By Alice Johnson
With the 46th Durban International Film Festival (DIFF) fast approaching, Festival Manager and Head of Programming Andrea Voges offered an in-depth look at what keeps Southern Africa’s oldest Oscar-qualifying event both resilient and provocative. Drawing on nearly two decades in festival curation and arts management, Voges spoke about DIFF’s post-pandemic recovery, this year’s 85-film line-up, and concrete advice for filmmakers and festival professionals alike. The exchange below captures the full conversation.
Alice Johnson: Thank you for your time, especially during this crucial preparation period. Let’s start with you. What drew you to work with DIFF?
Andrea Voges: It actually happened by chance. After high school, I started working and a friend encouraged me to apply for a gig at a festival. I got in as a jury reminder in 2009. In that position, I watched the films with the jury, I couldn’t comment, but I could watch. The films drew me in. I hadn’t seen films like these before. I’d only really been exposed to Hollywood productions, and this was my first time encountering independent, artistic cinema. The energy of the festival was infectious. After that two-week gig, I returned to my job but continued sending my CV to DIFF until they eventually gave me a job. I didn’t set out to have a career in arts and culture, it just grew from that experience. I stayed because of the films and the incredible atmosphere.
Alice Johnson: You’ve held several roles over the years. What makes this one at DIFF stand out?
Andrea Voges: I’ve worked in many spaces; grant funding, development, sales, and distribution, but showcasing films is what I enjoy the most. I love supporting filmmakers, especially once the project is complete. Film festivals give visibility and help launch films into the world. I enjoy building relationships with filmmakers and other industry professionals; critics, distributors, programmers. There’s a real infrastructure here that supports artists. Being part of the showcasing side is deeply fulfilling.
Alice Johnson: For those unfamiliar with the festival, how would you describe the spirit of DIFF? What makes it stand out in Africa and globally?
Andrea Voges: DIFF is the oldest and largest film festival in Southern Africa and the only Oscar-qualifying one in the region. We’re the premier platform for cinema from this part of the continent. What sets us apart is how open our programming is. We’re not looking for a particular theme—we want urgent, powerful stories with artistic merit. We also enjoy being provocative, challenging audiences while entertaining them. We ensure strong global representation, with a dedicated section for African films. Our goal is to provide a rich, diverse cinematic experience.
Alice Johnson: How would you say the festival has evolved in the last five to ten years?
Andrea Voges: Since I took on this role three years ago, we’ve mostly focused on recovering from the pandemic. Cinemas closed, audiences moved online, and habits changed. Our main priority was getting people back into shared spaces, watching films together. We’ve done that through strong programming and accessibility. We expanded our venue footprint and kept ticket prices low through subsidies. True evolution will come in the next few years. For now, we’ve re-established stability and reconnected with our audience.
Alice Johnson: You’ve mentioned screenings in Johannesburg and Cape Town. How are those managed?
Andrea Voges: Those screenings happen the weekend after the Durban edition. DIFF is still primarily based in Durban, and we encourage people to experience the full festival there. But during the pandemic, people from other cities enjoyed the festival online. So we introduced in-person screenings in Johannesburg and Cape Town post-Durban to maintain that access and inclusivity.
Alice Johnson: I have to ask, which edition has been your favorite so far?
Andrea Voges: Last year’s edition was my favorite. It was my second year in this role, and we’d ironed out a lot of kinks from the first year. The energy was electric. We actually had more people than we could accommodate and had to open a second screening on opening night. That kind of reception, after a full year of preparation, is incredibly rewarding. I’m hopeful this year will top that.
Alice Johnson: Speaking of this year, what can we expect from DIFF 2025?
Andrea Voges: We’re very excited about this year’s line-up. We’re hosting a retrospective on South Korean director Lee Chang-dong, screening five of his acclaimed films, including Peppermint Candy and Burning. We’re also featuring three African films that premiered at Cannes: My Father’s Shadow, Promised Sky, and Aisha Can’t Fly Away. The program is truly global, with strong representation from France, especially in co-productions with Africa. Some standout documentaries include Of Mud and Blood, about mining in Congo, Ancestral Visions of the Future, and Sudan Remember Us, which blends art, poetry and music.
There’s also a beautiful range of South African stories; Black burns Fast explores love between two girls in a high school; Street Trash and God’s Work both reflect on homelessness. We also highlight disability narratives with films like Marlee Matlin: Not Alone Anymore, about the first deaf actress to win an Oscar. In total, we’re screening 85 films. There’s truly something for everyone.
Alice Johnson: That’s an impressive slate. How do you manage to secure exclusive premieres, especially those fresh off major international festivals?
Andrea Voges: Our program is built from two sources: submissions and scouting. We open submissions around November for about three to four months. At the same time, we travel to festivals like Berlinale, Toronto, and Clermont-Ferrand to scout. It’s about watching films early and forming strong relationships with sales agents and distributors. Many of these relationships span over a decade. They know the quality and positioning of DIFF, so we’re often considered for African premieres.
Alice Johnson: Let’s touch on DIFF’s partnership with the Durban FilmMart (DFM) and Talents Durban. How do those collaborations function?
Andrea Voges: DFM was founded by DIFF about 15 years ago. A few years back, it became independent as the Durban FilmMart Institute, but we continue to work very closely. It’s similar to the Berlin Film Festival and the European Film Market, separate but complementary. DFM focuses on development, financing, and industry networking. We complete that lifecycle by showcasing the finished films. It’s a powerful collaboration that strengthens both our platforms.
Alice Johnson: For filmmakers hoping to submit to DIFF, what advice would you offer?
Andrea Voges: Have a clear strategy. Know why you’re making the film and what your release plan is—whether it’s festivals, streaming, or theatrical. If it is festivals, research which ones are a good fit. Look at DIFF’s past programming to understand our style and taste. Also, pay attention to premiere requirements, some festivals, like DIFF, require premieres. Plan your submissions accordingly. Start marketing early, ideally even before filming. It’s all about planning, research, and alignment.
Alice Johnson: Finally, how has DIFF been sustained over the years, especially in a tough funding climate?
Andrea Voges: Funding is a global challenge for festivals. We’ve seen even major festivals lose key sponsors. We’re fortunate to have strong support from the National Film and Video Foundation of South Africa, the Durban Film Office, and Durban Tourism. We also collaborate with embassies and cultural institutions like the French Institute and the Spanish and German embassies. Even if support isn’t financial, it can come in other forms, like flights or logistics. Creativity and partnerships help us stay afloat. We’re proud to be presenting our 46th edition this year, despite the hurdles.
Alice Johnson: Thank you, Andrea, for this in-depth look at DIFF and for all the insight into festival curation and programming. We look forward to seeing what the 46th edition holds.
The 46th Durban International Film Festival takes place from 18–28 July 2025 in Durban, South Africa, with extended screenings in Johannesburg and Cape Town the weekend after. Featuring 85 films from around the world—including premieres, retrospectives, and bold new African voices—DIFF 2025 promises to be a cinematic celebration like no other.
For tickets, schedules, and more information, visit: ccadiff.ukzn.ac.za You can also watch the full interview https://youtu.be/LhI-3Vo9kHg
This review emanates from the Talent Press programme, an initiative of Talents Durban in collaboration with the Durban FilmMart Institute and FIPRESCI. The opinions expressed in this article are those of the author (Alice Johnson) and cannot be considered as constituting an official position of the organisers.
