2026 marks the 37th edition of Liffe – the Ljubljana International Film Festival. For a number of years, the festival has featured the finest specimens of world cinema and winners of the most prominent festivals (Cannes, Rotterdam, Berlin, Venice, etc.) while bringing into spotlight the greatest achievements of national cinema.
The festival’s aim is to encourage and promote young and emerging artists, predominantly European filmmakers, and bring them into dialogue with Slovenian audiences. Several awards are presented every year (Kingfisher Award for best young filmmaker; Best Short Film; Audience Award; FIPRESCI Prize, etc.). In recent years, introducing digital innovation and educational programmes for young audiences have been important components of the festival whose mission includes educating different age groups.
Liffe takes place at six venues in Ljubljana (Cankarjev dom’s Linhart and Kosovel Halls, Kinodvor Cinema, the Slovenian Cinematheque, Kino Bežigrad, Kino Šiška and AGRFT Hall). With venues across Slovenia (Maribox Maribor, Anton Podbevšek Teater Novo mesto and Kino Union Celje), the festival addresses and remains accessible to audiences outside the Slovenian capital.
In 1992, the International Association of Film Producers – FIAPF granted a licence to Film Art Fest, which was renamed the International Film Festival in 1996, and in 1998 acquired its current name, Liffe (Ljubljana International Film Festival). This license confirms that the festival has fulfilled all the conditions for its inclusion on the official list of global film festivals.
Since its beginning, the festival’s producer has been Cankarjev dom, Cultural and Congress Centre Ljubljana, whose programme is co-financed by the Ministry of Culture of the Republic of Slovenia.
Festival sections
Perspectives, the official competitive section of young filmmakers competing for the Kingfisher Award sponsored by Telekom Slovenije, d.d.
Avant-premieres, a selection of the world’s finest films purchased for Slovenian distribution
Kings and Queens, films by notable and award-winning contemporary cinema virtuosos
World Cinema Panorama, five-continent festival favourites
Extravaganza, so-called late-night cinema of daring artists addressing idiosyncratic or sensual topics
Kinobalon, a selection of films for audiences aged between 5 and 14; in cooperation with the Kinodvor Cinema
Tribute; in cooperation with the Slovenian Cinematheque
Retrospective; in cooperation with the Slovenian Cinematheque
The Network of Festivals in the Adriatic Region, a joint project of eight regional festivals
Europe in Short, competitive programme of short films
Accompanying programme
Talks with festival guests and filmmakers
Round tables and workshops
Awards
Kingfisher, international jury award presented by the general sponsor, Telekom Slovenije, d.d., to the best film of the Competition section – Perspectives.
FIPRESCI Prize, presented by the jury of the International Federation of Film Critics.
Best Short Film Award
Kinotrip Young Jury Award, five nominated films from different program sections.
Slovenian Art Cinema Association Award, Slovenian association of cinemas and exhibitors of quality and art film.
Dragon Audience Award to best-rated film that has not yet been purchased for Slovenian distribution.
Festival venues
Cankarjev dom (Linhart and Kosovel Halls), Kinodvor, Kino Bežigrad, Slovenian Cinematheque, AGRFT Hall, Kino Šiška, Maribox Maribor, Kino Union Celje and Anton Podbevšek Teater Novo mesto
Main festival venue: Cankarjev dom’s Foyer II
Sponsors
Main sponsor: Telekom Slovenije, d.d.
Festival partner: RTV SLO
With the financial support of the European Union
Founder and main funder of CD’s Arts and Culture Programme: Ministry of Culture of the Republic of Slovenia
Festival partners
Kinodvor Cinema
Slovenska kinoteka – Slovenian Cinematheque
Kino Bežigrad – Bežigrad Cinema
Univerza v Ljubljani Akademija za gledališče, radio, film in televizijo – AGRFT – Academy of Theatre, Radio, Film And TV – AGRFT, University of Ljubljana
Kino Šiška – Šiška Cinema
Anton Podbevšek Teater – Anton Podbevšek Theatre
Maribox Maribor
Kino Union Celje – Union Cinema Celje
Kelly Reichardt has established herself as a seminal figure in contemporary American independent cinema. She is a filmmaker who persistently directs her gaze elsewhere – to the margins and the details of daily living, unearthing the overlooked, the marginalized, the invisible. Within the context of American mythology, which she subtly yet consistently undermines, these are stories of women, the working class, the barely visible footprints of indigenous peoples, the lively traces of animals that profoundly affect the nature of her images, and above all, the long takes of landscape that invariably highlight both human alienation and our inherent inalienability from the world. Reichardt, who was born and raised in the perilous swamps of Florida, chose the Oregon landscape as the backdrop for her vision of American society, and later moved there herself.
The urban peripheries used as settings in her films are surrounded on one side by rocky high deserts and on the other by deep conifer forests, whose vastness faithfully reflects her cinematic narratives. A foremost example here is Reichardt’s debut film, River of Grass (1994), set in a sleepy Florida suburb. Echoing the great American Bonnie and Clyde legend, a bored and listless housewife Cozy sets off on a journey with Lee, an aimless young dropout – in a road movie without the road, a love story without the love, and a crime story without the crime. Reichardt adopts a realistic filmmaking style through the use of non-professional actors, actual locations, and absence of any major stylistic interventions in cinematography.
Although receiving plaudits at Sundance with her debut film, Reichardt spent the next twelve years trying to finance a second film: Old Joy (2006) marked a stylistic shift for the filmmaker, one that she largely continues to employ today – a neo-neorealist style, defined by an in-depth dialogue with nature, and enhanced through Slow Cinema pacing, a detail-picking pace that allows for the emergence of the unspoken through a carefully constructed gaze, while viewer-wise opening up a field of empathy and sensitivity in relation to the film image. The screenplay for Old Joy, a film about estranged friends, was written in partnership with John Raymond, an Oregon-based author who went on to become the director's indispensable collaborator. Reichardt decided to edit the film herself, and has continued to serve as her own editor in all her subsequent projects.
There followed another road movie without the road or destination – Wendy and Lucy (2008), Reichardt’s first collaboration with the actress Michelle Williams. Set during an economic crisis, the film’s protagonist Wendy travels to Alaska with her (the director's) dog Lucy in search of a better life. Casting Williams, the director went on to create a whole range of female characters, including Certain Women (2016) and Showing Up (2022), banking on Williams’ talent for extremely ruminative deadpan performance in relation to the emotions and social (sexual) positions of her characters.
On yet another endless road, Meek's Cutoff (2010) depicts a group of settlers lost in the middle of the Oregon countryside. Here, the filmmaker draws on a unique form of American mythology – the Western. But instead of an action spectacle, Reichardt opts for a careful study of gender and myth through a decolonizing and feminist perspective. In similar fashion, she reappropriates and redefines Western tropes in the film The First Cow (2019), shattering the myths of neoliberal America with a gentle tale of male friendship and the relationship between ownership, capital, and theft.
Reichardt's affinity for exploring film genres is further reflected in Night Moves (2013) and The Mastermind (2025). However, echoing her use of the Western, the filmmaker shows that genre tropes are merely a starting point for her to examine perhaps unexpected thematic and conceptual points – the ecological thriller thus becomes a quiet meditation on guilt, and a heist film becomes a sensitive study of character and coincidence, as well as cinematic colour and composition. In subverting all cinematic expectations and paying scrupulous attention to the medium itself, Reichardt has solidified in every way her position as a giant of American and world cinema.
Anja Banko
The Kelly Reichardt Retrospective has been organised in cooperation with the Slovenian Cinematheque and the Kino Otok – Isola Cinema International Film Festival.
Jure Novak
Director General of Cankarjev dom
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