The 13th edition of Finnish Film Affair is rapidly approaching, taking place from September 25-27. As one of the favourite parts of the program, the Showcase Day will give the stage to Finnish and Nordic fiction and documentary works that are in development or progress. FFA had the privilege of counting with Elizabeth Sheldon as one of the jury members selecting the works of fiction to be presented this year.
Sheldon has over two decades of experience in the film industry, specialising in distribution and international sales. She is a founding partner and the Chief Executive Officer of Juno Films, where she fosters collaboration between filmmakers and producers to develop and execute customised all-rights releases.
In the following interview, Sheldon discusses the importance of universal storytelling, the need for collective viewing as a way to connect, and what new filmmaking talent can do to counteract the current challenges in the industry.
”Stories need to be universal, regardless of where they come from – My advice to new filmmakers is to provide strong characters in situations that everyone has experienced”
FFA: Let us start perhaps with the most evident question. What topics or trends are you seeing more of lately in filmmaking? On the other hand, what do you encourage new filmmakers to develop and think about?
Elizabeth Sheldon: I’ll start with the second question and then come back to the first – stories need to be universal, regardless of where they come from or their topic. By universal, I mean that whether someone in Athens or Zacatecas watches the film, they can relate to the protagonist(s) and their dilemma/story. One of my favourite films in our catalogue is Supa Modo (Likarion Wainaina, 2018), a fabulous Kenyan film about a young girl who is dying and the lengths that her family and village go to to make her feel like she is a superhero. It is incredibly original and yet the story, the death of a child, is universal. Similarly, our Irish film Róise & Frank (Rachael Moriarty, Peter Murphy, 2022), about a grieving widow, has universal appeal. Both of these films deal with serious topics –death, loss, bereavement– and yet they possess a lightness that makes them a pleasure to watch; somehow a cathartic experience.
My advice to new filmmakers is to provide strong characters in situations that everyone has experienced. Our upcoming release of first-time filmmaker Shuchi Talati’s Girls Will Be Girls presents a complex and nuanced film about female sexuality and female relationships in a conservative culture. It is ostensibly a young adult movie, and yet, who cannot relate to a competitive relationship with a mother, no matter their age?
To answer the first question, I think what we are witnessing is a return to films that require our undivided attention; films that are meant to be seen collectively and then discussed with others. Our upcoming release of That They May Face The Rising Sun (Pat Collins, 2023) is an example of a film that cries for collective viewing and discussion. Another example is Eephus, a film by first-time filmmakers that premiered at Cannes, which critics have dubbed ”slow cinema”. In contrast, many films commissioned by streaming platforms are designed for small screens and can be watched while multitasking, like reading emails or drinking coffee. There’s nothing wrong with that if you think you can successfully multitask; I cannot. That’s why I want films that absorb me, that grab me by my cockles.
FFA: Stories with the power of universality and stories that can unite us collectively seem to be exactly what the general audience is craving for in these times. Building on the previous question, before founding Juno Films in 2017, you had already established a long career. Have you observed any significant changes in the industry over these years?
ES: For a long time, DIY micro releases were a model for many filmmakers, especially those targeting niche audiences or with an activist campaign behind them. As the media landscape has gradually consolidated and there are fewer funding sources, I think that model has disappeared. There are also, apparently, smaller audiences overall after COVID. Micro and activist films and releases seem to be extinct, especially with the exit of companies like Participant Pictures and CineReach. I think now the general audience wants to laugh, to cry, to be provoked, to go on an adventure, maybe to learn something –but not to be lectured.
FFA: I find these two answers really interesting: you mention that activist films seem to be extinct, yet there seems to be a collective need for films which bring people together – isn’t this an activism of sorts, to collectively engage in dialogue after watching a film?
ES: I would reply that it is not “activism,” as the films don’t result in a burning need to change the world, but rather to be watched together and discussed. They require a community audience to engage with the film because they induce a collective experience, rather than a passive entertainment or call to political action. Not to always refer back to Aristotle, but the earliest form of a collective experience outside of a sacred space was the theatre, and theatre is always meant to be seen with an audience, not alone. So in that regard, the films are like theatre: they don’t depend on special effects or an augmented world; rather, they reflect the human experience of a specific time and place that transcends differences and borders.
”Focus on making films that breakthrough and travel. While not every film will, many do travel the world through film festivals and brave distributors out there fighting the good fight.”
FFA: Although aware that this is a broad question, still with your expertise it deserves to be asked: what makes a film iconic?
ES: Character, character, character, then narrative structure. It doesn’t have to follow Aristotle’s Poetics but it has to have an arc and some resolution, then cinematography.
FFA: Jumping into behind the scenes, this is, thinking about the film industry: these are challenging times up to some extent –funding issues, the growing presence of AI, among others. What can the filmmaking community do to face these challenges?
ES: I wish studios weren’t so obsessed with intellectual property (IP), as it trickles down to indie films. I spoke to a potential funder once about a project and her response was not about the creative merit of the project; instead she asked, was there an IP she could own? I find that the U.S. differs from the EU – here you have more readily available funds to support filmmaking and creativity. My first recommendation is to keep funding your filmmakers, as you have a system that works. Secondly, focus on making films that breakthrough and travel. While not every film will, many do travel the world through film festivals and brave distributors out there fighting the good fight. This means: don’t just look for a quick sale to a platform.
FFA: This is such a good point, staying true to one’s values when making films; despite the challenges. To add to it, how would you encourage young talent to keep fierce and pursue their path in the industry?
ES: When I started in the industry, Film Studies did not exist as a degree or major unless you went to USC. Today, there are more film majors than there are positions in the industry. However, this is an industry with many facets beyond being a filmmaker, producer, or programmer. Look for opportunities, show up (on time), learn from whoever crosses your path, and never say “No” to an opportunity to learn something new.
I’ve offered a lot of opportunities to my younger colleagues, but frequently they would decline, saying “My plate is full.” Sure, maybe you don’t want more work but next time, I won’t think of you. Other young colleagues whom I mentored and who took advantage of every opportunity have gone far in the industry. I think success, regardless of gender, requires tenacity, discipline and some luck. Most importantly, do not become discouraged.
FFA: Is there something you are really looking forward to doing or seeing in the next year?
ES: More films! More film festivals! More creativity. Making new friends who are as excited by cinema as I am.
FFA: What a wonderful answer! It takes me to the very last question, which I’d like for you to interpret and answer as you please: where is creativity nowadays?
ES: Interesting question. I think it depends on what you expect from art. A lot of films are not creative as they are vehicular. It’s like Bertrand Russell’s analysis of happiness: there are many negative examples but few positive ones. One film that comes to mind is Lucile Hadzihalilovic’s Earwig. On the other hand, I find that a lot of contemporary literature is very creative, from the writings of Jon Fosse to Olga Takarczuk. I think writers have more leeway as they are not restrained by the need for funding in the same way directors are.