BFI Flare’s Brian Robinson on ‘surprising and constantly inspiring journey’ as programmer
The BFI Flare programmer also chats to Attitude about Andrew Haigh and his favourite film in the 2024 selection
BFI Flare is speeding by but the good news is there’s still plenty of time to check it out.
This year’s selection includes another brilliant array of films telling queer stories from around the world. Among those to help choose them all was long-time BFI programmer Brian Robinson.
Attitude caught up with Brian earlier in the festival to chat about his time with BFI Flare as well as look forward to the future.
How does it feel to be back at BFI Flare?
It’s always very exciting because you never know what you’re going to get at the beginning of the programming process. Each year is like the miracle of the daffodils springing forth after a cold winter. And when we [the programmers] get together after the Christmas break and see what films we’ve really loved and talk about where they might go, it’s a surprising and constantly inspiring journey that we’re on in terms of the filmmaking that’s going on around the world.
You’ve been a programmer with BFI Flare for 25 years now. What changes have you seen in that time?
There are many more films than we ever had 25 or even 30 years ago. The films are getting better. I think technology is a huge aid to that. In terms of representation, it’s not just a shy boy falling in love with another shy boy and that being the answer to all their woes. These are real people in interesting situations, they fall in love, they fall out of love, and they go on journeys like real people. And they take us on a journey with them. It’s not just about being gay. It’s about being a human being in a real world where the gayness is a big part of that.
What’s the biggest challenge when you’re putting a programme of films together?
The biggest challenge is to communicate your own passion and enthusiasm for a film to an audience. Sometimes in my career, I’ve had a film that I’ve absolutely loved and somehow couldn’t get people to see it. I’m pleased to say that’s not the case this year, we’ve had an incredible rush of people wanting to see almost everything. One of my absolute favourite films is Hidden Master: The Legacy of George Platt Lynes about the wonderful photography of the male nude by Lynes. It’s an incredibly well-made film. It was shot over about 10 years.
Lynes was taking photographs of the male nude at a time when it was illegal to be gay virtually, and you could be imprisoned for sending a photograph of a male nude through the post. And yet he made over 30,000 images that are among the most beautiful in the whole of the male canon. And the thing is, of all the images that there are, there are many more still to be discovered in private collections.
What impact do you think BFI Flare has on queer cinema?
I was looking through my papers the other day and I had a letter from a man called Andrew Haigh saying ‘Would you be interested in having my film in your festival?’ That was his first feature, Greek Pete. I didn’t think then that Andrew Haigh would be the major director that he is now. I’m thrilled that BFI Flare has been able to be a part of his journey. There are very talented filmmakers out there who are changing the way that cinema is made. That BFI Flare is also able to help them take risks and experience different ways of making films. There will always be a need for Flare to give people at the very beginning of their careers the chance to make an impression and also hopefully make lots more films.
Are you optimistic about the way things are going in terms of representation?
I am. In terms of audience numbers over the years we must be around 25,000. One of the most inspiring things has been Five Films for Freedom. Last year three million people across the world tuned in. That’s got to be having an impact on people in many different cultures, places, and also spaces.