The International Film Festival Rotterdam (IFFR) is globally recognized for its commitment to bold, unconventional cinema, but its directors, Vanja Kaludjercic and Clare Stewart, insist that this is only part of the story. According to statements reported by Variety, both executives emphasize that the Dutch festival aims to broaden its reach, connect with new audiences, and strengthen its social and cultural role.

“The perception of IFFR as an event focused on innovative and unconventional cinema is not wrong. But it’s only part of a much bigger reality,” Kaludjercic told Variety ahead of the festival’s 55th edition. She advocates for a program that combines avant-garde work with titles capable of drawing wider audiences — “two sides of the same coin.”

This balance can be seen, for example, in the coexistence of Tiger Competition films — traditionally associated with new cinematic languages — and works such as The Secret Agent by Kleber Mendonça Filho, which has generated awards-season buzz and is emerging as a potential Oscar contender. “We need to support a wide variety of films. We need to show up for all of them,” Kaludjercic said.

For the director, leading the Netherlands’ largest film event also entails a “responsibility.” The festival is actively working to attract diverse audiences, including younger viewers. “We want to connect with different audiences and be present for those who, even because of their age, are just beginning their journey with us. But even if you’re a six-month-old baby, we have the Baby Film Club,” she explained, referring to a short film program designed for children aged 0 to 3.

Education plays a central role in this strategy. Through IFFR Education, the festival engages thousands of students each year. “If you’re at the main square around 9 in the morning, you’ll see buses full of children going into different venues,” Kaludjercic noted. “We want to be accessible to as many people as possible.”

Stewart reinforced this idea by highlighting the work of the education team beyond traditional cinema spaces. As she told Variety, they have taken part in pre-festival activities in hospitals and collaborate with very diverse communities, from skaters to refugees. “It’s about creating spaces,” she said, stressing that the festival seeks to reflect Rotterdam as “the most diverse city in the Netherlands” and to integrate into its social fabric.

This commitment to inclusion also extends to the professional sphere. The launch of the Displacement Film Fund and the introduction of the Safe Harbor program at CineMart — focused on projects by emerging filmmakers who have experienced displacement or forced migration — are part of that vision. “It will create more opportunities, but we also hope it will raise awareness. We want everyone to feel fully integrated into the ecosystem we offer,” Kaludjercic said. Stewart added that IFFR plays an important role in supporting cinema in regions where political conditions or lack of infrastructure make access to funding difficult.

The festival also continues to foster dialogue among creators through its Big Talks, which this year will bring together figures such as Kleber Mendonça Filho and Carla Simón, Marwan Hamed — who will also be the subject of a retrospective — Yousry Nasrallah, Valeria Golino, and Palestinian actress Hiam Abbass. The initiative is inspired by the book 25 Encounters, published during the pandemic, which compiled conversations with 50 film figures. “Engaging in dialogue with someone you may not even know, but find interesting, sparks curiosity and opens up new perspectives,” Kaludjercic reflected.

Stewart also underscored the role of programmers as discoverers of “gems,” a task she sees as increasingly crucial in a challenging landscape for independent cinema. Still, she pointed to encouraging examples, such as last year’s winner, the documentary Fiume o Morte! by Igor Bezinović, which broke historical attendance records for this kind of film in Croatia.

At the same time, IFFR continues to explore the intersection between cinema and contemporary art. The Exploding Cinema section has evolved toward commissions from renowned artists such as Steve McQueen, while this year marks 30 years of Art Directions. Immersive projects like Krakatoa, accompanied by an installation, and the Reality Check conference dedicated to immersive works, reinforce this line of work. “There are no borders; things simply merge. The freedom of formats and forms we offer artists is something I truly value,” Kaludjercic concluded in Variety.

With this combination of creative risk, social commitment, and openness to new audiences, the festival’s directors make it clear that Rotterdam aims to remain a reference point for avant-garde cinema while also being a welcoming and accessible space for all.