Returning for its 68th edition, the British Film Institute (BFI) London Film Festival (LFF) is now less than a month away. For many attendees, it’s an opportunity to meet major film stars, watch the latest releases ahead of general distribution, or see films that may never secure a UK release. Behind the scenes, however, it’s the dedicated programmers who work tirelessly year-round to curate the festival’s line-up, bringing films to audiences in London and across the UK over the course of 12 days. To delve deeper into the programming of one of the year’s biggest film events, The Student spoke with Diana Cipriano, a member of this year’s programming team, ahead of ticket sales.
Before joining the LFF programming team, Diana worked in acquisition and distribution in Portugal, where she was born and raised. She also gained valuable experience collaborating with an independent cinema. “Working with an independent cinema that was partnered with this distribution company, I started kind of working with that cinema, programming seasons on women on film, on transgressive cinema, and kind of dipping my toe into programming in that sense,” she says. These formative experiences sharpened her curatorial skills, leading to more formal roles in programming festivals both in Portugal and the UK. “I also worked as part of the selection committee for a film festival here in Portugal for three years, and then in the UK, I worked with the BFI in more of a programme planning structure.”
This year is her first as a programmer for the LFF, where she works alongside fellow internal programmers Hyun Jin Cho, Grace Barber-Plentie, and Isabel Moir, under the leadership of festival director Kristy Matheson, who previously directed the Edinburgh International Film Festival. Reflecting on her experience, Diana notes, “Kristy as a director is really democratic. It’s a really collaborative process.” She adds that “every decision is well discussed and all voices are heard.” The diversity of the team plays a crucial role in their process, with members bringing unique perspectives, expertise, and cultural backgrounds. Diana concludes, “I think it’s like a really healthy work environment.”
One distinctive feature of the LFF is its ability to reach audiences beyond London. “Our aim as a festival is to not only mirror the diversity and pluralities of London but also broaden that scope so we can reach audiences outside of London,” Diana explains.
Curating the selection for the LFF tour involves balancing accessibility with the festival’s diverse programming. By collaborating with UK distribution networks, Diana and her colleagues aim to ensure that the films represent “the breadth of the programme but also are accessible enough to local audiences.”
When asked about this year’s standout films, Diana shares her enthusiasm. “A film that I really loved and that really resonated with me is Olivia & the Clouds”. It is an animation feature from the Dominican Republic that’s part of the First Feature Competition. It uses different styles of animation to explore “despite the relationship being over, doesn’t mean that our emotional bond to it is over”. It’s visually stunning, and the way it integrates music is mesmerising.”
She also highlights Universal Language, a Canadian film mostly spoken in Farsi. “It’s set in Winnipeg, but the dialogue bridges cultures, blending Farsi and French. It’s surreal and full of heart. This film reunites us through the language of cinema.”
Among her personal favourites is April, which won the Special Jury Prize at Venice, and On Becoming a Guinea Fowl, a Zambian film that uses comedy and magic realism to explore “cycles of abuse in family.” Diana also praises Who Do I Belong To, a Tunisian film that examines the radicalisation of two boys and its effect on their family. “It’s a film that utilises genre elements, visually and sonically, and magical realism to tell a very real and powerful story.”
She also mentions Flow, an animation from Latvia featured in the Journey section. “It’s about a cat that finds himself completely lost, journeying through a world that’s been changed by a flood, with animals sticking together: different animals that wouldn’t normally be together if it wasn’t for this extreme adversity. It’s really about nature cycles and how we’re all connected to our ecosystem.”
For students and young aspiring programmers, Diana emphasises the importance of gaining hands-on experience. Start by getting “any kind of job at festivals,” she advises. “Start seeing how the inner workings are. Even if you’re not a programmer, you’re still in contact with that reality: the timing, the pressure.” She also encourages aspiring programmers to meet like-minded people and build networks. “Watch as many films as you can. Discover all kinds of film clubs and communities within the space, and start building your own community and a little network of people you can collaborate with.”
In addition, Diana mentioned the open submission process for aspiring UK-based filmmakers to submit their work for consideration in the LFF. Her advice to them is to “hone your craft, try to understand what you’re saying as a filmmaker, what is your message and who you want to reach with the film that you’re making.”
Regarding the unique nature of the LFF, Diana reflects on the challenge of catering to London’s diverse audience. “We are servicing the audiences in London and around the UK,” she says. But understanding exactly what London audiences want is tricky. “London is so diverse, sometimes the answer to that question is not as evident as you may think.” Yet, that diversity is what makes the LFF such a joy and a journey of discovery for attendees.
This year’s LFF promises to deliver a rich programme that reflects a variety of voices and perspectives, including themes like motherhood and colonial legacy. “I think our programme is doing a really interesting step in showcasing all of these different voices.” Moreover, with 44% of this year’s filmmakers identifying as female or non-binary, Diana believes the LFF is taking meaningful steps toward creating a more inclusive and diverse narrative in the world of film.
Photo of Diana Cipriano by VMill, provided by Press Office of the BFI to The Student. This conversation has been edited for content and clarity.
Book tickets for BFI LFF and Under 25: https://whatson.bfi.org.uk/lff/Online/default.asp