Nowe Horyzonty: the most interesting and groundbreaking

The TAURON Nowe Horyzonty International Film Festival has appointed a new director, who brings extensive international curatorial experience to the role. Having previously managed several sections of the Toronto International Film Festival for 12 years and curated film programs globally, she was recognized by 'Screen International' in 2024 as a 'curatorial hope.' Her tenure begins with the festival's opening, featuring Cristian Mungiu's film 'R.M.N.' (formerly 'The Ditch').

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I came to the Wrocław festival as a guest. In 2020, I was also a juror here. However, my 'new horizons' story began much earlier.

Her connection to the Wrocław-based festival began years ago as a guest and, in 2020, as a juror. Her personal journey into cinema started at age six when her parents moved to Canada in 1991. A pivotal moment occurred in 2006 during her economics studies when she spent six months in India on international development projects. Initially planning an academic program in Havana, she spent six weeks with her grandmother in Lubin, Poland, between trips. During frequent visits to Wrocław, she attended the Nowe Horyzonty festival. It was there, during an Agnès Varda retrospective, that she encountered Varda's film essay 'Hélas, Cuba,' a compilation of photographs from Cuba four years after the revolution. This discovery sparked her interest in cinema, eventually leading to her work at the Toronto International Film Festival and now, the TAURON Nowe Horyzonty festival.

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After returning to Canada, I looked for this film in the library, and that's when my interest in cinema was born, which a few years later led me to work at the Toronto International Film Festival, and today – to TAURON Nowe Horyzonty.

The impulse to apply for the director position arose after receiving a farewell email from Marcin Pieńkowski, who had led the festival for fifteen years. After the Toronto festival concluded, she considered the opportunity while back in New York. Pieńkowski encouraged her to submit her CV. She contacted Roman Gutek, whom she hadn't met before, and after an initial online meeting, a collaborative model was established. She expressed reservations about simply replacing Pieńkowski, emphasizing her strength in curatorial work and festival programming. The developed model allows her to focus on the festival's creative vision and development direction, while management responsibilities are shared within the team, a solution she found both fair and natural.

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Why not try?

She aims to contribute to the festival, which already possesses a distinct identity and has cultivated a love for cinema across generations of viewers. Her previous work in Toronto involved developing a section focused on Eastern, Central, and Southern European collaborations. Now, she steps into a well-organized event with its own character, seeking to build upon its established legacy.

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I couldn't imagine that I could simply replace Marcin and take over his role entirely. My experience has been primarily in curatorial work and festival programming for years, so I felt strongest in this role.