As the Venice Film Festival takes place amidst heightened global tensions, including the crisis in Gaza and the ongoing conflict in Ukraine, discussions are emerging about the potential overshadowing of cinema by political issues at the festival this year.
During a press conference for his film Orphan, which is competing for the Golden Lion, Hungarian filmmaker László Nemes responded thoughtfully when asked about the filmmaker’s role in today’s charged political climate.
“As filmmakers, our capabilities are limited, but there are definitely things within our power. My aim is to create connections, to bridge people together. Even if I don’t personally know someone in the audience, I have the opportunity to communicate with them through my films,” Nemes explained.
“Each of us brings our own subjective views to our work, but it’s important to me that my films offer enough freedom and space for viewers. I don’t want to dictate or manipulate. I strive for honesty in my work, which I believe creates a positive dynamic beneficial to all, to society as a whole,” he added.
Nemes posed a significant question: “In film, in art, and in life itself, are you a humanist or an anti-humanist?”
“There are two opposing forces at the core of our civilization, creating a complex duality that isn’t easily resolved. The events of the 20th century have shown us the impact of these forces, and they hint at what might still come. Thus, the critical question for me is, where does humanism fit into our actions? That’s where I see my responsibility as a filmmaker,” he elaborated.
Orphan is Nemes’ third major work following his 2015 Cannes Jury Prize-winning Son of Saul, and his 2018 drama Sunset, which premiered in competition in Venice and received the FIPRESCI prize.
The narrative of Orphan is influenced by the personal histories of Nemes’ father, filmmaker András Jeles, and his grandmother, while also delving into themes of generational trauma.
“This narrative has been with me since my birth. Living with the echoing traumas of the 20th century and their implications beyond has always been a deeply personal experience,” Nemes shared with the audience at the press conference.
He further revealed that as he developed the script with his longtime collaborator Clara Royer, the story evolved to encompass much more than just his family’s experiences.
“As we crafted the film, I realized it represented more than just a singular narrative. It became a story that extends beyond an individual, encompassing the collective traumas of a nation, a continent, traumas that many of us continue to bear,” he concluded.
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