Behind the Scenes with Director of Programming, Jessica Smith
In this interview, I had the pleasure of sitting down with Jessica Smith, the Director of Programming here at DRIFF. We dove into the films she handpicked for this year’s festival, discussing the curation process and the thought that goes into selecting each title. Jessica also shared insights into her role as a director of programming, shedding light on the challenges and rewards of bringing a festival lineup together.
Q: To start I want to ask how you go into programming and what really drew you to the art of film?
A: Early on in university during my undergrad in Communications, I was exposed to a course in Cinema Studies that inspired me to study film more seriously and eventually led to me doing a Masters in Cinema Studies in New York City. This in turn led to an internship with the Tribeca Film Festival, where I helped out in the programming department. This was back in 2002, which was only the second year of the Festival, and I was thrown right in and given more responsibility than I would have otherwise. It was an amazing experience, and I was completely hooked by having a hand in bringing films—many that wouldn't be seen otherwise—to different audiences.
Q: When it comes to programming Canadian shorts, what do you look for in both the films and the filmmakers?
A: I don’t distinguish between programming Canadian and international shorts; I am motivated by what’s moving, or provocative, or innovative. With shorts, the challenge—and the reward—is being able to accomplish what a feature film does, but in a condensed time frame.
Q: When programming short films, what key elements do you look for?
A: Personally, I’m partial to the story above style (a great film will deliver both), but I try to have a subjective lens because I am not programming for myself. For a community festival, I’m interested in a broad range of films, which reflect different tastes and interests. Beyond a compelling story and messaging, I’m looking for a certain production level, and strong dialogue can really elevate and, in some cases, save a film.
Atomic Reaction
Q: Now that we've explored your approach to programming, I'd like to explore some specific films you've selected for this year’s festival. One of the standout selections is Atomic Reaction, a film that explores Canada's role in The Manhattan Project.
A: Atomic Reaction is a revelatory documentary about Canada’s contribution to the creation of the nuclear bombs, and the role that a neighbouring town, Port Hope, played in this piece of history, and the aftermath of effects the community is dealing with today, such as the $2.8 billion radioactive cleanup project that is still underway.
The documentary weaves together so many fascinating and interconnected storylines, including the exploitation of the Indigenous Dene peoples in the NWT, who in the 1930s transported raw uranium on their backs to help ship the materials to Port Hope. It’s a truly riveting film, which in many ways poses more questions than it answers, and will no doubt make for a fascinating Q&A with the film’s director and producers.
A Canadian Dream
A Canadian Dream tells the moving story of a migrant’s pursuit of a better life for his daughter. In Canada, immigrants play a crucial role both culturally and economically, yet their stories are often overlooked.
Q: Was the concept of the "Canadian Dream" something you wanted to explore, and did you feel there was a particular power in showing how far people are willing to go for the sake of their family's future?
A: No, not specifically, but I felt this Canadian short, directed by Isle Moreno, is very resonant, and was thematically connected with Atomic Reaction, not least because both films touch upon resultant health concerns which persist today. The short is 8 minutes long and is at once an exposé and a touching family portrait.
All the Lost Ones
Q: What attracted you to All The Lost Ones and why did you feel that a post-apocalyptic film about climate change was important for you to program? And do you feel in a world full of conspiracy theories that the best way for art to penetrate is through stories that are analogous to the world we currently live in?
A: When programming a community festival such as DRIFF, I like to offer a variety of programming. All the Lost Ones is a genre film, so very different to our other two feature films, but like Atomic Reaction, it thematically links environmental crises to a larger story. Many of the themes and ideas expressed within this film are relevant to our current concerns about politics and the growing climate crisis. While it’s a dystopian drama-thriller, it’s as much a moving drama about family and chosen families and the lengths people go to to protect one another. The film is shot and set in northern Ontario, and I’m hoping audiences at DRIFF will enjoy the various local references throughout. The film also stars Sheila McCarthy, famous for her starring role in the Canadian classic film I’ve Heard the Mermaids Singing, and more recently seen in Women Talking. Ms. McCarthy along with the film’s director, Mackenzie Donaldson, and other cast and crew will join us for a special Q&A.
Front Row
Q: Front Row portrays a family dispute set against the peaceful backdrop of a beach. What intrigued you about this contrast?
A: Front Row, in comparison to the other two features, is a lot lighter. It’s a dramedy from prolific Algerian director Merzak Allouache, and includes a touching tale of star-crossed lovers. It’s a nice note to end the Festival on.
Unfamily
In the short film Unfamily, the protagonist Sukhi, torn between the law pursuing him and fulfilling family duties, races against time to prevent his deportation while trying to connect with a distant relative
Q: Was it the premise that led you to select this film, or the way it captures the emotional weight of a scenario many immigrants face?
A: Unfamily was our 2024 Incubator film, which guarantees its premiere at DRIFF. I am thrilled with how this film turned out. Not only is it very impressively structured, but the story is quite timely given it centres on a Sikh immigrant whose legal status has unexpectedly been revoked—a situation affecting innumerous international students and workers presently.
Q: To cap off this interview, I would like to ask; what advice would you give to someone aspiring to become a film programmer? What steps or experiences would you recommend they pursue in order to succeed in the field?
A: It’s a competitive landscape, but my advice is if you’re interested in programming, find a way to do it yourself. There are low cost ways of presenting films. Call your local coffee shop, bar, or independent theater and see if they’re open to you organizing a film night there. Market it and get people to come out. Think about how you’d like to position your programming, and build your own audience. Once you’ve established yourself you’ll be in a better position to pitch bigger venues and exhibitors or apply for direct programming roles.
Thank you to Jessica Smith for taking the time to share her insight, knowledge, and the process of selecting this year’s films for DRIFF 2024.
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Connor Walsh is Photographer, Video Editor, and Writer based in Southern Ontario.
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If you’re interested in becoming part of a local film community or attending a film festival near you, the Durham Region International Film Festival’s events are for you! DRIFF presents an annual fall film festival in Durham Region, summer drive-in movie screenings in Whitby and DRIFF in a Jiff short film screenings in Oshawa. Visit driff.ca, become a DRIFF insider or follow us on social media at @catchthedriff for all the details.