The Trieste Science+Fiction Festival, now in its 25th year, is a multidisciplinary event devoted to the exploration of the realms of the 'fantastic' genre, and the use of new technologies and experimental languages in film, television and visual arts. It presents 'fantastic' productions from all over the world, focusing particularly on science fiction and fantasy films, cinematographic and audio-visual works.
Alan Jones, Festival Programmer, tells us why he took the job, what his biggest challenges are and what we can expect from the 25th edition.
This is the 25th year for The Trieste Science+Fiction Festival. What do you think gives it its enduring appeal?
Science Fiction has always been about looking forward - to an exciting future, where anything and everything is possible. That's why the genre endures because it's about hope, wonder and awe and it offers a safe space to explore complex social and ethical questions. The Trieste S+F audience really embraces that in a way I rarely see at other festivals. The pockets of fans discussing what they've just seen and why it's important - or not - in the overall scheme of things. Everything within the festival encourages critical thinking and because Trieste covers a whole range of events revolving around education, family, gaming. literature and movies, a unique perspective is engendered. I have made it my mission to talk to as many members of the audience as possible and I'm always surprised and delighted by their dedication to engage in cosmic conversations.
This is your fourth year at the helm. What inspired you to take the job and what is your biggest challenge?
I have been attending the Trieste Science+Fiction Festival for over 20 years now. I was first invited to be on the Jury and then became a regular attendee/stalker. I loved the city so much it has become my second home. So, when I was offered the role of Artistic Director I jumped at the chance to spend more time in the country I adore and with the people I have come to respect who mount this incredible undertaking every year. And it really is a monumental operation turning our main venue, the Teatro Rossetti, into a state-of-the-art cinema. I learnt very quickly my biggest challenge was providing as many quality science fiction movies as possible. Before my time there had been a drift away from that core mission and I found that was the main bone of contention with the audience. It's called the Trieste Science+Fiction Festival so Sci-Fi should be the main ingredient. It isn't rocket science... oh actually it is!
What makes science fiction such a powerful lens for exploring contemporary social and political themes in cinema today?
Science Fiction has always been the conduit for commenting on the present, you only have to look at old episodes of 'Star Trek' to see that. Using future scenarios as a mirror to reflect on what's happening now provides a means to discussing complex problems like AI for example. Hopefully encouraging the imagination to fly into the far reaches of the universe helps shape the future rather than merely predicting it. I've always said the outside world is never far from view in every SF enterprise, it might take time to discover it, but it's there.
What are some of the most exciting trends or innovations you’re seeing in science fiction filmmaking right now?
While dystopian fantasy is still at the forefront - unsurprisingly considering the political flux the world is in - I do see hard sci-fi focusing on the more realistic near future issues - the 'five days in the future' concept - like AI, biotech, religion and climate change. I like the fact that some creatives are going back to early source material for inspiration like our opening film THE SHRINKING MAN based on the Richard Matheson classic tale of man's insignificance. Sci-Fi horror and other genre-blending is on the rise too and diverse perspectives are becoming more prevalent.
How does the festival engage with new technologies such as VR, AI, or interactive storytelling formats?
In endless discussions in our wonderful public forum, The Dome, in Piazza Borsa. This fantastic venue became a major talking point with every Extra-Triestrian last year and I'm thrilled we have the opportunity to build on its relevance in these key areas. You must remember that Trieste is the city of science anyway and every avenue is constantly explored. That is what the city council expects and what we provide.
What role does European sci-fi cinema play on the global stage compared to American or Asian productions?
It offers a valuable alternative to the dominance of Marvel fluff that's for sure. Each country has their own social and political problems, and they can focus on those issues in their own particular way through language and the genre lens. The cultural and literary influences are different too and that means more thought-provoking character-driven stories that refuse to rely on expensive CGI spectacle alone. That's why the Melies prizes exist - to celebrate the differences and focus on the philosophical and ethical challenges that appeal to a more intellectual viewership.
What is the biggest challenge when curating a science fiction festival - audience expectations, logistics, or simply the vastness of the genre itself?
Put simply, the hope there are enough science fiction movies in any one given year to go round and make the programme interesting, exciting and accessible. Plus ensuring the originality of each movie will reach out and touch the audience in the way you want it to.
How do you approach diversity in programming - not just in terms of geography, but also genre, tone, and storytelling style?
Hard to put into words the answer to this question. My attitude and stance to the genre throughout my entire career has always veered towards diversity. Because of a new book project I'm currently conceptualising, I've gone through all my set reports over the past five decades, from STAR WARS and ALIEN through THE MATRIX and HELLBOY and it's the one constant I've noticed in my journalism. Why would I change now especially when it's becoming the norm - finally!
What role do emerging filmmakers and debut features play in your programming strategy?
An enormously important one. I take pride in providing a showcase for emerging talent and first-time filmmakers. They are the future, and if you can define that special something in their work, they will always remember you and be a festival guest for life.
Do you see any current trends or shifts in the science fiction genre that excite, or worry, you?
Well, that's the beauty of the science fiction genre, the zeitgeist consistently changes. Today's AI concern will be tomorrow's robot holocaust, global warming, Mars colonisation and medical immortality. I love the unexpected, the new, the challenging so bring it on. But mainly bring it to Trieste as I'm here for a few more years yet!
Finally, tell us what you’re personally highlights are for this year.
The entire TS+F Festival is a highlight because it isn't just about movies but being a part of the Trieste cultural fabric. I take my role very seriously in that respect because, while some may not be interested in the films we show, they might be regarding books, video games, or the discussion forums we organize. I am there for every demographic and never forget that. My favourite films this year are Jan Kounen's THE SHRINKING MAN, Jean Dujardin is terrific in this remake, Glenn McQuaid's quite brilliant THE RESTORATION AT GRAYSON MANOR and quite the best documentary I've seen in ages, Michael Almeryeda and Courtney Stephens' JOHN LILLY AND THE EARTH COINCIDENCE CONTROL OFFICE.
