James Hewison’s departure from the helm of the Melbourne International Film Festival is already being lamented, and he hasn’t even left yet. Opening night, usually reserved for speeches of anticipation and hope for the few weeks ahead, heralded rounds of applause, thanks and praise for the departing Director. In a country with the reputation of cutting down tall poppies, Hewison has impressed a whole creative community.

Rather than revelling in his position at the top of one of Australia’s favourite cultural events, Hewison seems to have enjoyed exploring communities. Rather than acting as gatekeeper of the cultural elite, he has encouraged audiences to step out a little further, ‘offering films, which explore, which challenge and ask questions’. When he began, Hewison regarded himself as ‘sorely lacking, completely out of my depth in some areas; certainly in some of the areas in which I am now proud have become a focus for this Festival.’ His term at MIFF has allowed him to uncover new passions and to share these with Melbourne audiences.

Travelling to festivals across the globe, Hewison takes in fare from the ‘frantic, crazy fishbowl’ that is the showbiz of Cannes to Rotterdam, with its focus on ‘emerging work from directors who are really covering new ground’. These are the places where he meets with film-makers, convincing them that their films should be a part of MIFF. Based on ticket sales, his balance of films that are widely popular (many going on to be distributed in Australia afterwards) and the niche discoveries, the tiny gems to be found and shown to smaller audiences, have hit the mark.

If, as Hewison describes, Cannes is about the ‘big deals, big stars and big auters,’ Rotterdam is about ‘emerging work which take risks, film-makers who are creating new perspectives and challenging audiences,’ then what is Melbourne about? To Hewison, our Festival is defined by its audience. ‘The success of MIFF is purely in its audience, which is to say that it is supported and enjoyed by the community. It is their reception of the films, their continued patronage that drives it.’

While Hewison feels that the Festival has pretty much reached its cap in terms of audience growth, the reputation of MIFF has also grown exponentially. This puts the Festival in great stead to build on its history of hosting high-profile guests and films. In his last year, Hewison is as buoyant as always about the offerings of the Festival. His ability to invigorate those around him about a film he is passionate about is one that will be hard for new Director Richard Moore to match. Hewison imparts his own enthusiasm without sounding like he belongs is the polished film PR role he used to fill. With a genuine connection to the community he curates, he is well placed to take on his new role at the AFI. But will Hewison be able to relax and watch what somebody offers up onscreen for him this time next year? Ever optimisticÔøΩƒ∂’I can only hope so.’