Interview: Jakub Viktorín • Managing Director, Visegrad Film Forum - “At Most Festivals, Films Are the Primary Attraction, and Filmmakers Are an Added Value; at the Visegrad Film Forum, It’s the Opposite” - Visegrad Film Forum 2026

Key Takeaways

• Forum prioritizes filmmakers over film screenings
• Offers master classes across production, design, VFX, sound
• Partners with five major Central/Eastern European film schools
• Features Oscar‑winning sound designer Chris Munro session
• Facilitates networking leading to internships and study abroad

Summary

The 13th Visegrad Film Forum will run in Bratislava from March 11‑14, 2026, positioning filmmakers—not films—as the event’s centerpiece. The programme features master classes and lectures from international professionals across production design, visual effects, sound and more, alongside student screenings from five leading Central‑European film schools. Highlights include Oscar‑winning sound designer Chris Munro discussing the groundbreaking audio work on *Black Hawk Down* and a Peer‑to‑Peer Film Criticism Workshop. Organisers aim to provide an informal, cross‑border networking hub that bridges emerging talent with seasoned industry voices.

Pulse Analysis

The Visegrad Film Forum distinguishes itself from traditional festivals by making the creative process, not the finished product, the star of the show. This shift reflects a broader industry trend toward talent‑first programming, where emerging directors, designers, and technicians gain direct access to seasoned mentors. By gathering a curated roster of international experts—ranging from Oscar‑winning sound designers to acclaimed production designers—the forum offers participants a rare, hands‑on glimpse into the technical and artistic decisions that shape contemporary cinema.

A core strength of the 2026 edition is its deep integration with Europe’s premier film schools, including FAMU, the Budapest Film School, Łódź, Munich’s University of Television and Film, and the Georgian National Film School. Student films are screened, followed by critical discussions that bridge academic theory with real‑world practice. The inclusion of a Peer‑to‑Peer Film Criticism Workshop further expands the forum’s educational scope, nurturing future journalists and critics who can articulate cinematic value across markets. Such interdisciplinary exposure prepares graduates for the collaborative nature of modern co‑productions, where sound, design, VFX and narrative must align seamlessly.

Beyond education, the forum functions as a networking catalyst. Informal interactions with professionals like Chris Munro and emerging talents such as Sundance‑recognized Andrius Blaževičius often translate into internships, study‑abroad opportunities, and cross‑border project partnerships. In an era where European film financing increasingly relies on multinational collaborations, the Visegrad Film Forum’s model of low‑pressure, high‑value exchange helps young creators navigate complex funding landscapes and build the relationships needed to launch transnational productions. As the event refines rather than overhauls its format, it is poised to remain a vital conduit for talent development across the Visegrad region and beyond.