Interview with Eduardo Kaneco

Film Critic and Jury Member of the Luminous Frames Film Festival

Introduction

What happens when a critic approaches short cinema with both technical precision and an openness to personal resonance?

In this exclusive interview, film critic and Luminous Frames jury member Eduardo Kaneco reflects on the role of short films in discovering emerging filmmakers, crossing artistic boundaries, and carrying social, political, and personal messages to audiences around the world. He also discusses the festival’s international reach, the responsibilities of filmmakers, and the delicate balance between objective evaluation and the deeply personal experience of art.

Editorial Note

As both a film critic and a juror, Eduardo Kaneco approaches every film with a thoughtful balance of technical precision and artistic sensitivity. He believes that a film should communicate its ideas clearly to the audience, and his honest, candid yet encouraging perspective reflects a genuine commitment to supporting emerging filmmakers and recognizing the enduring potential of short cinema.

“The main importance of short films still is to reveal new filmmakers.”

Has there been a film or filmmaker in past editions of the festival whose work, or a particular sequence, stood out to you?

I was positively surprised by several films that competed in the festival. However, I would prefer not to single out only a few of them, as I would inevitably leave out many others that also deserve to be mentioned.

At the end of each edition, contestants and many festival followers eagerly await the jury’s results. After the winners are announced, some are pleasantly surprised while others are disappointed. How do you evaluate the judging process at the Luminous Frames Festival? Is there an unbiased and open environment in which you can judge independently? What do you do when your opinion is completely different from that of the rest of the jury?

I am very comfortable with different opinions when we are judging art. After all, although the technical aspects can be rated quite rationally, the way an oeuvre resonates with you is something deeply personal.

What is your opinion of independent filmmaking today? Which countries and filmmaking styles do you consider to be leading in this field?

I believe we are making the necessary strides in this creative sector, but I also believe that a great deal still falls under the radar because of the lack of economic and social support in various countries. Choosing is difficult for me because I do not feel I have watched enough to decide conclusively, but from what I have seen so far, I would choose Germany and Japan. The work from those countries always stands out to me.

Luminous Frames, does this name evoke something in your mind?

The name Luminous Frames instantly connects with the silver screen and the incomparable, immersive experience of watching movies in theatres. Despite the technological evolution of watching movies at home, I hope people never stop going to the movies.

How do you evaluate the policies of Luminous Frames in the world of short film festivals?

Luminous Frames is an important gateway for new filmmakers to present their films to the world. It has no bureaucratic rules that may become barriers to artists, nor expensive fees that create economic obstacles.

How would you rate the diversity of films and filmmakers taking part in the festival during the past few years?

This diversity is a result of the democratic policies of the festival. There is an invaluable richness in this variety, acting as a groundbreaking force that can overcome the barriers of the mainstream.

As you might know, each edition of the festival was held in a new country for more than a year. What do you think this prominence will offer the films and filmmakers?

It contributes to nurturing the interest of audiences from different countries in watching short films on the big screen. The festival also strengthens its brand in every country where it is held, which surely benefits the filmmakers who enter the competition, especially the winners of the various editions.

Considering your experience judging several editions of the festival, how would you describe the general atmosphere of short films in today’s world?

I think the main importance of short films still is to reveal new filmmakers. However, some movies submitted to the festival also show that short films are widely used to portray artists from fields beyond the audiovisual arts and as a vehicle for spreading messages to the world social, political, or even personal ones.

What advice do you have for younger filmmakers and newcomers, as well as professional filmmakers working in short film?

Bear in mind that the production of short films has increased vastly in recent years because of lower costs and easier accessibility. So, if you want your film to stand out, prepare it thoroughly from the first to the final draft of the script, through principal photography, editing, and post-production. Do not release a version you are not satisfied with; people will evaluate you based on your film.