Until October 13th, Zurich will be the heart of the international film world. For ten days, the city along the Limmat River will host and celebrate the 20th anniversary of the Zurich Film Festival (ZFF), led by Dr. Christian Jungen, one of the most respected figures in both Swiss and international cinema. We spoke with him to understand how his background shapes his festival leadership.
First, let’s put aside the image of “the impresario”
The flashy figure who manages problems and people through sheer charisma. Dr. Christian Jungen’s story is more grounded. Raised in a modest family that didn’t allow much room for dreaming, his early life was far from the glamorous world of film. But fate had other plans. He met George Reinhard, a member of one of Switzerland’s most famous artistic families, who offered him a job selling tickets at the Loge Cinema in Winterthur. For Jungen, this small role sparked a dream that eventually led to his career in the film industry. Over the next 25 years, Jungen’s career grew steadily in journalism as a film critic for the Neue Zürcher Zeitung and the film industry. His journey culminated in his appointment as Artistic Director of the Zurich Film Festival in December 2019, an incredible opportunity but also a huge challenge, as the COVID-19 pandemic began just weeks later. This opened a new chapter in his life and career.
How did you manage the Zurich Film Festival during the COVID lockdown?
“At first, as an optimist, I thought the pandemic would end in a few months, never imagining it would last more than two years. So, when COVID first hit, I told my team to continue working as usual and to stay in close contact with our sponsors, who are the festival’s backbone. But when we realized the pandemic was here to stay, I decided to return part of the money our sponsors had given us.”
Henry D. Beecher once said, “A man’s character is his reliability.” How did you handle making decisions alone from your home office?
“You’ve touched on an important point. I made decisions without the chance to brainstorm with my team for quite some time. Despite that, I focused on carefully weighing the pros and cons of each decision, drawing from my experience in the film industry. In business, they talk about ‘analysis paralysis’—where overthinking stops you from making decisions. If you hesitate, you can lose confidence in your team. I was ready to accept the consequences of my choices and the risks involved. After months of lockdown, there was no guarantee people would come back to cinemas. But in the end, we succeeded. When the pandemic ended, our sponsors returned, and the festival came back stronger than ever.”
What do you see as the future of cinema?
“The industry is now focused on the future. I believe the film business needs to become more customer-centred, like Amazon. Success in any business, politics, or sales field comes from putting the customer first and meeting their needs.”
It sounds like you’re taking a market-driven approach…
“That’s right. I always start by identifying my target audience and finding the best way to reach them. This strategy is crucial for my entire team as well. We must all share the same goals and work together. This idea applies to films, too. If a topic resonates with public interest, you must act quickly and adjust your plans. For example, when Taylor Swift’s Eras Tour film came out in the USA, some cinema managers hesitated to change their schedules. In contrast, others adapted and enjoyed massive success because the film became a hit. The Zurich Film Festival is held at the arthouse cinema Frame, which has six screens in Switzerland. We decided to open our doors to the public at lunchtime, allowing people to watch films outside their usual work routines, and it was a big success. We’ve also tailored our programming to senior audiences by offering Sunday morning screenings so they can enjoy films before they’re available on digital platforms. In short, understanding what your audience wants and being the first to deliver it is a basic business principle. There’s no alternative: adapt or fail.”
At ZFF 2024, one of the Golden Icon Awards will be given to Kate Winslet. How do you approach such a star?
“I was drawn to Lee, a film about a fashion model who became a war photographer. At the end of World War II, she was among the first to photograph survivors of Nazi concentration camps. The story of Lee Miller is, in fact, the story of her life. We wanted to feature this film at the festival and honour Kate Winslet, the lead actress and the co-producer, with our award. Negotiations were mainly about scheduling, as her time was limited. In my interactions with Ms. Winslet, I trusted my instincts. Given that it took her five years to bring this project to life, the Swiss premiere of Lee at ZFF is a win-win: it allows her to launch her production, and we get the honour of showcasing it.
However, negotiations are rarely simple. When things get tricky, I use what I call my ‘Amazon rule’: I think about the three biggest obstacles and find ways to overcome them. By understanding what the other side wants and addressing those concerns, I usually manage to secure a favourable outcome for ZFF.”
For more details about ZFF 2024, visit www.zff.com/en
Photo Credits: Tim Hughes
Article edited by Andreas Grandi