Opening night at the European Independent Film Festival kicks off its 2025 edition.

The day is here – on Friday, May 9, ÉCU’s long awaited film festival kicked off at Cinéma les 7 Parnassiens in Paris, France. This year, the European Independent Film Festival had the privilege of showing 43 films in 19 categories from 20 different countries. ÉCU takes pride in gathering the best talent in European independent cinema.

As the festival opened, filmmakers and audience members alike had the opportunity to gather over live music. The cinema’s garden patio provided a convivial backdrop for attendees to exchange over their passion for independent cinema and the artistic community.

As the audience gathered in the screening room, an important question was raised: What is independent cinema? According to the festival’s founder, Scott Hiller, an independent film is a film with “soul”. “Our lungs and heart are independent cinema”, he declared in his opening address to the audience, boasting that ÉCU’s selection brings together “the best independent films from around the world.”

Hillier also mentioned another phrase he lives by: “Something which I take to heart: Sometimes you win, sometimes you don’t.” He raises two important things to remember. A festival is a competition. But the competition is not the point. The filmmakers united, appreciating one another’s hard work making independent films, is what ÉCU is really about.

His words echoed with the filmmakers in the hall. When asked to stand for applause, all the filmmakers stood together, side by side, celebrating one another.

In a short smoke break, I had the chance to speak with Elise Amblard, who told me about her film Aux Armes, Christopher, one of the short films that stunned audiences during the screening. Her film, which discusses the theme of racist extremism among French teenagers, was based on experiences she drew from within her own circle. People she thought to be kind and compassionate, secretly displayed racist hate on social media platforms. The contradiction between hate and love led her to write Aux Armes, which was shot in only eight days.

After the projections, filmmakers Elise Amblard and Oliver Conrad, as well as musician Mitchum stepped onstage to discuss their work. After Amblard explained her preoccupation with the “fasco-sphère”, Conrad talked about another contemporary phenomenon – AI in cinema. He embraced the opportunity to experiment with AI in the music video “Le Bain”, having taken inspiration from Mitchum’s lyrics. While joking that in the beginning, it was a bit “like working with a toddler”, Conrad embraced its whims (eventually keeping some in the final cut!). As AI use increases, Conrad mentioned that he was surprised by its quick results and noted that it would be good to work with on a limited budget. He describes artificial intelligence as a “tool that will have its place for sure”.

Today, the festival will project another selection of exceptional films. To be continued …

By Guillaume Antignac and Emmanuelle Peterson