Revelation started life in 1997 as an ‘underground’ event in the back room basement of the Greenwich Club, at the time Perth’s smoothest jazz and music venue. All works were screened purely on 16mm film and the festival also featured live music, poetry and guest presentations. Revelation was designed to showcase a range of unique and progressive short, feature, documentary, archival and animated works which were at the forefront of contemporary underground filmmaking, at the same time contextualising these works through a variety of curated archival programs highlighting pivotal points in independent filmmaking. Rapidly outgrowing the intimate surrounds of the Greenwich Club, Revelation now spans venues across Perth and Fremantle and features some of the most acclaimed films from the international film festival scene and includes gallery and installation works, live performances, an academic conference and a unique seminar and masterclass series.

Website: www.revelationfilmfest.org

Interview with Richard Sowada

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Richard Sowada: The festival environment – just like the wider distribution and exhibition environment – is growing increasing conservative.

We’re very aware of that and as such deliberately take a lot of risks with the kind of films we program. So…there’s many breaks for many films that for other festivals simply are unnoticed. It’s also been a long time since any film festival in Australia was a point of active acquisition for distributors. Rev is becoming that so there’s eyes on what the event is doing and the kinds of movements it’s highlighting.

I really feel we’re exploring new directions in event management, in creative choices and in a long-term view of the creative sector internationally. That can only benefit filmmakers, audiences and the wider community.

MT: What would you expect to experience if you attend the festival this year (2016)?

RS: We’re quite an informal event and really have pushed the red-carpet idea aside for a much more real approach. We have quite a number of local, national and international filmmakers attend so there’s lots of late nights over lots of bottles of wine. We also have an academic conference so there’s lots of late nights over lots of bottles of wine. We also have a number of film industry functions, workshops and masterclasses so there’s lots of late nights over lots of bottles of wine. All this happens all at the same time so all these groups – and audiences – are involved. It’s lots of fun and there’s lots of friends to be made.

MT: What are the qualifications for the selected films?

RS: We don’t have any prizes – we feel that all films selected are on the same level – they’re all excellent! As to the type of films we select…we really try and stay unclouded by what other festivals are doing and any ancillary material that is sent with a film. We look at everything as objectively as we can on a single merit – the film itself. We try and e as open as we can so there’s lots of experimental material in there. Lots of low-budget too but there’s also lots of work from the festival world internationally.

MT: Do you think that some films really don’t get a fair shake from film festivals?

RS: Many films don’t get a fair shake.

It’s quite simple for festival directors and programmers to go to Sundance, Berlin, Rotterdam and Toronto and get the big titles. It’s much harder to look beyond what everyone else is doing.

The festivals will generally have selection panels that look at everything else submitted to the event or as advisors on more specialised content. As a result I feel that most festivals are disconnected within themselves…there’s too many opinions and given the imperative to be financially and strategically successful risk is being leeched out – there’s a lack of cohesion across the program and rather than an emphatic statement of the creative world they’re often a diluted tasting plate.

With us there’s only two people that look at ALL the work – including the hundreds of titles submitted in the call for entries. As a result I feel Rev has a real consolidated energy and can get a real fix of the mood of the international creative community and join as many dots together as we can. That allows us to deliver a picture made up of hard choices and editorial comment.

MT: What motivates you and your team to do this festival?

RS: The fact that we’re constantly doing something new and dealing with and responding to new ideas. The people and ideas we deal with on a daily basis are brilliant – and we’re doing it in a very tough town to do it in. Our team all understand the grand experiment and that keeps it alive and fresh. We all keep ourselves open to learning new things about ourselves, the event and audiences all the time so things are constantly on the move for us creatively and intellectually. We’re never bored.

MT: How has the festival changed since its inception?

RS: Not much really – it’s just got bigger. We have introduced new components – like the academic conference and gallery based moving image shows but in principle the ideas, energy and to a large extent the programming ethos is still the same as it was. Everything we’re doing now is in early business plans of close to 20 years ago and we new back then these kinds of things take a long time to grow and cement their place – and we’re still here and still growing.

Overall though we do have more guests and a greater level of logistic and more films but in essence the event core is as it was which is good. It doesn’t try to second guess itself. It doesn’t try to second guess any other event and it doesn’t try to be something it’s not. This is what gives it such a strong personality. It’s genuine and approachable. You’ll see all our crew and guests and others eating pizza and drinking and socialising with anyone who wants to join us at any time.

MT: Where do you see the festival by 2020?

RS: It’s nearly that now! But we’re looking at involving other language groups and cultures more directly in the programming by mentoring young people at risk in areas of event management, publicity and logistics. The aim is that they’d present smaller curated programs to their communities within their communities. This will of course broaden our reach but also have a very real and positive community impact.

MT: What film have you seen the most times in your life?

RS: The Towering Inferno. I love it.

MT: In one sentence, what makes a great film?

RS: An understanding of what makes a great film.

MT: How is the film scene in your city?

RS: In Melbourne where I live it’s quite good. Lots of festivals, lots of independent filmmaking and the audiences are very responsive. In Perth where Revelation takes place it’s come a very long way. There’s now a high-level of production with some excellent filmmakers coming from there. The films – including the shorts – have a real sense of identity and you can tell the films made in WA. I think it needs to open its mind a little more and change perspectives on what a film is and what it can do…but that’s our job to assist with…and I think we’ve have a big hand in helping the industry in Western Australia grow.