On Saturday it was Spanish director Carlos Saura\u2019s turn to be interviewed at the morning discussion. Saura explained his working methods and said that what he especially enjoys in filmmaking is the sense of control, since he finds controlling his own existence so difficult.<\/p>\n
After the morning discussion it was time for the traditional football match between the staff and guests of the festival at the Sodankyl\u00e4 sports field. At the Small Tent there was a discussion between the Finnish filmmaker guests of the festival. Moderated by Liselott Forsman<\/b>, the discussion featured among others Ville Virtanen <\/b>(Law of the Land<\/i>) and Selma Vilhunen<\/b> (Little Wing <\/i>and Hobbyhorse Revolution<\/i>), as well as actors Nuppu Koivu<\/b>, Simon Al-Bazoon <\/b>and Janne Hyyti\u00e4inen <\/b>from the film The Other Side of Hope<\/i>. The discussion touched on subjects such as the changing nature of art, social media, immigration and identity politics.<\/p>\n
Neil Hardwick\u2019s <\/b>Master Class concentrated on Finnish musicals, a subject that has never before been a topic of a Master Class at The Midnight Sun Film Festival. Hardwick used his musical If You Love <\/i>to illustrate the challenges and particularities of Finnish musicals. He pondered on why there does not exist a proper tradition of musicals in Finnish cinema. The audience also got a chance to comment and criticize Hardwick\u2019s views.<\/p>\n
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Introduced as the world\u2019s premier Jacques Tati expert, St\u00e9phane Goudet<\/b> discussed at Saturday\u2019s screening of Jour de Fete<\/i> (1949) how all the best elements of Tati\u2019s comedy are already present in this first film of his. Goudet praised The Midnight Sun Film Festival and said that this is exactly where Tati should be present, since this is the only festival where can be found all of Tati\u2019s components: school, circus, cinema and the passing of the art of cinema to the next generations. Goudet\u2019s film American Style <\/i>(2014) was also shown at the screening. He describes the film as an experiment focusing on things that the viewer may not notice on a first screening of Jour de Fete<\/i>.<\/p>\n