In an era marked by escalating global conflicts and political shifts, the Rotterdam Film Festival (IFFR) is reinforcing its foundational mission to champion marginalized cinematic voices. Through a strategic deepening of collaboration between IFFR Pro and the Hubert Bals Fund (HBF), the festival is introducing innovative programs to support displaced filmmakers, while also recalibrating its focus on the U.S. independent film scene and forging new alliances in Southeast Asia. This multifaceted approach addresses the urgent needs of filmmakers at risk and adapts to the evolving landscape of international film financing, ensuring that diverse stories continue to find their platforms.
Rotterdam Festival's Enhanced Commitment to Global Cinema and Displaced Artists
As of February 1, 2026, the Rotterdam Film Festival is actively strengthening its commitment to filmmakers facing displacement due to ongoing global conflicts. Marten Rabarts, Head of IFFR Pro, and Tamara Tatishvili, Head of the Hubert Bals Fund (HBF), are spearheading these efforts, underscoring the festival's dedication to its core mission: providing a haven for artistic expression from precarious regions. This intensified partnership has led to significant initiatives integrated across both the market and the fund. For instance, the HBF has played a pivotal role in backing the Cate Blanchett-initiated Displacement Film Fund, which recently showcased its first collection of short films, notably featuring new work from "The Seed of the Sacred Fig" director Mohammad Rasoulof. Following its successful launch last year, the fund is now preparing for a second round of grants.
This year also marks the introduction of Safe Harbor, a new market program by IFFR specifically designed to elevate developing projects from emerging displaced filmmakers. This initiative seeks to dismantle barriers such as limited access to professional networks, funding avenues, and development opportunities. Safe Harbor is implemented in collaboration with the International Emerging Film Talent Fund (IEFTF). Rabarts recounted to Variety the profound impact of witnessing a "world on fire" during last year's festival, which solidified the team's resolve to prioritize support for filmmakers. This led to the creation of Safe Harbor, which deliberately waives the typical minimum funding request of 20%-25%, recognizing that such requirements are often insurmountable for individuals dealing with displacement. This flexible approach allows displaced filmmakers to showcase their talent and narratives without undue financial burden.
Tatishvili emphasized that these are not merely aspirational statements but rather "informed moves," driven by a need for experimentation and innovation in funding models. She highlighted the critical flexibility of the HBF, which allows it to navigate complex legal frameworks and security concerns associated with working with filmmakers from conflict zones, a malleability not always possible for larger institutions. Rabarts further noted the crucial support from government agencies, including the Ministry of Foreign Affairs, which facilitated the participation of a Sudanese filmmaker this year. He also highlighted Rotterdam's role as a founding member of the International Coalition of Filmmakers at Risk, an organization dedicated to supporting filmmakers enduring conflict.
This year’s IFFR Pro agenda is notably robust, featuring 41 diverse projects across various categories: 21 cinema projects, eight in the Darkroom, eight in Lightroom, and four in Safe Harbor. Among the selected projects are new works from acclaimed directors like Lois Patiño ("Adarna") and Morad Mostafa ("Animals"). Rabarts also expressed a strong desire to "reboot the market's connection to the U.S. indie world," citing "The Dispute" by Andrea Ellsworth and Kasey Elise Walker as a prime example. This focus reflects a recognition that even established Black lesbian filmmakers like Cheryl Dunye struggle to secure funding for their projects in the U.S., necessitating European support. Additionally, Rabarts observed a resurgence in co-production with Southeast Asian countries, including the Philippines, Indonesia, Malaysia, and Singapore, where collaborative efforts are organically flourishing. Addressing the increasing number of partners required for co-productions, Rabarts humorously stated, "We are making bigger tables!" to accommodate these new realities, aiming to normalize this global funding phenomenon. Tatishvili added that the rise of right-wing governments in Europe has led to reduced funding, making new partnerships, such as the HBF+Brazil: Co-Development Support for Brazilian filmmakers, even more vital. She stressed the importance of alumni like Kleber Mendonça Filho, whose Oscar-nominated film "The Secret Agent" returned to the festival, in advocating for the fund's impact and ensuring its continued existence amidst fundraising challenges.
The proactive stance of the Rotterdam Film Festival in supporting displaced filmmakers and adapting to global cinematic shifts serves as a powerful testament to the role of art in times of crisis. It highlights the indispensable need for flexible, empathetic, and forward-thinking institutional frameworks to nurture diverse voices. This commitment not only provides practical assistance but also fosters a global community that values storytelling as a fundamental human right and a tool for cultural understanding. Festivals like Rotterdam remind us that cinema is more than entertainment; it is a vital platform for dialogue, resilience, and hope.