Viennale 2026, interview with the festival director Eva Sangiorgi

Eva Sangiorgi, festival director of the Viennale 2026, describes an event built around bringing a broad selection of recent cinema to audiences in Vienna. The festival combines contemporary films with historical programmes, without dividing its main selection into competitions or genre categories. Sangiorgi’s account offers a view of how the Viennale balances discovery, accessibility and film history. Its programme reflects both the range of cinema being made today and the festival’s relationship with its local audience.

A city festival centred on its audience

The Viennale takes place across independent cinemas in Vienna, with a programme designed primarily for the city’s filmgoers rather than industry professionals. Sangiorgi says the festival presents more than 100 contemporary feature films and over 40 shorts, bringing together work from varied countries, production contexts and scales. The selection ranges from films backed by major studios or streaming companies to independently made projects. Rather than separating documentary from fiction or sorting films into numerous categories, the programme places different approaches alongside one another. Sangiorgi looks for work that can surprise, whether through familiar storytelling, experimental form or a combination of styles, while retaining a distinct artistic perspective.

A broad selection without competition

The absence of an official competition shapes the Viennale’s atmosphere and gives Sangiorgi greater freedom in programming. Established filmmakers can appear alongside emerging artists and lesser-known discoveries, without the films being arranged according to status or production budget. The festival also does not rely on premiere requirements to determine its choices, allowing the selection to follow the director’s interests. Sangiorgi describes the relationship with Vienna’s audience as one of mutual trust: regular attendees are willing to encounter unfamiliar work as well as more recognisable names. That openness, she suggests, helps the festival remain varied and relaxed.

Historical programmes alongside contemporary cinema

The festival’s historical offerings provide a counterpoint to its contemporary selection, connecting current filmmaking with cinema’s past. A major retrospective, organised with the Vienna Film Museum, is devoted to Robert Aldrich, with screenings continuing beyond the festival through November. Other strands include filmmaker-focused monographies, studies of a particular period in an artist’s work, and selections of recently restored films. This year’s programme also includes a focus on Jocelyne Saab, whose work Sangiorgi considers insufficiently represented in German-speaking countries. Together, these strands give audiences opportunities to revisit overlooked filmmakers, explore specific cinematic histories and encounter restored works on the big screen.