\/p>\n<p><b>Automotive Partner: <\/b><span style=\"font-weight: 400;\">Moris Slovakia<\/span><\/p>\n<p><b>Advertising Partners: <\/b><span style=\"font-weight: 400;\">Best Press \u00b7 U. S. Steel Ko\u0161ice \u00b7 ANTIK telecom \u00b7 Kino \u00dasmev \u00b7 LOKO TRANS Media \u00b7 CORE Labs \u00b7 Technick\u00e1 univerzita v Ko\u0161iciach<\/span><\/p>\n<p><b>Technology Partners: <\/b><span style=\"font-weight: 400;\">NOV \u00b7 ZEBRA \u00b7 Deutsche Telekom Systems Solutions Slovakia \u00b7 T4H \u00b7 LEDGO \u00b7 DELTA OnLine \u00b7 ARICOMA \u00b7 TelekomCLOUD<\/span><\/p>\n<p><b>Official Suppliers: <\/b><span style=\"font-weight: 400;\">DKC Veritas \u00b7 Kaviare\u0148 Sl\u00e1via \u00b7 PLOOM \u00b7 Kru\u0161ovice BOH\u00c9M \u00b7 pramenit\u00e1 voda Lucka \u00b7 DOMOS SLOVAKIA \u00b7 Re\u0161taur\u00e1cia Contessa \u00b7 Aupark Shopping Center Ko\u0161ice \u00b7 Pierre Baguette \u00b7 Julius Meinl \u00b7 Red Fox Golf Club<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Official wines:<\/b><span style=\"font-weight: 400;\"> Kubbo Select \u00b7 Ostro\u017eovi\u010d<\/span><\/p>\n<p><b>Media Partners: <\/b><span style=\"font-weight: 400;\">JOJ play \u00b7 JOJ 24 \u00b7 Film Europe \u00b7 R\u00e1dio KO\u0160ICE \u00b7 Aktuality.sk \u00b7 Forbes \u00b7 Startitup.sk \u00b7 Korz\u00e1r \u00b7 Slovenka \u00b7 SITA \u00b7 TASR \u00b7 Mediaboard \u00b7 See &amp; Go \u00b7 \u010cesko-Slovensk\u00e1 filmov\u00e1 datab\u00e1ze \u2013 \u010cSFD \u00b7 BigMedia \u00b7 Ko\u0161ice City Guide \u00b7 Ko\u0161ice v skratke \u00b7 Film.sk \u00b7 diva.sk \u00b7 koktejl.sk \u00b7 zenskyweb.sk \u00b7 MOJAkult\u00fara \u00b7 Kino Sterio \u00b7 Dopravn\u00fd podnik mesta Ko\u0161ice \u00b7 AHOJ TV<\/span><\/p>\n<p><b>Partners: <\/b><span style=\"font-weight: 400;\">JOJ Cinema \u00b7 Jojko \u00b7 Ve\u013evyslanectvo Indie v Bratislave \u00b7 Carmeuse Slovakia \u00b7 DDDental \u00b7 TINY Houses \u00b7 ECO Technologies \u00b7 Letisko Ko\u0161ice \u00b7 Local Nomad Tours \u00b7 Slovensk\u00fd filmov\u00fd \u00fastav \u00b7 Taper \u00b7 YumEarth \u00b7 Puella v\u00f4ne \u00b7 Kvety Garomi \u00b7 \u010dLOVE\u010dina hra \u00b7 Rak\u00faske kult\u00farne f\u00f3rum \u00b7 TESCO Store SK \u00b7 CPK Transport \u00b7 Taba\u010dka Kulturfabrik \u00b7 King Media \u00b7 V\u00fdchodoslovensk\u00e9 m\u00fazeum v Ko\u0161iciach \u00b7 Letn\u00ed filmov\u00e1 \u0161kola \u00b7 KPK Reklama \u00b7 MIHYRING \u00b7 Zoberma taxi \u00b7 Hair Factory Ko\u0161ice \u00b7 Ve\u013evyslanectv\u00ed \u010cesk\u00e9 republiky v Bratislav\u011b<\/span><\/p>\n<p><b>Gastronomy Partners: <\/b><span style=\"font-weight: 400;\">Pub u Koh\u00fata \u00b7 El Nacional \u00b7 OhniskO Fire Dining &amp; Brew Bar \u00b7 Maiko Sushi \u00b7 Macarons Ko\u0161ice \u00b7 \u0161um vin\u00e1re\u0148 \u00b7 Caf\u00e9 de Paris \u00b7 Casa Trade \u2013 Casablanca cafe \u00b7 TATRATEA \u00b7 Moritz Eis<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>At the 31st IFF Art Film this year, the Blue Angel \/ FIPRESCI Prize is being presented for the very<span class=\"excerpt-hellip\">","protected":false},"author":8,"featured_media":45156,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17,24],"tags":[175],"class_list":["post-45180","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-people","tag-aff-2025-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.2 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>M\u00e1ria Feren\u010duhov\u00e1: \u201cOur only criterion is to decide freely according to our taste and professional experience \u2014 and that can only leave a good film as the winner.\u201d &#8226; 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