TIFF's 25 Years: From 'Sell a Painting for Brandon' to Global Cinema Encounters

As the Transilvania International Film Festival (TIFF) marks its 25th anniversary, its president Tudor Giurgiu reflects on the event's journey from its inception to becoming a major European film festival. Giurgiu shared anecdotes of hosting global cinema icons, recalling the challenges and triumphs behind securing appearances from stars like Jason Priestley, Catherine Deneuve, Sophia Loren, Alain Delon, and Nicolas Cage.

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I follow, very obediently, the advice of the film director of the Warsaw Festival, who told us not to focus on guests at the first edition, because they come with problems – they cost money and you don't have time to deal with them. It's important to finish a first edition, don't stress about others.

Giurgiu recounted the initial struggles of TIFF, including the last-minute efforts to fund Jason Priestley's attendance at the first edition. He described how colleagues jokingly suggested selling paintings to cover the costs for the "Brandon" star from Beverly Hills, 90210. The festival president also touched upon the distinct experiences with different generations of actors, noting the contrast between the golden age stars and contemporary celebrities.

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Sell a painting there and we'll get money for Brandon.

The festival president's memories include press conferences with smoking actors, strolls through Cluj, managing security concerns due to Alain Delon's popularity, and even Transylvanian excursions with Nicolas Cage. These personal encounters underscore the unique atmosphere TIFF has cultivated over the years.

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I couldn't refuse, even though I didn't have money, the desire, or that it wasn't necessary. And I said 'Yes, of course'.

TIFF's evolution into one of Eastern Europe's most important cinematic events and a cultural ambassador for Romania is a testament to passion, independence, and perseverance. Giurgiu emphasized that the festival's enduring success demonstrates how a local project can achieve international recognition.

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I kept going to several meetings at the Ministry of Culture and other sponsors. I didn't do anything until I went to Vasile Dâncu, who was the Minister of Information in the Năstase Government. He listened to me, but at one point, he stopped me and said 'Enough, no need! I understood more or less, how much money is needed?'