Ammar Sabilarrohman
In the high-stakes world of international cinema, the prestige of a festival is often measured by the quality of its red carpet guests or the sheer volume of its ticket sales. Yet, for Karel Och, the long-standing artistic director of the Karlovy Vary International Film Festival (KVIFF), the true heartbeat of the institution lies in the invisible, rigorous, and profoundly collaborative process of programming. As the festival approaches a monumental milestone—its 60th edition within its 80th year of existence—the focus remains squarely on the collective intelligence of the team tasked with curating the global cinematic landscape.
The Philosophy of the "We": A Collective Endeavor
Karel Och has spent years cultivating an environment that eschews the singular "I." When asked about the selection process for the upcoming festival, he is quick to deflect the credit. "I don’t think I’ve ever used a singular whenever I talk about the selection," Och explains. "From day one until the moment we share the movies with the audience, this is teamwork. The beauty of this teamwork is that, if you are lucky, you have a team full of strong individuals, just like I do."
This philosophy of shared responsibility is not merely a diplomatic sentiment; it is a structural necessity for a festival of KVIFF’s stature. The programming committee operates as a crucible of ideas, where diverse perspectives—ranging from seasoned veterans to fresh, under-30 voices—are synthesized into a cohesive program. According to Och, the debates are the most vital part of the process. "You learn from the emotionality and intelligence of your colleagues," he notes. "Sometimes, they convince you that their suggestions are better for the festival. I’m 52, so I’m the oldest, but the youngest member is not even 30, and it works perfectly."
A New Chapter: Bridging Languages and Borders
As KVIFF enters its 80th year, the festival has made a significant shift in its internal dynamics by appointing Italian programmer Lorenzo Esposito as an associate programmer. This marks a historic evolution for the Czech-based institution. While the festival has long relied on international consultants, Esposito is the first foreign-language-speaking member to be fully integrated into the daily, year-round decision-making process.
This shift has necessitated a change in the internal working language of the seven-member core team. Despite six members being Czech, the group now operates primarily in English. For Och, this is not a burden but an unexpected gift. "It makes you think about how you express yourself about the movies," he says. "It’s a gift to be forced to articulate yourself in English with colleagues who are Czech to find new ways to express yourself thoroughly." This linguistic bridge ensures that the festival’s global outlook is mirrored by its own internal communication, fostering a more nuanced and objective approach to film criticism.
The Architects of Magic: Profiles in Programming
The strength of KVIFF’s program lies in the granular focus of its individual curators. Each member of the committee serves as a steward for specific regions or genres, ensuring that the festival remains a true mirror of global cinema.
Anna Kořínek: Program Coordinator
A veteran of the team since 2010, Anna Kořínek transitioned from administrative roles to the selection committee in 2016. Her expertise spans German-speaking countries, the Middle East, and Iran. Beyond regional curation, she leads Future Frames: Generation NEXT of European Cinema, a vital initiative that builds a bridge between film school graduates and the professional industry. Kořínek views the festival as a "summer camp" for cinephiles, highlighting the profound emotional impact of providing a platform for filmmakers who face censorship in their home countries.
Sandra Hezinová: Programmer
Joining the festival in 2015, Hezinová has evolved into a specialist in Scandinavian, Canadian, and Latin American cinema. Her background in queer film festivals has deeply informed her curatorial approach, bringing a focus on marginalized narratives to the KVIFF selection. For Hezinová, the reward is found in the "scouting" process—the act of discovering a film at a remote festival and witnessing its transformation into a centerpiece of the Karlovy Vary program.
Vojtěch Kočárník: Programmer
For Kočárník, the path to the programming team was paved by the very audience experience he now manages. As a student, he witnessed the programming team sitting on the floor of the Grand Hall to watch a film with the public, a moment that demystified the process for him. Today, he manages Central and Eastern European regions, Africa, and global documentary programming. He notes that the weight of the profession is felt most acutely when introducing films from conflict zones, such as the work of Mstyslav Chernov, which underscores the festival’s role in global testimony.
Petra Vočadlová: Programmer
Vočadlová’s journey represents the generational transition within KVIFF. Having spent her entire twenties working for the festival, it has become, in her words, part of her "DNA." Focusing on the Benelux region and English-speaking cinema, she also co-curates the Afterhours genre section. Her perspective captures the "calm before the storm"—the ritualistic, communal atmosphere of the team gathering on the terraces of the Hotel Thermal just days before the chaos of the festival begins.
Natalia Kozáková: Programmer
Kozáková, who joined the programming committee in 2024, brings a focus on the post-Soviet bloc, animation, and genre films. Her path from jury guide to programmer highlights the festival’s commitment to internal talent development. For her, the "cinephile audience" of Karlovy Vary is the ultimate validation of the team’s year-long efforts.
Lorenzo Esposito: Associate Programmer
Esposito brings a wealth of international experience, having worked with the Venice, Turin, Rome, Locarno, and Berlin festivals. His role at KVIFF represents the festival’s ambition to transcend its regional roots. By curating complex retrospectives—such as his exploration of Franz Kafka in cinema—Esposito has helped shift the festival’s intellectual output to align with the highest tiers of global film history and critique.
The Implications of a Globalized Vision
The 2026 edition of KVIFF is poised to be a landmark event. By balancing the "worker bee" mentality of its programming team with a sophisticated, internationalized decision-making structure, the festival is signaling a shift in how mid-sized festivals can punch above their weight.
The inclusion of international perspectives like Esposito’s, combined with the deep, localized knowledge of the Czech-based team, creates a unique tension. It is a tension that results in a program that is both daring and accessible. The implications for the film industry are clear: KVIFF is not merely a showcase; it is a laboratory. It is a place where young, emerging filmmakers are platformed alongside established masters, and where the "brutalist beauty" of the Hotel Thermal serves as a backdrop for the most vital conversations in modern cinema.
Looking Forward: The 60th Edition
As the team looks toward the 60th edition, the sentiment remains one of continuity. The festival is no longer just a week-long celebration; it is a year-round commitment to the art of storytelling. The "magic" that attendees experience in the Grand Hall—the standing ovations, the heated debates, and the discovery of new voices—is the product of hundreds of hours of WhatsApp messages, intense screenings, and collaborative trust.
In the words of Karel Och, the success of the festival is not found in a single visionary leader, but in the collective heartbeat of a team that has dedicated itself to the endurance of cinema. As the world turns its eyes to Karlovy Vary for its 80th anniversary, it will find not just a celebration of the past, but a rigorous, modern, and deeply human effort to define the future of film.
Evan Lee Salim
Neng Nana
