BUCHAREST FILM BIENNALE is a project by PAVILION, a non-profit organization founded in 1999, dedicated to the discovery and development of artists and audiences.
The BUCHAREST FILM BIENNALE promotes awareness and dissemination of the culture - particularly in the field of film - by means of exchanges and cultural cooperation within Europe and beyond and is looking for strategies that would develop mutual understanding and offer insights from different perspectives.
Through its programs, the BFB seeks to discover, support, and inspire film directors, actors and technicians from Romania and around the world, and to introduce audiences to their work.
BFB is an organization devoted to showcasing the best and brightest films from Romania and around the globe in new way with a different viewing experience in alternative places all around Bucharest.
The BUCHAREST FILM BIENNALE is the forum for film in one of the most attractive cities for art in East-Europe. Taking place every other year at changing locations throughout Bucharest it is shaped by the different concepts of curators appointed to enter into a dialogue with the city, its general public, the people interested in film as a form of art as well as the film artists of this world.
The Biennale is an attempt to turn these scripted “experiences” upside down, to re-think and re-imagine processes of domination, while positioning the city of Bucharest as a field of cultural action and exchange.
BUCHAREST FILM BIENNALE is organised by PAVILION - journal for politics and culture which also generates BUCHAREST BIENNALE - Bucharest Biennial for Contemporary Art, Reforma - community platform, Pavilion - center for art & culture and Free Academy. PAVILION® journal, PAVILION® center, BUCHAREST BIENNALE®, FREE ACADEMY® and BUCHAREST FILM BIENNALE® are projects of artphoto asc. PAVILION® journal, PAVILION® center, BUCHAREST BIENNALE®, FREE ACADEMY® and BUCHAREST FILM BIENNALE® are registred trademarks. All projects are devised and founded by Răzvan Ion & Eugen Rădescu.


Andrei Rus (29 y.o) is a lecturer at the Faculty of Film of the National University of Theatre and Film Bucharest, where he teaches film theory and history and where he is also doing research for his doctoral studies about diary films. He coordinates “Film Menu”, a cinematography magazine, in the frame of the University and organizes together with his editorial staff frequent film screening in the screening room of the Faculty of Film.

He was a programmer for festivals in Romania such as “Timishort” and “NexT”. He was a juror at several film festivals such as “Revelation France 4”, in the frame of the Semaine de la critique (Cannes 2014) section, the 2013 edition of BIEFF (Bucharest) and the “Emile Cantillon” section of the Namur International Film Festival (Belgium, 2008). Lives and works in Bucharest.

(Photo: Adi Tudose)


At its beginnings, cinematography was successfully introducing its audience to auto referenced movies, collecting and then projecting some of the most banal aspects of the daily life - from family dinners to strolls around forests and streets- without the use of narrative tricks. The public was satisfied and according to the plentiful documents of the era, they were aspiring to share the intimacy of strangers, about whom they were not discovering a plethora in the insufficient seconds of the first films. Short after the new medium’s innocence years, the current affairs series, with subjects of general interest, replaced those, almost diaristic exercises, imposing a new direction - inherited nowadays as well.

When the diaristic formulas were revived and tinged in the 60’s, most of the film-makers embracing auto referential attitudes, were championing for a theoretical return (and technical in some cases) to that era, when cinematography was promising a completely different future, an eternal conservation of as many individual moments, a priori irrelevant for others. Another common characteristic of those directors was the educational background in contemporary arts, always emancipated - from a formal or political point of view-, at least ten years before cinematography. The transposition of their vision in cinematography lead to the creation of a new aesthetic model, which seemed innovative, although directly inspired by the so called “primitive movies” of the late XIX century. It is certain that from then on, due to the reasons mentioned previously, the film journals continued to be absorbed/ assimilated through experimental avant-garde films, situated at the conceptual border between cinema, which records elements of reality, but having the highest potential to reach masses, it is commonly treating the broad introduction of particularised formulas with an enhanced modesty, and the contemporary arts, progressively more radical about finding diverse methods of self-reflection.

Starting with the 60’s, the film journal becomes an aesthetic formula increasingly prevalent, approached through diverse perspectives by both self-indulgent film-makers, privileged among festival and multiplex audiences, as well as a smaller number of directors whose careers were primarily focused on the auto referential perimeter, allowing the development of a large area of formal matrices.

In the present we can distinguish multiple film journals - some make use of personal archive images (known as“home movies”) to create strongly personalised and/or political speeches, some adopt an indirect communication, via distancing mechanisms which do not change the implied auto referential level of the construct and so on. Many times, it is hard to fit these films into a specific genre, having to force the boundaries of the categorisations common among critics, offering no more than circumstantial labels.

During an era as the present one, where the self-referentiality became omnipresent on the internet, no matter if we talk about the personal YouTube channels of hundreds of millions users from all around the world, about personal Facebook pages or about blogs and other platforms as such, the research, presentation and debate of this, most individualised form of cinematography, can only be timely.
(Excerpt from Andrei Rus, 'The film journal. Reflections of the self', 2014)

More information about the theme and curatorial concept coming soon.


More information coming soon.


Combinatul Fondului Plastic
29 Băiculești Street, Bucharest, Romania

Combinatul Fondului Plastic (a factory for artistic production in the communist period) was built between 1968-1972. Its main purpose was to serve as a production unit in all fields of the arts. Today it belongs to Artists’ Union (UAP) and serves mainly as an exhibition venue and houses studio spaces.



More information coming soon.


Admission to the the 1st Bucharest Film Biennale will be ticket based.

All 4 days pass - Soon to be announced - Access to all events during all 4 days.

One day pass - Soon to be announced - Access to all events for one day.

For groups of 10 or more persons a 20% discount will be applied.

For students and teachers with a valid ID, the price of the one day pass - Soon to be announced.

The tickets can be purchased at the info point or from an online ticket agency - Soon to be announced.


Adress: 29 Băiculești Street, 013193, Bucharest, Romania
Email: contact[at]
Skype: bucharestbiennale
Mailing adress: PO Box 26-0390 Bucharest 014800

BFB On Tour

BFB will travel to different cities in Romania with a special screening program.
More information coming soon.


Institutional partners


Fundraising partner


Main media & event partner


Media partners


Partner event


Official hotel


Production partner


Printing partner


Moving & storage partner


Andrei Rus

Alina Dumitriu

Cristian Marinescu
Press & Communication

Teodor Zugravu
Logo Design



François Bonenfant
Sorin Botoșeneanu
Arantxa Etcheverria
Corneliu Porumboiu
Jean-Pierre Rehm
Bettina Steinbrügge
Gerwin Tamsma
Andrei Ujică
Board of Advisors

A project by

Răzvan Ion & Eugen Rădescu
Co-Founders & Co-Directors

Gergő Horváth
Artistic Director

Crina Copcealău
Financial Director

Alexandru Enăchioaie
Web & Software Design


Combinatul Fondului Plastic 29 Băiculești Street, Bucharest, Romania