T-Port Blog

Kasia Karwan, guest curator for the 2024/5 T-Port Lighthouse Selections, is the founder of Moonshot and a curator for the Cannes Film Festival’s short film committee. In this interview she shares her journey from cultural anthropology to the world of film. With experience spanning international sales, production, and curation, Kasia has a keen eye for spotting emerging talent and bringing compelling stories to life.

Read on for some excellent advice for filmmakers and curators.

Hi Kasia, could you please introduce yourself?  

I’m Kasia Karwan, originally from Poland, where I earned my master’s in Cultural Anthropology, but my film career took off in France. I started out in international film sales before launching my own company, Moonshot, which focuses on consulting in film production and distribution. I’ve had the chance to collaborate with some really exciting companies like Wild Atlantic in Ireland and Velvet Spoon in Poland, which focuses on genre films. Since 2019, I’ve been part of the short film committee at the Cannes Film Festival, constantly on the hunt for fresh talent and bold stories.

 

If you could watch one film forever on a loop – what would it be?

One film to watch on a loop forever would be MAN ON EARTH by Yianni Warnock, featuring the brilliant Shane Gardiner. Warnock is a uniquely talented Australian filmmaker who masters the art of humour and metaphor with ease. 

This short film, which is part of “The Despair Trilogy”, in just six minutes says so much with so little and using almost no dialogue. That’s the magic of it—it’s a film that speaks volumes in silence, relying on the perfect marriage of time, rhythm, and music.

Short films often wrestle with pacing; filmmakers either try to cram in too much or struggle with not having enough to say. But Yianni nails it. He strikes the perfect balance, delivering something rich and complete, and endlessly rewatchable—each time you notice something new. It’s a masterclass in minimalist storytelling, proof that a film doesn’t need a lot of time or words to leave a lasting impression.

What do you think a curator’s superpower is (or should be)?

It’s having the superhuman ability to power through dozens of films—whether quirky animations or moody dramas—without ever losing that razor-sharp judgement. But the real magic is in spotting the hidden gems and still being able to appreciate the subtle details that make each story unique.

 

What will you be looking for while selecting Lighthouse films?  

I’m on the hunt for those films that catch you off guard and light up the screen in ways you didn’t expect. I want films that take you on an adventure into a different world. Stories that sweep you off your feet and pull you in completely, taking you somewhere new. The kind of films that leave you a little breathless, with a fresh perspective on things by the time the credits roll.

 

There are good films and there are great films. What makes a film great? 

For me, it’s when a film pulls you into its world and doesn’t let go until the end—like a cinematic kidnapper, but in the best way. You believe in the characters so much that you start mentally giving them advice. A great film makes you grateful to be along for the ride, with the perfect blend of pace, rhythm, and narrative that makes you forget you’re just watching a screen. By the end, you know it came straight from the filmmaker’s heart, and somehow they made you care just as much.

 

Can you name a trope, convention, or other aspect that would immediately turn you off a film?

One thing that can instantly turn me off from a film is the misuse or overwhelming use of music. When filmmakers rely on heavy-handed musical choices—like dramatic piano scores that aim to force an emotional reaction—it often feels unrefined and can distract from the scene. A film’s approach to sound and music speaks volumes about the skill and maturity of its creators. When the sound design works in harmony with the visuals and narrative, it elevates the entire experience. But when music dominates or tries too hard to manipulate the audience’s feelings, it can signal a lack of confidence in the storytelling.

 

Could you tell us about how you became a curator/programmer? What does your career path look like?

I got my start working for a company that specialised in international short film sales, which meant a lot of film festivals and discovering loads of amazing filmmakers. Eventually, I moved into feature films and got more involved in production and distribution, but short films always had my heart. So when the chance to join the short films committee at Cannes came up, I jumped at it. What I love most is finding new talent and helping get their work in front of audiences—it’s the part of the job that keeps me passionate and excited.

 

Do you have any advice for wannabe curators/programmers that you wish you’d known early in your career? 

Always question yourself. Don’t just settle for liking or disliking something—dig into why. Articulate those feelings, engage in discussions, and stay open to different perspectives. 

 

Curation is about more than personal taste—it’s about finding new voices and creating opportunities for others. Stay curious, challenge your preferences, and be willing to explore beyond your comfort zone. The goal is to build a dynamic space where new talent can shine.

 

What’s your best piece of advice for filmmakers as they are embarking on their early career?

Stick with what truly moves you, what stirs you up and keeps you thinking. Don’t worry about chasing trends or trying to fit into what’s popular—focus on the stories and ideas that genuinely resonate with you. As you keep working and honing your craft, your style will naturally grow into something that’s uniquely yours—a personal blend of storytelling that’s real and distinctive. That’s what will make your films stand out and connect with people.

 

Let us know if you have anything else to add!

 One more thing: short films are an ideal space for emerging filmmakers to take their first steps, develop their unique style, and experiment freely, without all the pressure of a big production. It’s like a cosy, curated lab where you can try new ideas, learn from your mistakes, and connect with others who are just as passionate about pushing creative boundaries. There are so many opportunities in this scene today, it’s where fresh talent can truly stand out and glow.

We are Seeking the Future of Film – Submit Your Short Today

All films uploaded to T-Port  before our deadline of November 30, 2024 will be automatically considered for our T-Port Lighthouse Selections – a curated selection of films picked by leading industry programmers. The T-Port Lighthouse Selections is considered our premium collection and given increased exposure to our network of film professionals.

T-Port films are only accessible to professionals, so your premiere status will not be affected.

Stake your place in the next generation of filmmakers waiting to be discovered for only 15 Euros / year. Find out more on our website and get started with T-Port today. 

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