In this Post Super Interview, Jin shares how her creative background shaped her curatorial voice, the collaborative process behind the BFI London Film Festival’s programming team, and what makes a film feel truly complete by the time it reaches the screen. From navigating international submissions to highlighting the unseen artistry of post-production, Jin offers a fascinating look into the craft of festival programming.
A thoughtful conversation for anyone interested in the intersection of curation, creativity, and post-production.
MADI: Okay. So, Jin, first of all, would you mind telling our Post Super audience a little bit about yourself?
JIN: Sure. I’m one of the film programmers for the BFI London Film Festival.
MADI: Could you tell us a bit more about your background?
JIN: Of course. I’ve been curating film programmes for around 15 years, based in London. My main interest is in nonfiction film and artists’ moving image, but I also contribute to the wider LFF programme. My personal projects have been shown at institutions like Tate and the Barbican. I’m very happy to be speaking with you today.
MADI: Thank you so much. What first drew you to film curation?
JIN: I went to art school initially, focusing on painting, and then moved into anthropology. I’ve always been a cinephile, and when I was practising art, my work was in the form of moving image. So, the transition into film curation felt very natural - it combined my interests in art, film, and how we document reality. Anthropology taught me a lot about ethics and approaches to storytelling, so it all came together quite organically. I was also lucky to get some early opportunities that helped me build a career in programming.
MADI: That’s brilliant. What’s been the most rewarding part of being on the London Film Festival programming team?
JIN: There are two main things. Firstly, the process of building the programme together. Our team works in a very collaborative way - we make decisions about every film collectively. I have some incredible colleagues, and it’s great to create something we’re all proud of by the end of summer.
And secondly, the festival itself - finally presenting the films we love to an audience. The LFF is very audience-focused, and being able to share our enthusiasm with filmmakers and viewers after screenings is always a real pleasure and a privilege.
MADI: I’ve watched some of the films already this year during Press Week, and the choices are incredible. I go every year, but this year I’m especially excited for some of the selections.From what Phoebe mentioned, you’ve worked internationally. How do you think the London film scene compares to the others you’ve experienced?
JIN: I think Phoebe probably meant that the London Film Festival itself is international - though yes, I have worked with institutions in the U.S. and Italy.Every festival has its own identity and focus. For me, what makes the LFF special is its dedication to the film and the filmmaker - creating a meeting point between makers and audiences. That’s our main priority. Of course, the wider film industry is important, but that connection between filmmaker and audience feels fundamental, and quite distinct for a festival of this scale. We programme films from so many different cultures, countries, and in a variety of forms, which keeps it exciting. We often joke that watching all these films feels like travelling - especially during the busy summer months when we can’t take holidays until the programme is locked! It’s a kind of virtual journey around the world through cinema.It’s definitely a challenge though, because no one person can know every region or its complexities. That’s why collaboration is so important. We try to be sensitive and open to other perspectives when programming films from areas we’re less familiar with. It’s exciting work, but it requires care and thoughtfulness.
MADI: Definitely. Some of the films this year have really taken me out of my comfort zone. I don’t watch many international films, but this year I saw DJ Ahmed and was amazed by how much emotion and story the actors conveyed without relying on language. Even with subtitles, I could completely follow the story through their performances - it was really eye-opening.So, from a curator’s point of view, what makes a film feel polished or complete when it reaches the festival stage? I’m starting to touch on post-production a bit here, since that’s our area of focus.
JIN: Good question. Film is such a multidisciplinary art form - there’s often a lot of attention on visuals, but sound and all the other elements are equally important.
Sometimes we watch films that aren’t completely finished - maybe picture-locked but still a work in progress - to assess their potential. It doesn’t happen often, but when we later see those films completed, it’s always fascinating how much the final touches change the experience.
There are so many elements that make a film feel complete. But I’d also say that being “polished” isn’t necessarily the goal. A film can be powerful and intentional even if it isn’t perfectly refined.
Rather than focusing on polish, we look for thoughtfulness - how all the elements come together to express the filmmaker’s vision clearly and cohesively. That’s what makes a film feel finished, when sound, pacing, design, and all those final details align.
MADI: That’s really interesting. I didn’t realise you sometimes receive films at picture lock - that’s fascinating. I have one final question for you: what’s one example of great post-production work that’s really stayed with you from this year’s lineup?
JIN: That’s a great question. We don’t usually think about post-production as a separate element - it’s part of the whole, and the strength of a film often comes from how everything works together.But one that stands out is Raoul Peck’s new work, Orwell, 2 + 2 = 5.
MADI: I’m actually seeing that today! Ha!
JIN: Oh, perfect. It’s a fascinating piece - you could describe it as a documentary, but it’s more of an essay film. Raoul Peck uses George Orwell’s ideas to reflect on the current state of the world. It’s a combination of fiction and reality, and feels incredibly relevant.
He weaves together different materials - newsreels, graphics, CGI -all sorts of visual and sound textures. The project is ambitious, but his vision is so strong and clear that the post-production work really elevates it. Without that, it would be a completely different film. It’s a great example of how post-production can bring a complex idea fully to life.
MADI: That sounds brilliant I’m excited for later! Thank you so much, Jin, for your time and for sharing such thoughtful answers. This has been fascinating!
A thoughtful conversation for anyone interested in the intersection of curation, creativity, and post-production.
MADI: Okay. So, Jin, first of all, would you mind telling our Post Super audience a little bit about yourself?
JIN: Sure. I’m one of the film programmers for the BFI London Film Festival.
MADI: Could you tell us a bit more about your background?
JIN: Of course. I’ve been curating film programmes for around 15 years, based in London. My main interest is in nonfiction film and artists’ moving image, but I also contribute to the wider LFF programme. My personal projects have been shown at institutions like Tate and the Barbican. I’m very happy to be speaking with you today.
MADI: Thank you so much. What first drew you to film curation?
JIN: I went to art school initially, focusing on painting, and then moved into anthropology. I’ve always been a cinephile, and when I was practising art, my work was in the form of moving image. So, the transition into film curation felt very natural - it combined my interests in art, film, and how we document reality. Anthropology taught me a lot about ethics and approaches to storytelling, so it all came together quite organically. I was also lucky to get some early opportunities that helped me build a career in programming.
MADI: That’s brilliant. What’s been the most rewarding part of being on the London Film Festival programming team?
JIN: There are two main things. Firstly, the process of building the programme together. Our team works in a very collaborative way - we make decisions about every film collectively. I have some incredible colleagues, and it’s great to create something we’re all proud of by the end of summer.
And secondly, the festival itself - finally presenting the films we love to an audience. The LFF is very audience-focused, and being able to share our enthusiasm with filmmakers and viewers after screenings is always a real pleasure and a privilege.
MADI: I’ve watched some of the films already this year during Press Week, and the choices are incredible. I go every year, but this year I’m especially excited for some of the selections.From what Phoebe mentioned, you’ve worked internationally. How do you think the London film scene compares to the others you’ve experienced?
JIN: I think Phoebe probably meant that the London Film Festival itself is international - though yes, I have worked with institutions in the U.S. and Italy.Every festival has its own identity and focus. For me, what makes the LFF special is its dedication to the film and the filmmaker - creating a meeting point between makers and audiences. That’s our main priority. Of course, the wider film industry is important, but that connection between filmmaker and audience feels fundamental, and quite distinct for a festival of this scale. We programme films from so many different cultures, countries, and in a variety of forms, which keeps it exciting. We often joke that watching all these films feels like travelling - especially during the busy summer months when we can’t take holidays until the programme is locked! It’s a kind of virtual journey around the world through cinema.It’s definitely a challenge though, because no one person can know every region or its complexities. That’s why collaboration is so important. We try to be sensitive and open to other perspectives when programming films from areas we’re less familiar with. It’s exciting work, but it requires care and thoughtfulness.
MADI: Definitely. Some of the films this year have really taken me out of my comfort zone. I don’t watch many international films, but this year I saw DJ Ahmed and was amazed by how much emotion and story the actors conveyed without relying on language. Even with subtitles, I could completely follow the story through their performances - it was really eye-opening.So, from a curator’s point of view, what makes a film feel polished or complete when it reaches the festival stage? I’m starting to touch on post-production a bit here, since that’s our area of focus.
JIN: Good question. Film is such a multidisciplinary art form - there’s often a lot of attention on visuals, but sound and all the other elements are equally important.
Sometimes we watch films that aren’t completely finished - maybe picture-locked but still a work in progress - to assess their potential. It doesn’t happen often, but when we later see those films completed, it’s always fascinating how much the final touches change the experience.
There are so many elements that make a film feel complete. But I’d also say that being “polished” isn’t necessarily the goal. A film can be powerful and intentional even if it isn’t perfectly refined.
Rather than focusing on polish, we look for thoughtfulness - how all the elements come together to express the filmmaker’s vision clearly and cohesively. That’s what makes a film feel finished, when sound, pacing, design, and all those final details align.
MADI: That’s really interesting. I didn’t realise you sometimes receive films at picture lock - that’s fascinating. I have one final question for you: what’s one example of great post-production work that’s really stayed with you from this year’s lineup?
JIN: That’s a great question. We don’t usually think about post-production as a separate element - it’s part of the whole, and the strength of a film often comes from how everything works together.But one that stands out is Raoul Peck’s new work, Orwell, 2 + 2 = 5.
MADI: I’m actually seeing that today! Ha!
JIN: Oh, perfect. It’s a fascinating piece - you could describe it as a documentary, but it’s more of an essay film. Raoul Peck uses George Orwell’s ideas to reflect on the current state of the world. It’s a combination of fiction and reality, and feels incredibly relevant.
He weaves together different materials - newsreels, graphics, CGI -all sorts of visual and sound textures. The project is ambitious, but his vision is so strong and clear that the post-production work really elevates it. Without that, it would be a completely different film. It’s a great example of how post-production can bring a complex idea fully to life.
MADI: That sounds brilliant I’m excited for later! Thank you so much, Jin, for your time and for sharing such thoughtful answers. This has been fascinating!
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