A bridge between generations, a reach across different cultures and audiences: this seems to be the growing identity of the Palm Springs International Film Festival. Set in a community of wealthy retirees, the festival has a staff that is headed by 38-year-old Artistic Director Lily Rodriguez and made up of film experts of various ages, a young organizational team and “over 300 volunteer drivers whose average age is 75” as Lead Programmer Alissa Simon, a writer and film critic for daily Variety, proudly points out.
The festival’s 36th edition combined special presentations, film awards (bestowed on many Golden Globe winners and probable Oscar contenders, who were present at the Gala opening), and a good selection of American indies and first time features, as well as a focus on queer cinema and another on Spanish film productions, plus an interesting selection of Oscar candidates for Best International Feature, many (but not all) running for the golden statuette.
The latter selection is the one that the FIPRESCI jury examined in order to assign its four awards for Best Film, Best Screenplay, Best Actress and Best Actor, which for this year’s edition went to, respectively, I Am Still Here by Walter Salles, Vermiglio by Maura Delpero, Zoe Saldana as leading actress in Emilia Pérez by Jacques Audiard, and the trio of Mo Chara, Móglaí Bap and DJ Próvaí as protagonists of Kneecap by Rich Peppiatt.
We spoke with Lili Rodriguez and Alissa Simon about this 36th edition, and about which directions the festival intends to take in future years.
Lili, how did you become Artistic Director of the Palm Springs festival?
Rodriguez: I was born and raised in the desert and grew up with the Palm Springs festival in my backyard. I have always had a deep love of movies, but it wasn’t until I started interning at the festival that I considered it could become a career opportunity. I think because I am local I was able to offer myself more, and wherever they needed me: that was my in. I started out in programming, helping out with data entry and material sourcing, and I still do some of that, because it’s not all glamour. Since I have known this festival from the inside out, as Artistic Director I now understand what I am asking of people, if there are limits, and what’s actually doable. A lot of the people who are leading the teams today came up from the ranks: I worked with different artistic directors who had been here for years, and I still depend very much on programmers like Alissa who have been here before I was, and who understand our audience.
How would you describe the Palm Springs International Film Festival today?
Rodriguez: It has a really strong reputation for being glamourous because of the Film Awards, but it is also a very intimate gathering with an audience interested in international cinema outside the glitzy side. It enjoys the glamour of Hollywood, which is located so close by, but it also feels tucked away and accessible.
Simon: The public here is very chatty and likes to get up close with the celebrities in an intimate setting. A platinum member of the festival saw Babygirl next to Nicole Kidman, and while he was a bit embarrassed by the subject of the movie, he said to her: “Good for you, girl!” Our audience is made up of experienced moviegoers, but they are not professional cinema journalists, and I think that filmmakers like coming to Palm Springs because they will hear exactly what the audience thinks. And our public is not shy about asking questions and telling how they experienced their movies: sometimes we may even wish they’d be more shy! But in this confidential atmosphere they seem to have lost certain filters [laughs]. This audience participation makes the festival unique, and explains why this year we could count on over 500 volunteers. Many are retired professional who are used to a busy, active and interesting life, and they are happily giving their time to cultural activities and charitable causes.
Rodriguez: Many organizations, museums and artistic events in Palm Springs depend on the wonderful volunteer culture that exists in the city. We are very grateful for that, because we couldn’t do it without them.
The informal aspect, and the public’s active participation, was something FIPRESCI jurors certainly noticed. People would start conversations with us at every turn!
Simon: In our lines we have people constantly chatting and taking notes about which film to see next and which one other people liked. Filmmakers, too, like to listen to their comments: the producer of the Icelandic film Odd Fish went to watch the public screening of another movie at the festival and reported to us: “I heard people in the audience that didn’t know who I was saying very positive things about our film!”
Rodriguez: I even like to eavesdrop at times, because most of the times they don’t recognize me as the director [laughs].
Why the particular interest of the Palm Springs Festival in international features?
Rodriguez: Every year we include in our program between 35 and 40 candidates to the Oscar for Best International Feature Film because it’s a nice way to narrow down those films for people who are interested in a more curated selection, with an angle in guiding the public among so many titles. We also think it’s important to be part of the conversation that goes on during award season. Only the five finalists at the Golden Globes or the Oscars get a lot of attention, but there are dozens more international titles that need attention too. And we give them the opportunity to be seen on the big screen, because there is nothing like watching a film with the proper scale.
Simon: Although Emilia Peréz was already on Netflix, many people here wanted to see it on the big screen because it’s a whole different experience, much more immersive. And there were films in our selection that just opened, or were about to open, and that in award season were catching much attention, especially when some person connected to those films came out here to talk about them.
How is this edition different from previous ones?
Rodriguez: This year we added a new venue: previously the festival was concentrated only in Palm Springs, then we added Cathedral City, and this year we went even further to La Quinta, which has different demographics from Palm Springs that we want to reach. Many people from this area don’t leave their immediate vicinity. They stay within their radius. So we thought, let’s go to them. This was also year two of our Family Day, during which we showed the international title Flow, as well as The Day The Earth Blew Up: A Looney Tunes Movie for some good old fashioned American animation. A lot of young families live around here and we want to build a relationship with them.
Have some themes emerged from this year’s selection?
Rodriguez: We had a lot of films about people speaking truth to power, coming together, helping each other and making connections. Normally we are scrambling to find films that are appropriate for our Bridging the Borders jury, but this year there were a lot. I think filmmakers are feeling that sense of togetherness and the urgency to work with each other.
Simon: There were a lot of fathers and sons, mothers and daughters, grandparents and grandchildren, in films like The Last Journey, Bob Trevino Likes It, Old Fox, or How To Make Millions Before Grandma Dies. And there were some really authentically touching films, like A Nice Indian Boy, Bun Tikki or Superboys of Malegaon, which communicated universal emotions that people responded to.
What do you expect to see as future developments?
Rodríguez: We hope to continue to grow, to keep incorporating different programs, and to reach out to new audiences wherever they are. And as in the US the awards are paying more attention to international movies through the festival circuit, we are excited to be a relevant part of that conversation, through the FIPRESCI jury as well.
©FIPRESCI 2025