The Baltic Pitching Forum, held in Vilnius in early October, brought together short film directors, producers and film industry professionals from across Europe. The projects presented at the forum offered insights into the issues that matter to filmmakers today, while also highlighting increasingly bold creative approaches, new forms of cinematic storytelling and the growing potential of talent across the region.
Film producer Dagnė Vildžiūnaitė, who evaluated this year’s projects as a member of the Producers’ Jury, says she was particularly impressed by the filmmakers’ ability to approach familiar subjects from unexpected perspectives, experiment with cinematic language and capture an audience’s attention in a short amount of time. According to her, Lithuanian animation deserves special recognition. All three Lithuanian projects presented at the forum were animated films, and their creative quality demonstrates the growing potential of the country’s animation industry.
Following the Baltic Pitching Forum, we spoke with Vildžiūnaitė about what this year’s event revealed about Lithuanian and Baltic cinema, what distinguishes the new generation of producers, why filmmakers should avoid pitching projects before they are fully developed, and the long-term professional value of international industry platforms.
– This year, you experienced the Baltic Pitching Forum from the perspective of the Producers’ Jury. What was your overall impression of the event? What stood out most about this year’s projects and their creators?
D. Vildžiūnaitė: When looking at creative projects, I always tend to focus not on what they have in common, but on what makes each one unique. I think that is what makes the creative field so fascinating. There are countless different ideas and perspectives, and even the same subject can be approached in completely different ways.
My overall impression was extremely positive. When you spend half a day listening to project pitches without feeling bored for a single moment, and every project manages to surprise you in some way, I think that is wonderful. That is exactly how I felt about this year’s forum. For one reason or another, I would be interested in seeing every one of the presented films once completed.
I think these projects fulfilled one of the most important objectives of short filmmaking: capturing the audience’s attention, making an impression and standing out from other films within a very limited amount of time. After all, short films are usually screened as part of longer festival or cinema programmes rather than individually.
This year, some projects stood out because of their form, while others impressed with the depth of their ideas or an unexpected approach to their chosen subjects. Perhaps surprise was the defining feeling throughout the entire forum.
– Did you notice any recurring themes or creative directions among this year’s projects that might reveal what filmmakers are particularly concerned with today?
D. Vildžiūnaitė: First of all, I would like to emphasise that short films are not made exclusively by young or emerging filmmakers. I would really like short filmmaking to stop being regarded as something intended only for beginners. It is also an excellent creative exercise for experienced directors, offering an opportunity to maintain a sense of playfulness between larger projects, experiment with new ideas or explore creative approaches they might later want to incorporate into a feature film.
I am pleased that this year’s forum brought together filmmakers with different levels of experience. Some participants had already made several films, so it was interesting to see how filmmakers at different stages of their professional journeys make use of the possibilities offered by short cinema.
In terms of themes, this year featured quite a few projects exploring highly relevant issues, including artificial intelligence, historical memory, environmental protection and human relationships. The importance of humanity in the context of military and geopolitical conflicts was another prominent theme.
I think short cinema has one major advantage: it allows filmmakers to respond more quickly to what is happening in the world. Feature films often take several years to develop and finance, so their creators have to consider whether a particular subject will still be relevant five years later. Short films, on the other hand, offer an opportunity to address what matters here and now. It is encouraging to see so many of this year’s projects engaging with contemporary social issues.
– Were there any filmmakers whose professional journeys you would like to follow in the future? What caught your attention most?
D. Vildžiūnaitė: Absolutely. There were several projects and filmmakers that stayed with me.
What attracts me most is the courage of a creative vision. I find it exciting to collaborate with people who do not try to follow trends, who are not afraid to take unexpected paths, experiment and search for something new.
It is very important for filmmakers to have a strong vision for their future film and to understand what they want to communicate and why. I certainly encountered people like that this year, and I will be interested to see how their projects and creative careers develop.
– Speaking of creative courage, were there any projects at this year’s forum that surprised you with their form or cinematic language? What trends are you noticing in Baltic cinema?
D. Vildžiūnaitė: I was particularly pleased to see several hybrid projects. This shows that filmmakers are not afraid to experiment, combine different cinematic forms and explore new ways of storytelling. Short cinema is an especially suitable space for this kind of experimentation.
More broadly, I feel that our region is becoming increasingly open to different genres. I see this as a very positive development. I would not necessarily attribute it solely to the younger generation of filmmakers. Perhaps our entire film community is simply becoming more receptive to a wider range of creative possibilities.
Another thing that genuinely surprised me this year was the number and strength of Lithuanian animation projects. I must admit, I had not expected that before the forum.
– All three Lithuanian projects presented at this year’s Baltic Pitching Forum were animated films. What does this tell us about the current state of Lithuanian animation?
D. Vildžiūnaitė: I think it is a very clear sign that Lithuanian animation is currently on the rise.
We are seeing new voices, new faces and strong creative ideas. Of course, not all of these female filmmakers are newcomers. Some have already received awards and gained recognition. But that is precisely what demonstrates the diversity of talent we have, with filmmakers at different stages of their careers producing work that deserves attention.
All three projects presented were exceptionally strong. I am genuinely delighted to see such momentum in Lithuanian animation.
I believe this should also send a signal when discussing the future of the sector. When we see such an emergence of talent, we should allocate more resources to animated filmmaking. We have the creators, the ideas and the potential, so it is essential to provide the conditions for them to continue growing.
– You work extensively with filmmakers and producers. Have you noticed any changes in the new generation entering the industry, particularly in their ambitions, working methods or attitudes towards their professional careers?
D. Vildžiūnaitė: I would not want to generalise about an entire generation, especially based on brief encounters during a forum. You certainly cannot get to know someone in ten minutes, let alone draw conclusions about their entire generation.
However, when I think about the young producers I work with more closely, I notice one very interesting difference. They seem to have more courage to explore and are not afraid to remain in a state of uncertainty for a while.
My generation grew up under somewhat different circumstances. We have great ambitions, but at the same time, we place an enormous amount of responsibility on our own shoulders. Those ambitions can sometimes become an unnecessarily heavy burden.
What fascinates me about young people starting their careers today is their openness to exploration. They do not necessarily feel the need to immediately define what a producer should be, which path they must follow or what goals they are expected to achieve.
Another thing I really appreciate is that this generation seems to have less need for external validation. I think one of the biggest insecurities of our older generation is the desire for someone to tell us we have done well, recognise our achievements or reassure us that we are on the right path. Younger people seem somewhat freer from that need.
– Listening to so many project pitches in a short period of time must make it relatively easy to identify what works and what does not. In your opinion, what distinguishes a strong pitch from a weaker one?
D. Vildžiūnaitė: I do not believe that a pitch itself is such a powerful tool that it can turn a weak project into a strong one. Ultimately, what matters most is the project itself and its content. You cannot sell just anything simply by wrapping it in attractive packaging. That does not work in the film industry.
The filmmakers who impress me most are those with a strong vision. People who clearly understand what they want to talk about, how they want to approach it and why it matters to them.
That clarity is extremely important. I often advise filmmakers to step onto the pitching stage only when there is more they know about their project than they do not know.
If you still feel uncertain and have many unanswered questions, perhaps it is worth taking your time. A good pitch does not begin with beautiful slides or memorised sentences. It begins with a well-developed idea.
– Does a good pitch primarily reveal the strength of the project or the potential of the filmmaker? How important are the individual behind the project and their ability to work within a team?
D. Vildžiūnaitė: I think a pitch is primarily a way of attracting attention. Of course, preparation is important, but it is impossible to fully assess either the potential of a film or that of its creator in such a short amount of time.
That is why I always tell my students and fellow filmmakers not to be afraid of spending more time in the development stage. Develop your idea thoroughly before you start presenting it. Once a project has reached a certain level of maturity, its potential becomes much clearer, and the pitch itself becomes more valuable.
If you step onto the stage at a very early stage, when there are still too many unanswered questions, you may simply fail to make the most of the opportunity.
Another very important aspect is the partnership between the producer and the filmmaker. Their relationship is clearly visible on stage: how well they understand each other and whether they both believe equally strongly in the project.
As a producer, this is particularly important to me. If I were considering joining a project as an international partner, most of my communication would be with its producer. Therefore, I want to see how they represent the project, what kind of relationship they have with the filmmaker and how personally invested they are.
On the other hand, we should not forget that being on stage is an unfamiliar and stressful experience for many people. I would therefore be reluctant to judge the entire future of a project based solely on its pitch. Nevertheless, you can often sense whether someone is genuinely passionate about their idea or simply repeating sentences they have memorised in advance.
– Young filmmakers today gain access to international industry platforms relatively early in their careers. Do you think the new generation approaches their professional future with a more international mindset from the very beginning?
D. Vildžiūnaitė: I think so, although it is important to remember that European film financing models are still primarily based on national support.
Nevertheless, I always encourage my students to think internationally. Creative language is universal, and today we have many opportunities to collaborate with filmmakers from different countries, participate in each other’s projects and explore shared creative solutions.
I think this comes more naturally to the younger generation. They have travelled more and experienced more, so they tend to see themselves within a broader context from the very beginning.
In the past, many of us developed professionally within relatively small circles. Once you have established your working habits, professional connections and environment, stepping into new international partnerships can sometimes be more difficult.
That is why I see this change as a natural part of our society becoming increasingly open.
– Is there anything you feel emerging filmmakers are lacking as they enter the professional film industry? What advice would you give them?
D. Vildžiūnaitė: To be honest, I cannot think of anything specific that they are lacking. I believe that when you are just starting out, the most important things are to have the desire, take action and keep trying.
In general, I am against rigid formulas and the belief that there is only one established path into the film industry that everyone must follow.
People’s professional journeys can be very different. Some find their direction more quickly, while others need more time and experimentation. That is why I do not think everyone should be subject to the same expectations or requirements.
The most important thing is not to lose the desire to create, explore and have the courage to choose your own path.
– Looking back a few weeks after the Baltic Pitching Forum, how would you assess the importance of such platforms for filmmakers’ careers? What happens to a project once the forum itself is over?
D. Vildžiūnaitė: I do not believe that a single forum can radically change someone’s career, and people certainly should not attend these platforms expecting miracles.
If you want something to change, you first need to think about what you can do to make that change happen. Professional growth is a long-term process. It involves building new connections, seeking opportunities, maintaining communication, listening to other people’s ideas and gaining a broader understanding of the industry.
Sometimes you make extremely valuable contacts at a forum, and sometimes you do not. However, there is one thing these platforms almost always provide: an opportunity to hear feedback on your project for the first time from people who are neither your close friends nor members of your team.
That is an extremely valuable experience. You get to see how people respond to your idea, what interests them, what they find unclear, what works and what still needs to be refined.
Even preparing for a pitch is a very useful exercise. The team has to identify what matters most in the project, what they want to emphasise and how to communicate it to others. This forces you to look at your idea from the perspective of its future audience.
Whether new partners emerge after the forum or whether you manage to find the right people for a particular project depends on many circumstances that cannot be predicted in advance.
That is why I believe the greatest value of these platforms lies not in a single success or award, but in the opportunity to grow, learn and steadily expand your professional horizons.
– Thank you for the conversation!
