In your role at CIFFT, what has been the most demanding challenge when coordinating the international circuit of tourism film awards, and how did you manage to overcome it while maintaining consistency, excellence, and global visibility for the initiative?

Coordinating a circuit of tourism film festivals across multiple continents brings logistical, cultural and technological challenges. However, one of the biggest challenges came when I first joined CIFFT. We needed to restructure the organisation, improve communication and positioning, redesign the brand and website, and transform the circuit into a more global and inclusive competition. In parallel, we worked with our member festivals to standardise certain aspects of the competition without compromising the independence and identity of each festival.

The pandemic brought another demanding period. When international travel restrictions threatened the continuity of the CIFFT Circuit, we had to switch rapidly to hybrid and virtual judging sessions. Despite this, we maintained the impartiality and high standards that define CIFFT. Member festivals adapted remarkably, and some—such as ART&TUR in Viseu, Portugal—were even able to stage their events in person while observing strict safety protocols.

Maintaining strong relationships with festivals, sponsors, and partners remains essential. These alliances help preserve the circuit’s global visibility and excellence and ensure that we continue to offer a unified yet diverse platform for recognising outstanding tourism films.

None of this would have been possible without the trust and support of Alexander Kammel, CIFFT’s director and founder. He believed in me and the vision I brought to the organisation, invested in building a professional team and continues to embrace this project. Equally important is the dedicated team around me: their professionalism, creativity and commitment have been the backbone of our achievements. Together, we have transformed CIFFT and we will continue to tackle future challenges and innovations as a united group.

There are three awards: the Production Award for eco friendly production methods; the Message Award for compelling sustainability messages; and the Global Award for projects that combine both aspects. By highlighting best practices, CIFFT hopes to inspire producers worldwide to reduce environmental impacts, embrace renewable energy and waste reduction methods, and craft narratives that encourage responsible travel. The awards aim to make sustainability an integral part of tourism advertising rather than a niche topic.

In an environment increasingly saturated with digital content, how does CIFFT define what truly makes a tourism video “excellent”? Which core criteria or creative dimensions does the organization consider essential for evaluating authentic audiovisual storytelling?

Works submitted to member festivals are evaluated on impact, concept, creativity, storytelling, objectivity, originality, technical production and visual performance. In practice, this means that an excellent tourism video combines a strong concept with authentic storytelling, evokes emotions, communicates the destination’s values, and is produced with high technical quality. Creativity and originality are essential, but so is objectivity: the film should represent the destination truthfully and avoid misleading audiences. Impact refers to how effectively the video inspires viewers to learn more or visit, while visual performance covers cinematography, editing and sound design. CIFFT also recognises storytelling that resonates across cultures, as seen with the Tourism Press Award, which rewards videos that inspire and move audiences worldwide.

How do you perceive the evolution of tourism videos as tools for promoting destinations, products, and experiences—beyond traditional advertising formats—particularly considering the shift in audience expectations and digital consumption habits over the past decade?

Over the past decade, tourism videos have evolved from traditional advertising spots into richer narratives. Social media and streaming platforms have shortened attention spans but also widened reach, making it essential to tell compelling stories quickly. Destinations now invest in docu-style films, mini-series, and user-generated content that emphasise authenticity, local voices, and immersive experiences. The success of campaigns like Switzerland’s “The Ride of a Lifetime” – which combined humour, star power and breathtaking scenery – shows that audiences respond to narratives that feel genuine rather than purely promotional. The rise of mobile viewing has also led to vertical formats and shorter cuts for social media, while long form content still finds an audience on streaming services and at festivals. In essence, travellers seek videos that inspire, educate and entertain, not just advertise.

For emerging or lesser-known destinations seeking to strengthen their visibility, which practical advice would you offer to help them leverage audiovisual content effectively, using their existing resources creatively and strategically to reach global audiences?

For emerging or lesser-known destinations, focusing on authenticity and the qualities that make a place truly unique is essential. La Guajira, in Colombia, offers a clear example: by partnering with Tornus Agency to create Discover La Guajira, the region showcased its desert scenery, Wayuu heritage and the voices of its local community. Its success highlights a set of strategies any destination can adopt. Start by identifying the elements that make your region singular—landscape, culture, cuisine or history—and build a coherent narrative around them. Work with storytellers who can translate those assets into engaging audiovisual content, and involve local communities to ensure the result feels genuine. Finally, use platforms such as festivals and competitions, including the CIFFT Circuit, to expand visibility; awards and recognition can lift an emerging destination onto the global stage. La Guajira proves that even places with limited international awareness can achieve meaningful global exposure through strategic, culturally grounded storytelling.

In your opinion, what role can small local production companies or independent creative agencies play within the global framework of tourism audiovisual communication, especially when competing with large international marketing corporations?

Small production companies and independent creative agencies are essential to a diverse tourism media landscape. They often possess intimate knowledge of local culture and can develop more genuine and nuanced stories than large corporations. Their agility allows them to experiment with new formats and platforms quickly, whether producing vertical videos for social media or collaborating with influencers. By partnering with tourism boards or community organisations, they can access funding and distribution channels while maintaining creative control. In a world where audiences value authenticity and diversity, local producers play a crucial role in ensuring that lesser known destinations are represented fairly and creatively.

Considering the rise of emerging technologies such as virtual reality, 360-degree video, and AI-based editing, how is CIFFT adapting to these innovations, and how do you think creators should evolve to remain competitive and relevant?

CIFFT has been encouraging entrants to experiment with new technologies as long as they enhance storytelling. Several member festivals have categories for 360 degree or virtual reality experiences, recognising that immersive media can give viewers a sense of presence in a destination. Artificial intelligence tools are beginning to streamline editing, subtitling and personalisation, but creators should use them judiciously to support human creativity rather than replace it. As adoption grows, CIFFT will continue updating its competition guidelines to include innovative formats while maintaining the core principles of authenticity and quality.

Looking ahead, which key strategy or organizational direction do you believe will be essential for CIFFT to maintain its global leadership in tourism audiovisual communication over the next five to ten years?

To maintain its global leadership in the coming decade, CIFFT will focus on a clear set of priorities. It will deepen its commitment to sustainability by expanding initiatives such as the GreenWorking Awards and by integrating environmental criteria into its evaluations. Innovation will remain central, with new categories that reflect emerging formats like immersive and interactive media. Stronger partnerships with UN Tourism, the European Travel Commission and regional tourism boards will support cross-border projects and training opportunities. CIFFT will also continue to cultivate diversity by ensuring broad cultural representation among juries and encouraging submissions from underrepresented regions. Finally, sustained investment in education — through workshops and mentorship for young filmmakers — will help strengthen the professionalism of tourism video production. Together, these steps build on CIFFT’s established framework and reinforce its role as a global reference for excellence in tourism audiovisual communication.

To close with a more personal touch—Hugo, could you share a professional dream or personal project you have not yet fulfilled, and explain how it inspires or motivates you in your daily work leading CIFFT?

On a personal level, I have long dreamed of producing a feature length documentary that explores how travel videos have influenced people’s perceptions of places over the past century – tracing their evolution from early travelogues to immersive virtual reality. Such a project would combine my passion for tourism, filmmaking and education. It would also serve as a resource for industry professionals and academics studying destination marketing. This dream motivates me in my daily work: by nurturing innovation at CIFFT, I hope to inspire the next generation of filmmakers who will tell stories that shape how we see the world.

From the TSTT, we would like to express our gratitude to Hugo Marcos for his leadership at the International Committee of Tourism Film Festivals (CIFFT) and for everything his institution does to elevate the field of tourism film and the promotion of sustainable tourism. His work—marked by excellence, innovation, and a commitment to authentic storytelling—has not only supported the professional development of the audiovisual sector but has also contributed decisively to giving visibility to destinations, cultures, and communities on a global scale.

We would also like to highlight the importance of the partnership that has been developed over the past four years between CIFFT and the Tourism and Society Think Tank (TSTT). This relationship represents a strategic bridge between audiovisual promotion and the rigorous analysis of tourism trends, creating synergies that strengthen both professional capacity-building and sector sustainability. Thanks to this collaboration, a space for dialogue, innovation, and knowledge has been created—one that will continue to bring value to the global tourism industry.