Sven Pötting is the Curator and Programme Coordinator with our partners at Filmfest Dresden. In this interview he shares his genuine love of cinema, the festival’s celebration of not only the short film format, but animation, and the current threats to cultural funding.
Hi Sven, what makes a great film and how do you separate the two?
It is often the first impression that makes someone perceive that a film is good. But a great film is so complex and multi-layered that you can watch it over and over again, discovering new details every time.
If you could only watch one film on a loop for the rest of time, what would it be?
I couldn’t settle on just one film. I need new stimuli constantly. However, Werner Herzog has consistently impressed me since I was young. His short film La Soufrière (1977) is especially powerful, condensing many themes from his longer works. It’s a film I haven’t yet been able to show at Filmfest Dresden, but I hope the opportunity arises in the future.
Why are short films important?
Short films are concise and often produced faster than feature films. Curated programs of short films can reflect cultural, social, and political trends more directly and in a timely manner. They also serve as an experimental space for new aesthetic and thematic trends, often embracing techniques that are rare in feature films, such as stop-motion animation. Hybrid forms and experimental approaches in short films can make them even more interesting than features.
Tell us about your organisation
At Filmfest Dresden, we show short films up to 30 minutes in length, not older than two years. We are open to all genres, though our competition sections focus on animation, fiction, and hybrid formats. Films outside these parameters are featured in our special sections. We have a strong focus on animated films—50% of our competition films are animated. We also highlight regional films and those tackling gender equality and political themes through special awards.
What about your role and organisation do you find most inspiring?
I am inspired by discovering new talent and fostering long-term collaborations with filmmakers. Preparing for the festival is exciting, especially when researching topics for our special programs. I love interacting with guest curators, filmmakers, and the audience during the festival.
Does your organisation focus on a particular type of filmmaker or film?
We accept films across a wide spectrum, but we value short films under 30 minutes, with animation playing a large role. We also encourage local filmmakers to submit and offer special awards for films focusing on gender equality and political themes.
How does your organisation support filmmakers?
We aim to establish long-term connections with filmmakers. Many directors have returned to our festival in different capacities, such as guest curators or jury members. A success story involves our Cuba focus, where we invited several Cuban directors early in their careers. They are now represented at major international festivals, possibly helped by the exposure they gained through Filmfest Dresden.
What advice do you have for upcoming filmmakers who want to get involved? Where do they start?
Watch as many films as possible, attend festivals, and engage in conversations with other filmmakers—especially at short film festivals. Participate in networking events, workshops, and panels on film distribution. When making your own films, consider how to avoid clichés and be mindful of length—many short films are simply too long.
What are your expectations from filmmakers?
We expect filmmakers to remain creative, develop unique styles, and not be afraid to take unconventional paths. And don’t forget—let’s make short films short again.
Any events or films coming up that you’d like to promote?
Our Call for Entry is open until December 1st, and we look forward to exciting submissions. We’re also participating in Short Film Day on December 21st, a nationwide celebration. Stay informed via our social media channels for events like open-air screenings and short film tours in rural areas.
Where do you see the world of Short Films in 10 years? What needs to change?
Short films should gain more visibility outside of festivals—on streaming platforms, television, and in cinemas. They also need stronger political support. The AG Filmfestival is a valuable initiative, working to create better conditions for film festivals in Germany, but funding for cultural events must be increased.
What’s lacking in short film distribution and promotion?
While short film distribution has become more professional, many directors with unconventional styles are often overlooked. Not enough is written about short films, even in specialized magazines. Additionally, short films are rarely visible outside of festivals, and screening fees make short film programs more expensive than feature-length films. We need to address these issues to better support upcoming filmmakers.
What do young filmmakers lack after film school?
Many directors don’t learn enough about how festivals, film programs, and distribution work. This knowledge could be provided more thoroughly in film schools, helping filmmakers navigate post-festival visibility and distribution. We also need more editors collaborating with short film productions.
What’s your best piece of advice for filmmakers?
Find your own path, keep making films, and don’t take rejections personally. There are always other reasons a film isn’t accepted at a festival. Stay resilient.
Is there anything else you would like to mention?
The cultural sector is facing severe cuts, and smaller institutions are at risk. Stay informed and get involved—support the artists.
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