Polak’s Dirty God opens IFFR, competes at Sundance 3 more Dutch filmmakers in Berlin Generation Bloody Marie bathes in IFFR Limelight Van Gool’s Beast roars in Rotterdam IFFR Bright Future for Nocturne

Issue #34 January 2019 Sundance, IFFR, Berlin and Clermont Ferrand issue Index COLOPHON 4-5 London calling Sacha Polak’s Dirty 22-23 Hats off to Huub The Hubert Bals 42-45 Series catch-up The Netherlands God opens IFFR and plays in Sundance Fund celebrates its 30th anniversary Production Incentive, as applied to high- See NL is published four times per Competition during IFFR 2019 end series for the small screen year by EYE International and The Netherlands Film Fund and is distributed to international film 6-7 Homeward bound In Ena 24-25 Long hot summer Feature 46-47 Shell shocked The latest EYE professionals. Sendijarevic’s Take Me Somewhere debutant Steven Wouterlood on My exhibition A Tale of Hidden Histories Nice, selected for IFFR Tiger Extraordinary Summer With Tess, sets out to examine how audiovisual Editors in chief: Marten Rabarts, Competition, a young woman embarks selected for Berlin Generation Kplus media can be used to explore, (EYE), Jonathan Mees (Netherlands Film Fund) upon an odyssey to visit her father back deconstruct and ‘unmask’ stories about Executive editor: Nick Cunningham in Bosnia 26-27 Such sweet sorrow Zara history Contributor: Geoffrey Macnab Dwinger’s short film Yulia and Juliet, set Concept & Design: Lava.nl 8-9 Blurred lines Viktor van der Valk’s in a youth detention centre and selected 48-49 EYE on VR EYE’s Anna Layout: def., Amsterdam Nocturne, selected for IFFR Bright for Berlin Generation 14plus, is a Abrahams about Tsai Ming-liang’s Printing: mediaLiaison Printed on FSC paper Future, concerns a filmmaker struggling modern take on Shakespeare’s tale of upcoming VR project The Deserted, as © All rights reserved: to separate fiction and reality doomed love well as the film museum’s dedication to The Netherlands Film Fund and the evolving format EYE International 2019 10-11 Dance of the beast Clara van 28-29 Coming of age in NYC Made in Gool’s IFFR-bound adaptation of Henry the US and world-premiering in Berlin, 50-51 Short Cuts News from the Dutch CONTACT Sandra den Hamer James’ The Beast in the Jungle, is Goldie tells the tale of a young woman film industry CEO EYE played out in the medium of dance trying to hold onto her family E [email protected] Back cover Director Sacha Polak, 12-13 Red light and graphic The good 30-31 Music from the body Composer whose Dirty God opens IFFR and plays Marten Rabarts Head of EYE International and the bad of Amsterdam’s Red Light Dan Geesin discusses his score for in Sundance Competition E [email protected] district collide in Guido van Driel and Esther Rots’ Retrospekt, selected for Lennert Hillege’s Bloody Marie, in IFFR Berlinale Forum EYE International Limelight PO BOX 74782 32-35 Power partners The Netherlands’ 1070 BT Amsterdam The Netherlands 14-15 We are family In Mijke de Jong’s attractiveness as a co-production partner T +31 20 758 2375 comic God Only Knows, selected for is underlined again by a slew of W www.eyefilm.nl IFFR Signatures, three sisters rally Berlinale 2019 selections around their suicidal brother who has Doreen Boonekamp had enough of those he believes are 36-37 Young, gifted and Dutch CEO Netherlands Film Fund E [email protected] betraying the world Producer Loes Komen, writer/director Stefanie Kolk and journalist Hugo Jonathan Mees 16-17 Sins of the father In Miel-Emile Emmerzael have been chosen as Dutch Communications Peter van Houten returns to the representatives at the 17th Berlinale Netherlands Film Fund E [email protected] Pyrenees to tell the tale of a friend, the Talents son of acclaimed artist Pierre Netherlands Film Fund Raaijmakers, and his troubled 38-39 Knowing the score IFFR Pro Pijnackerstraat 5 upbringing unveils a half dozen of The Netherlands’ 1072 JS Amsterdam finest composing talent for presentation The Netherlands T +31 20 570 7676 18-19 The curtain falls Inner to the international film community W www.filmfund.nl Landscape, in IFFR Voices, is the second of four films by Frank Scheffer 40-41 The measure of Meter The great ISSN: 2589-3521 about the way that traditional music Dutch experimental filmmaker Barbara cultures are disappearing Meter is honoured at Ann Arbour FF

20-21 Road to selfie discovery In his IFFR Limelight Camino, a Feature-length Selfie, director Martin de Vries takes the pilgrim’s path across The Pyrenees

Cover: Dirty God Sacha Polak See page 4 Stupid Young Heart Director: Selma Vilhunen page 34

2 3 IFFR Opening / Sundance World Cinema Competition London Calling Dirty God Sacha Polak

“Together, we started interviewing Polak has shown her ability to spot young women with facial scarring,” new talent before, casting the then Polak recalls. They were put in unknown Hannah Hoekstra in her touch with these women through debut feature Hemel. She sees charities, The Katie Piper Knight as a young actor with Foundation and Changing Faces. similar potential. “I heard some stories about these acid attacks. At that time, there Yes, Polak acknowledges, working Sacha Polak weren’t as many as recently but I in the UK was different from immediately thought it was such a making a film in the Netherlands. Dutch filmmaker Sacha Polak dramatic thing. A lot of it had to do Financing Dirty God was itself a was at a music festival a few with (the idea) that if you are not challenge. The BFI had never years ago when she noticed a beautiful for me, you are not before invested in a Dutch film but young woman with facial scar- beautiful for anyone.” boarded the project at script stage. ring, writes Geoffrey Macnab. BBC Films also came on board, a “I just saw everybody looking at Polak was able to draw on the considerable relief given that no her and looking away,” Polak expertise of Lucy Pardee, casting Dutch broadcaster was ready to remembers. director on all of Andrea Arnold’s support the film. Polak, though, films and an expert at street pays tribute to the Netherlands “I felt so bad for her. She could not casting of unknowns. Pardee had Film Fund, which has supported hide from this. That was the first discovered a video posted online her throughout her career, and to idea for a new film, just thinking by Vicky Knight, a young woman its CEO, Doreen Boonekamp. “I about how important the face is for who had been a burns victim think she’s wonderful and she communication and how it is your herself. Pardee tried to contact really stuck her neck out for this identity.” Knight but, at first, couldn’t get a film.” response. A few years before, Now, Polak has drawn on the mem- Knight had been approached to Dirty God has its first screening in ory of the scarred woman for her appear on TV but had then felt Rotterdam on Wednesday January first English-language dramatic betrayed by the producers when 23. The next day, Polak flies off to “The actress had to feature­ Dirty God. The film, which she discovered the programme Sundance for the US premiere. have the right back­ has its world premiere as IFFR they wanted her for was a sleazy This is the first Dutch title to have ground, be the right age opener before going on to Sundance dating show called ‘Too Ugly For been selected for World Cinema Competition, was largely shot in Love’. Dramatic Competition at the and to be open to the London’s Hackney. It tells the story celebrated festval in Utah. “I am film’s frank depiction of Jade, a young mother disfigured Eventually, Pardee won Knight’s really, really excited to go there…I of Jade’s sex life…” by an acid attack. Her face is recon- trust and brought her to Polak’s have no idea what kind of festival it structed but her beauty (she thinks) attention. Jade was a tough role to is, just that I expect it to be really has gone. When she gets out of the play. As Polak explains, the actress cold!” the director says of what will hospital, she struggles to re-estab- had to have the right background, be her first trip to Park City. lish herself and to deal with the be the right age and to be open to ­narcissism of social media and the the film’s frank depiction of the fickleness of old friends. Worse, she character’s sex life. “There are not thinks that her own daughter that many girls who would fit this regards her as a monster. profile but we found Vicky.” Director: Sacha Polak Script: Sacha Polak, Susanne Farrell Production: Viking Film (NL) Co-production: Emu Films (UK), A Private View (BE), Savage Productions (IE) Sales: Independent Film Company

4 5 IFFR Tiger Competition Take Me Somewhere Nice Homeward bound Ena Sendijarević

Nijmegen. This time, though, the Sendijarevic describes the film as emphasis was on the Bosnian being about girlhood and the returning to her homeland. journey to womanhood. “She (Alma) goes from one side to the other. “She had this great “I just felt the desire to explore the Also, it was not only her exploring intensity. She is a true relationship between the migrant her sexuality. It was also me rebel,” the director says and the country of origin,” the exploring my sexuality through her. of her young lead writer-director says of Take Me Writing certain scenes, it was a Ena Sendijarević Somewhere Nice. As soon as she challenge directing them and conceived the film, Sendijarević was sharing them with other people.” “It was a disaster…a complete also aware of the potential for disaster!” Ena Sendijarević cliché. She wasn’t the first director The film isn’t just about a girl jokes about the challenge of to have dealt with this theme. becoming a woman. It is also about trying to shoot Take Me Cheap nostalgia and sentimentality east-west relationships. Somewhere Nice in three could easily have crept into the Sendijarevic was keen to express different languages, writes storytelling. So could a deadening Alma’s feelings of alienation from Geoffrey Macnab. feeling of political correctness. her Bosnian roots and to show that after all her time in the A road movie about a young When it came to casting Alma, Netherlands, Alma had “different woman, Alma, who returns to Sendijarević looked at first for a cultural views” to those of her Bosnia from the Netherlands to Bosnian-Dutch actress from within relatives in the Balkans. visit her sick father, Sendijarevic’s the Bosnian community in the debut feature was made in Dutch, Netherlands. “We had a lot of The director has been back to Bosnian and English. The young reactions,” the director remembers Bosnia many times since she first director, who came to the of the response to the casting call. left the country as a child. Netherlands from Bosnia when she Some actors were suspicious about Returning to make a film was was seven years old, says there were the film’s exploration of the “completely different” to being times when her head felt “it was sexuality of the girl and its there as a visitor and meeting about to explode” as she tried to occasional explicit scenes. “There relatives. “I felt a huge deal with her Dutch and Bosnian were a lot of girls who were not responsibility. For me, it’s not a crew. “It was at this point I told comfortable with that.” film necessarily about Bosnia. It’s a them I was only going to Sendijarevic’s eventual choice Sara film more about being between communicate in English.” Luna Zorić (also starring in Zara cultures,” Sendijarević reflects. Dwinger’s Yulia and Juliet, p30), Sendijarevic describes the film, however, had no trepidation about Even so, she asked herself on a daily supported by the Netherlands Film the role. basis if she had the right to be back Fund, as “a bit of a follow up” to in the country, which became part her well-received short filmImport “She has this great intensity. She is of the story. She wanted to be (2016), about a day in the life of a a true rebel,” the director says of respectful without being Bosnian family living in the her young lead. “On the set, her reverential. After all, this is a film Netherlands, which premiered in rebellious spirit gave me a lot of about alienation, and the different Cannes before picking up the Best strength. I felt that through her, I languages added to the tension and Fiction Short Film at Dokufest and could be in touch with my inner mood of unease that she was trying the NTR Go Short Award at teenager,” says Sendijarević. to capture. Director & script: Ena Sendijarević Production: Pupkin Co-production: VPRO Sales: Heretic

6 7 IFFR Bright Future/Big Screen Competition Nocturne Viktor van der Valk Blurred lines

year below was available. “We were Wildcard funding from the on the same page in what we found Netherlands Film Fund. Julius interesting in cinema. He was also Ponten, the maverick producer very open-minded,” the director says behind Wolf, joined the team as of his writer/collaborator. executive producer after the Film Fund asked the filmmakers to find Nocturne owes an obvious debt to “someone a bit more experienced” Jean-Luc Godard in the way it bares to guide them on their first feature. Viktor van der Valk its own devices and questions the “He (Ponten) is up for adventure. We very idea of telling dramatic stories thought he’s the guy we really need Viktor van der Valk’s debut on film. “I thought film is not only to have,” says Van der Valk. feature Nocturne, written by about telling a story. I use film more Jeroen Scholten van Aschat and as a platform for thoughts, ideas premiering in IFFR’s Bright and fragments,” the director “I use film more as a Future section, is a very self- reflects. “For me, it (filmmaking) is platform for thoughts, reflexive affair. very close to making music in a way, with rhythm, tempo, editing and ideas and fragments” It is a film about a filmmaker trying acting all connected. They are all to make a film, and struggling to different instruments that need to separate fiction and reality as he be in harmony somehow.” As for casting his elder brother, does so. We see him wandering Viktor points how that was part of a through the city by night. His Nocturne had its origins in Onno pact the two siblings made when girlfriend has left him, adding to his the Oblivious, which won some they were kids. “We always used to sense of bewilderment and money as well as prizes for the make films together. We made a estrangement. The main character director and his writer. “We said: mutual agreement that our first Alex, is played by the Reykjavik-born ‘let’s make our dream come true feature film we would do together.” director’s own brother Vincent van and make our first feature film.” der Valk, while screenwriter Having studied at film school for Yes, its central character is very akin Jeroen’s brother Reinout Scholten four years, Van der Valk was utterly to Viktor himself who faced similar van Aschat is also in the cast. immersed in the world of cinema. dilemmas in his work and private Movies were his reality. It therefore life. “It’s this crisis of having to grow Viktor and Jeroen were at the made perfect sense to make up but being afraid of losing your Netherlands Film Academy in Nocturne into a story about a childhood. It is how to deal with this Amsterdam together. The director director similar to himself. world in front of your eyes but also was in the year ahead of the how to deal with the world behind screenwriter and wanted to write his The movie was produced by Maniak your eyes,” is how he characterises own scripts. However, when he Film, the company set up by Viktor Alex’s state of mind in the film. embarked on his graduation movie together with another Film Academy “Film is a really good arena in which Onno the Oblivious (2014), he colleague, producer Erik Glijnis to touch these kinds of subjects. In realised he needed help. “I thought, (who is also currently working as a film, you really live two different OK, I need a partner in crime.” His producer at Lemming Film). They worlds. It is always a question of teachers told him that all the used crowd funding, brought how far you go with your obsession screenwriters in his own class were Lemming and Belgian outfit A and when you are coming back on already taken but that Jeroen in the Private View on board and secured earth!” Geoffrey Macnab Director: Viktor van der Valk Script: Jeroen Scholten van Aschat, Viktor van der Valk Production: Maniak Film (NL) Co-production: A Private View (BE), Lemming Film (NL) Sales: Some Shorts 8 9 IFFR Limelight The Beast in the Jungle Clara van Gool Dance of the beast

In the film, supported by the time relying on muscle, grace and Netherlands Film Fund and picked motion. “This is about movement up for world sales and US within the text which is part of the distribution incl theatrical by whole choreography. It is also about NY-based Juno Films, the couple the energy of expression and how don’t age but we observe time you can allow for more passion with passing through their placement dance than you would do normally within the same English country with acting.” Dance is a direct way Clara van Gool house in the 19th century, during the to approach classic themes, she Second World War, in the 1960s and adds. In Clara van Gool’s adaptation in modern times. “I wanted to mirror of Henry James’ The Beast in the their story within the progress of The Beast in the Jungle is produced Jungle, the drama is played out time.” by Amsterdam-based KeyFilm and in the medium of dance, and set co-produced by Amour Fou in across many eras. Dance is used to reflect the Luxembourg, where the film was psychological depths and lyricism of shot. (The project was developed in Henry James’ novella is a complex James’ book, elevating the film from collaboration with Illuminations story of love, loneliness and fate in the constraints of narrative Films UK, with development finance which John Marcher and May convention. “That concept of waiting sourced from the BFI.) But given the Bartram meet again after ten years. for something for such a long time, strong Dutch base to the During their first encounter waiting for their love, you can write production, from financial, creative Marcher had revealed to her his about it but if you translate it into [a and technical perspectives, did Van premonition that something conventional film] you have to invent Gool ever consider making it Dutch terrifying would happen to him, a lot of side dramas to make it language? something crushing - like “a beast ‘believable’ – and I thought that was in the jungle.” Ten years later, May a pity for such a multi-layered story, From a practical perspective, she is still intrigued by John’s assertion and with dance I hoped to grasp an points out, the chance of finding but this time determines to remain element of the beauty and purity of two excellent performers who could close to him, even developing this book,” comments Van Gool. “In both act and dance would have been feelings of love for him, albeit general, dance is a way to bring narrowed somewhat if they had to unreciprocated. And so May decides something that is underneath up to also speak Dutch. She adds: “No, for to accompany John towards a tragic the surface. In the book, beneath the me it was always an English- end. Only then does he come to words and sentences, you feel a language project, the text is so understand the true meaning of his whole world of emotional precise, some of which I lifted premonition. choreography, and I wanted to bring verbatim from the book – I like to this into the daylight.” play with these texts as well. Of “The Beast in the Jungle is not an course you can imagine a Dutch easy read because the plot is quite The director further elaborates on storyline too, but I always imagined static, all the action is internalized. the effectiveness of dance with the really English landscape, the Labyrinthine reflections form the reference to her Voices of Finance English houses, the whole English real movement of the story, but I (2016), which transposed the culture – and the horses. In read it more like a duet,” explains financial blogs of Joris Luyendijk in Luxembourg we really looked with Van Gool of her approach. “I could The Guardian (UK) into equally special glasses to find what could be see John and May as dance figures.” articulate monologues, but this British.” Nick Cunningham Director: Clara van Gool Script: Glyn Maxwell, Clara van Gool Production: KeyFilm (NL) Co-production: Amour Fou (LU) Sales: Picture Tree International 10 11 IFFR Limelight Bloody Marie Guido van Driel Red light and graphic and Lennert Hillege

The story was co-directed/written And on acting drunk? “We didn’t with Lennert Hillege (also DOP actually give her that much advice. on Bloody Marie as well as Retros- We told her to spin around before pekt, see p16) and inspired by an you do the scene so you get a bit dizzy alcoholic friend of theirs who – that’s all she did. The rest was her seemed almost beyond redemption. acting abilities.” “The original idea was that it would be a male character in the main part, One of the key motifs within the film but then Lennert thought ‘why is the insertion, like punctuation, of shouldn’t we make him a woman’, graphic drawings (created by the Bloody Marie, the eagerly awaited which we both thought was more director) that offer surreal counter- second film of Guido van Driel, interesting.” point to the rich and colour-satu- co-directed by Lennert Hillege, rated action within the narrative. The world-premieres in IFFR Limelight. German actress Suzanne Wolf (Styx, first drawing, of an enormous red The director talks to Nick 2018) was signed up and subse- shoe placed upon a tidy and mono- ­Cunningham about drunks, roof- quently turned in an astounding per- chrome Amsterdam, stops you in tops and animating Amsterdam. formance as Marie. Whether drunk your tracks, making you wonder and offensive, sharing a bottle of what it is you have just seen. The In Bloody Marie, produced by Family vodka with an apparition of her drawings, Van Driel suggests, indi- Affair Films and supported by the deceased mother, or pathetically try- cate both the psychological state of Netherlands Film Fund, Guido van ing to convince a publisher of her Marie’s mind and her increasing reli- Driel violently meshes two different remaining powers as an illustrator, ance on the pen (and diminishing sides of Amsterdam’s Red Light she exudes authenticity, authority need for the bottle). “The graphic drawings ­District. On one hand it is a squalid and grace. In one terrifyingly vertigi- offer surreal counter­ location for international prostitu- nous sequence she scales the side of Borgman (and Peaky Blinders) star point to the rich and tion and drug-dealing, on the other a her Amsterdam townhouse, drunk as Jan Bijvoet puts in a spirited perfor- colour-saturated action” homely neighbourhood populated a lord, and ends up tottering on the mance once more as a quasi-super- by friendly locals who look after each roof in her stockinged feet 100 feet natural sprite who befriends her, but other’s best interests. over Amsterdam. whose seeming omnipotence she finds disconcerting, especially as he These extremes meet in the story of “We found her after meticulously knows so much of her dead mother. Marie, an objectionable drunk by investigating many many German His character grew out of a dinner night, a sensitive and thoughtful actresses – seeing a lot of show- party experience when Van Driel and (and hungover) graphic novelist by reels. During her audition she did his wife met a woman who took his day who is unable to repeat the one something which surprised Van wife’s hand and began to tell her publishing success she had with Driel, shouting with drunken fami- detailed personal stuff about her life her Porn for the Blind. One night in a larity at the apparition of her dead and that of her recently deceased dark alley, she swaps a fabulous pair mother. “That really proved to me father. “Her occult talents always of red Jimmy Choos for a bottle of that she understood the sense of inti- randomly came to the surface, she spirits, thereby setting in motion a macy between Marie and her mother. said, and she told us so much stuff gory tale of murder, mayhem and Then she immediately told us that that she never could have known, as creative renaissance. she was interested in learning Dutch, we met her for the very first time that which was quite extraordinary, and night. It was a very impressive which she did in a very short time.” evening.” Director & script: Guido van Driel & Lennert Hillege Production: Family Affair Films (NL) Co-production: Bulletproof Cupid (BE) Sales: Family Affair Films

12 13 IFFR Signatures We are family God Only Knows Mijke De Jong

light, horror and joy succeeded each She recently held a private other. I also liked to make a film in screening. To her delight, they loved this time in which the Protestant it and recognised parts of faith plays a role,” is how the themselves in the characters. director reflects on the symbolism in the film. God Only Knows, supported by the Netherlands Film Fund, seems on Marcel Musters, who plays the the surface like a screwball comedy. Mijke De Jong brother, was in Stages as was Elsie Scrape beneath the surface, though, De Brauw, who plays the sister and you realise that De Jong is Mijke De Jong’s new feature God trying to help Thomas sort out his touching on profound and Only Knows expresses in wry, life. Monic Hendrickx is the other provocative questions about faith, comic fashion the near despair sister, Hannah, who feels he should belief, sacrifice and loyalty. that one middle-aged, middle- be left to “live his own life.” class Dutch man on medication The project is much smaller than feels at the general plight of “I wanted to search all the big and her previous feature, the epic drama humanity. small questions that face me and Layla M. De Jong discarded my friends and our generation in traditional “shot reverse shot” film Dismayed by the apocalyptic images the world,” the writer-director grammar. She uses handheld of religious wars, global warming explains. She quickly decided that camera, split screen and shots of and the refugee crisis that flicker setting her story within a family and old letters written by the characters. across his computer screen, and approaching the subject matter “One of the assignments to myself convinced that the “whole world is with plenty of humour was the was experimenting with form. In being betrayed”, Thomas takes a wisest idea. Together with the actors addition to the realistic form in running leap into the nearest canal. she designed the characters. which the brother and sisters show When he is fished out, it is up to his each other the worst of themselves, long suffering sisters, Hannah and De Jong shares some character I want to show more: their past and Doris, to tend him. traits of all of her three main the world nowadays. I chose a more protagonists. She understands the abstract form here. In the split The film, which the writer-director brother’s sense of impotence and screen, I want the public to choose regards as a follow-up of sorts to her despair. “I see his mechanisms,” their point of view and in the others 2007 hit Stages, takes place in the she says but adds: “it’s not that I feel scenes we choose the focus.” run-up to Easter. “It’s the dying and burned out. I am not burned out at starting over again, the crucifixion all.” The director also empathises The director relishes the prospect of of the ego,” Thomas speaks into his with the caring sister (De Brauw) screening the film for the first time tape recorder, trying to explain just and the other sibling, the fiercely at Rotterdam, her home town. “The why he becomes so emotionally independent and self-reliant festival was very important for my “It was beautiful that overwrought at this time of the year. photographer. “They love each decision to go to film school and be darkness and light, other. They can’t live with each a director…for me, it is the perfect horror and joy “As a child, the suffering of Jesus other…and they can’t live without place to premiere the film.” succeeded each other” made a big impression on me. That each other,” she describes a familiar Jesus was crucified for our sins I did family dynamic. De Jong comes not fully understand, but I thought from a big family and has four it was beautiful that darkness and sisters and one brother herself. Director & script: Mijke de Jong Production: Topkapi Films Co-production: VPRO

14 15 IFFR Signatures Sins of the father Miel-Emile Peter van Houten

“I’ve been coming there every year taught him to understand the for 25 years. It’s an amazing family, natural world. “In their education, I know all the sisters and brothers. the father opened his children’s There are 12 of them,” Van Houten eyes to look at the beautiful side says of the Raaijmakers clan. of life.” (Director Van Houten’s links with them stretch back to his childhood The director acknowledges that in Etten Leur, where Pierre was some of the brothers and sisters Peter van Houten brought up). What prompted the were startled and upset by The Life director to make a second film was of Jean-Marie. The film dealt with To make his previous Emile’s revelation that he had kept aspects of the pastor’s adulterous documentary, The Life of Jean- many secret, beautifully written romantic life which everybody in Marie, Peter van Houten spent letters by his mother. These give a the community already knew about several years high in the chilling insight into her life with - but which still seemed startling Pyrenees, following a Dutch Raaijmakers. when dealt with so openly on pastor who looked after 25 rural screen. Van Houten is making sure parishes in the area, writes This was a strict Catholic family. that the family aren’t given any Geoffrey Macnab. Raaijmakers treated his wife as if surprises by Miel-Emile and has she was a chattel. She had no rights insisted that Emile shares details Now, the director has returned to of her own and had to accede to all of the secret letters from his the same mountain community to his wishes. The documentary tells mother with the family. make Miel-Emile, supported by the Emile’s story but also offers a very Netherlands Film Fund and world- frank account of his parents’ Van Houten shot many hours of premiering in IFFR Signatures. marriage. very intimate material. He was This is the beautiful, very remote using a small camera and tried to place where, many years ago, just The artist was a truly contradictory make sure he was as unobtrusive as after the Second World War, Dutch figure, tyrannical in his domestic possible. He filmed without a script artist Pierre Raaijmakers (pastor life (Emile likens him to a Soviet era and says that this was a film he Jean-Marie’s father) took his dictator) but very passionate about “discovered in the editing” (which family, promising them paradise aesthetics and culture. “I know took two years). on earth. there is another half of the father who really wants to improve him- Ask him whether he regards the As the new documentary reveals, self; wants to improve the world and mountain top home of the Raaijmakers’ children had an often make it a better place for all of us.” Raaijmakers family as a heaven or a very difficult time in their hell and he pauses as if it is a “He may have been a visionary mountain home. Raaijmakers may Even as he grew old and frail, question he is still deliberating have been a visionary painter/ Raaijmakers remained the same over. “There are a lot of different painter/sculptor but he was sculptor but he was also a domineering figure, still trying to feelings,” he reflects. “We really also a dictatorial figure who dictatorial figure who expected control the lives of his children. liked to go there. We embraced the expected absolute obedience absolute obedience from his wife Emile’s feelings toward him are family and they embraced us. We from his wife and kids” and kids. Emile (nicknamed Miel), ambivalent. For all the pain his talked a lot with them and had a lot the subject of the new film, is now father caused him and the of fun. On the other hand, there an old man. He is the son who resentment he clearly feels, Emile was some kind of poison in the probably suffered the most. appreciates the way Raaijmakers family….” Director & script: Peter van Houten Production: AnnaZharkovFilm Co-production: De Productie

16 17 IFFR Voices The curtain falls Inner Landscape Frank Scheffer

The Dutch director may have studied communicate with one another. He industrial design and then film­ is dismayed by the ignorance of making but his real passion is music. western audiences. They know far, As he puts it: “music is much deeper far less about Chinese culture than than language in a certain way; it is the Chinese know about Western more cosmic. It brings us together.” culture. “That is a serious problem There may be political conflicts and since China is becoming so misunderstandings between nations important in this century.” Frank Scheffer but (his film argues) “everybody can feel music.” He may not make music Shooting Inner Landscape in Inner Landscape is the second himself but he uses his Bolex film China presented obvious of four films that Frank Scheffer camera as if it is a musical challenges. “The biggest problem is making about the way that instrument. He talks of “composing is communication.” He isn’t fluent traditional music cultures are films.” in Mandarin himself but counts disappearing fast all over the himself very fortunate that he met world, writes Geoffrey Macnab. The first title in his tetralogy was Chinese producer Jia Zhao, who Gozaran-Time Passing (2011), about became his partner. “By talking to In each film, Scheffer invites Iranian composer Nader Mash- her, I was able to get deeper into notable figures to respond to the ayekhi. The third one will be about a the Chinese way of thinking and vanishing of musical forms that Syrian clarinettist and the fourth will feeling.” have been in existence for centuries. explore ancient Indian music. Schef- “The subtleties in the The focus of the new feature, fer had already made a cycle of films One version of the documentary singing, the nuances, supported by the Netherlands Film about western composers – “from has already shown on TV but are like fine woven silk” Fund, is Sichuan opera. The director Mahler to Frank Zappa” – and he felt Scheffer says the theatrical cut asks Beijing-based Guo Wenjing to it was only natural to look further screening at IFFR is “completely write a new piece that incorporates afield. Meeting Nader Mashayekhi in different” and should be regarded it into a modern setting. “His music Iran convinced him that if he really as a world premiere. spoke to me very much,” the wanted to continue to find “the soul director says of the composer who of music”, he needed to look east. Warming to his theme, Scheffer wrote the celebrated opera ‘Wolf He was also determined to fight talks about making his music films Club Village’. against the homogenisation of as a kind of bliss. “My earliest global musical tastes. memories are about music. I loved Scheffer acknowledges it takes music always so much,” he westerners a little while to attune “Like the Chinese composer in my explains. “The feeling with music, themselves to Sichuan opera with film says, how can hair grow when even as a young child, was already its high pitch and extreme there is not skin on the head? The so strong (for me). I think when I stylisation. “It took time for me to idea that all these traditions are was five, I wondered why the school get into it but at a certain moment, fading away leaves a situation like a comrades I was playing with didn’t I found out that the details and the desert. That is very scary. It’s the have this music in their heads. subtleties in the singing, the diversity of cultures that makes I constantly had this music in my nuances, are like fine woven silk. It them interesting.” head that I could sing. It occurred is very precise and very rich.” to me my friends didn’t have that Music, the director continues, so strongly…from that moment on, helps different cultures to I stayed with my love for music!” Director & script: Frank Scheffer Production: Selfmade Films (NL), Pieter van Huystee Film (NL) Co-production: Buddhist Broadcasting Foundation (NL)

18 19 IFFR Limelight Camino, A Feature-Length Selfie Martin de Vries Road to selfie discovery

work. It was not pleasant for my wife walking, talking of the rhythm you to be suddenly at home alone but establish and the “sensory” she gave me great support.” He pleasures of “hearing, smelling” knew there would never be a perfect and observing - and of being in moment for a trip like this. Maybe nature, lost in his own thoughts. his “mother would get sick or his dog would die.” If he was going to A friend of the director, producer make the pilgrimage, he had to take Hans de Wolf, saw the footage and Martin de Vries the leap and not worry about the was enthusiastic about it. He consequences. suggested that maybe this could When you go for a 1600km walk work as a feature documentary. on your own, you’re bound to De Vries wasn’t especially well Gradually, De Vries set about find out a lot about yourself. prepared either for the walk or the winnowing down his footage into Using a GoPro and an iPhone, film about it. He describes the trip the 85-minute feature premiering in Martin de Vries has made as “a confrontation with myself.” IFFR Limelight. Doxy Films is his Camino, a Feature-length Selfie, (He often filmed his own shadow.) producer partner. Periscoop has a film of his epic journey by foot He didn’t have a script but instead come on board to handle the Dutch along the Camino route taken by filmed himself in the landscape in distribution. The project was pilgrims for hundreds of years an “intuitive” way. He talks about supported by The Netherlands Film from the middle of France to going “further and further into Fund. Santiago de Compostela in the myself” the longer the trip north-west of Spain. progressed and about sometimes “I’ve got no feeling now of what the even forgetting that he had a camera reaction of the audience will be but, De Vries can’t pinpoint exactly when with him. of course, it is an international he had the idea to embark on his topic,” the director says of his film journey. He had seen The Way about a walking pilgrimage that (2010), a fictional film in which “Superlatives are not thousands of others from all over Martin Sheen played a character enough. It was a very the world have also made over the walking the same route as he tries to years. The subject matter may be recover from his grief over the death special experience” universal but the style of the film of his son. De Vries was determined couldn’t be more personal. As to seize the moment. He had De Vries says, he is putting himself recently turned 60. His children had There were moments of acute “under a magnifying glass” and left home. After a lengthy career as a physical discomfort and near allowing viewers to see raw and TV editor, programme maker and despair along the way. These were personal moments. producer, he at last had some time more than countered, though, by He admits to wariness about on his hands. the euphoria and exhilaration. showing the public a film “from and “Superlatives are not enough. It was about myself” which reveals his “I got the strong feeling not to a very special experience - the trip, vulnerabilities. He hopes, though, postpone any longer,” De Vries the people, the landscape and that his example might inspire remembers the beginning to the especially the walking itself - more others to get hiking themselves. trip. “Of course, a few months away than two months of walking,” he Geoffrey Macnab from home is never really says of the pilgrimage. De Vries convenient with your family and struggles to describe the bliss of Director & script: Martin de Vries Production: Doxy Co-production: Real Eyes Media

20 21 Hubert Bals Fund 30th anniversary Hats off to Huub

Now in its 30th year, IFFR’s without some adversity along the production is sometimes still a Hubert Bals Fund (HBF) way. In 2013, support from the problem,” Van den Elshout notes. continues to define the identity Ministry Of Foreign Affairs dried up Netherlands Film Fund CEO Doreen of International Film Festival and HBF needed to scramble for Boonekamp was keen to support the Rotterdam, writes Geoffrey alternative sources of financing. In new wave of post-production Macnab. hindsight, that mini-crisis helped companies and therefore­ the award the Fund to evolve. As Van den achieves two aims at once - it helps Over the past three decades HBF has Elshout notes, HBF began to look the Hubert Bals Fund directors supported the careers of some very outward and to collaborate with while also giving a boost to the notable fillmmakers; Carlos similar schemes across Europe. resurgent post-production sector in Reygadas, Chen Kaige, Férid The Fund was also able to secure the Netherlands. Boughedir, Amos Gitai, Rithy Panh, backing from Creative Europe – Gaston Kaboré, Zhang Yuan, MEDIA programme of the European As ever, IFFR’s 2019 selection has a Apichatpong Weerasethakul, Pablo Union, which enabled it to create strong smattering of HBF titles. Trapero, Cristian Mungiu, Pablo HBF+Europe, its highly successful “Serbia, Syria, Chile, Iran, Argentina, Larrain, Haifaa Al Mansour and Nuri scheme for minority co-production Kenya, Singapore, Brazil,” Van den Bilge Ceylan among them. The list support. Elshout ticks off the countries goes on and on. represented, one by one. The Van den Elshout welcomes the way subject matter is as varied as the What’s more, since 1989 HBF- that Dutch producers now regularly countries of origin: for example, backed films have won numerous collaborate with Hubert Bals Fund Mariano Llinás’ epic La Flor might awards and played in official directors - and accompany them to best be described as a spy movie selection not just in Rotterdam but the major festivals. She also points while Rafiki is a bold yet playful in Cannes, Venice, Berlin, Sundance, to the backing of the Netherlands lesbian drama from Kenya. “It is all Locarno and Toronto too. In 2018 Film Fund (NFF) via the NFF+HBF completely different,” says Van den alone, A Land Imagined by Co-production Scheme. “The Film Elshout. “There is not really a trend Singaporean filmmaker Yeo Siew Fund is very important to the Hubert to be discovered.” picked up the Golden Leopard in Bals Fund and is an amazing Locarno while Dominga Sotomayor partner.” The Hubert Bals Fund currently was named Best Director for her invests roughly €260,000 in third feature Too Late to Die Young. In late November, the NFF together co-production, €220,000 in with the newly formed Netherlands development and €100,000 for post- “I don’t know what the festival Post Production Alliance (NPA), production. These are not huge (IFFR) would be without the Hubert joined with HBF to launch a new amounts but, over the last three Bals Fund. I think it would look very “Dutch Post-production Award.” decades, the Fund has achieved different,” admits Marit van den HBF-backed projects can now apply extraordinary results on relatively Elshout, Head of IFFR PRO for post-production support of modest budgets. Named after the CineMart, on the funding initiative €50,000, as long as the post- Festival’s visionary founder Huub that supports feature films from production is done at one of the NPA Bals, who died in 1988, the Fund Africa, Asia, Latin America, the member studios in the Netherlands. ensures that 30 years on, his name is Middle East and parts of Eastern still associated with extraordinary Europe. “A lot of filmmakers we support, and ground-breaking new they manage to go into production filmmaking from all corners of The triumphs haven’t been achieved with the funding they have, but post- the globe. Wadjda Director: Haifaa Al Mansour Production: Razor Film (GE) Co-production: Highlook (SA) Sales: The Match Factory 22 23 Berlinale Generation Kplus My Extraordinary Summer With Tess Steven Wouterlood Long hot summer

and the way that he thinks about film stories. These stories were life.. It is a beautiful story with close to my own life. People look at different layers and a light tone, and the world they grew up in and not at all childish.” realise how different it is to the world that has subsequently evolved The film was shot on the Dutch around them, and it is reassuring holiday island of Terschelling in when you read books or see movies Summer 2018, one of the most that you are not alone in noticing Steven Wouterlood glorious summers in living memory. this change,” the director answers. On the face of it, this sounds ideal. “I want to take the children’s Nick Cunningham talks to feature But room rates on the island retreat audiences seriously and to talk debutant director Steven were at a premium and availability about tough and difficult subjects Wouterlood about My Extra­ was low. “It was a huge challenge to too. My films are about universal ordinary Summer With Tess, arrange everything, but we received a themes, recognisable and close to selected for Berlin Generation lot of help from the local people who everybody’s lives, but seen through Kplus. embraced us and were very warm the eyes of young kids.” and enthusiastic,” comments My Extraordinary Summer With Tess Wouterlood. The wilder parts of the is an adaptation of the worldwide island, “which resembled parts of The wilder parts of the bestselling novel by Dutch novelist South America or Spain”, enabled island enabled the direc­ Anna Woltz. It tells the charming the director to imbue the film with a tor to imbue the film and elegiac story of 11-year-old Sam fiery Latino look, which is further – a bit dreamy, a bit of a loner – who, enhanced by a salsa soundtrack and with a fiery Latino look while on a long hot summer with his even the introduction of the large seemingly distant family, meets the family tortoise. unusual Tess, a girl the same age, Wouterlood says he has no concrete who harbours a big secret. Together The child actors Josephine Arendsen plans right now for a new film but they are drawn into an adventure (Tess) and Sonny van Utteren (Sam) will continue to make films for kids that makes him realize that you put in convincing performances, in future as well as films for older should cherish your family instead of their developing affections for each audiences. fleeing. He also feels compelled to other rendered more touching and take a drastic decision that puts his authentic by her standing a good six My Extraordinary Summer With special friendship with Tess at risk inches taller than him. “I like to work Tess is produced by BIND, co-pro- and which will change her life with kids. I want to make them feel duced with Germany’s Ostlicht forever… comfortable and gain their trust, and Filmproduktion and supported by I make sure it’s fun. It’s very the Netherlands Film Fund. It also “I knew immediately that this was important for them. That’s why it’s is the first film to come out of the the story for my first feature film. I important to choose the right crew to Children Co-development Fund col- find it to be a heart-warming create the best atmosphere on set for laboration between the Netherlands narrative with a wonderful mix of the kids,” stresses Wouterlood. Film Fund and German fund MDM. excitement, emotion and humour,” September Film has pre-bought reflects director Wouterlood, who And why just kids’ films thus far? “It Benelux rights and is lining up a has hitherto specialised in films for was an organic process when I release in autumn 2019. kids. “I can identify a lot with Sam started at film school and writing Director: Steven Wouterlood Script: Laura van Dijk Production: BIND (NL) Co-production: Östlicht (AT) Sales: Picture Tree International 24 25 Berlinale Generation 14plus Such sweet sorrow Yulia and Juliet Zara Dwinger

Dwinger captures the dangerous, “It wasn’t through rehearsal, it was exhilarating essence of mainly through them bonding. In teenagehood in Yulia and Juliet, as casting we already knew that they she did in Sirene (2017), “Maybe were very special and unique actors. there is a lot more happening in We had two rounds of casting, and your lives than when you are grown the two girls had an interesting up, and every emotion is new and chemistry,” replies Dwinger. “Also amplified and everything takes on a through talking a lot about the Zara Dwinger huge importance or significance. story, trying to make them feel Also when I researched Romeo and comfortable and having fun with Set in a 21st century youth deten- Juliet, they are the ultimate each other, and seeing if there were tion centre, Zara Dwinger’s short teenagers because everything they any parallels between their own film Yulia and Juliet, selected for do is so big and so dramatic. But lives and the characters they play in Berlin Generation, is a modern they are also really authentic, so the film. Sometimes some very interpretation of Shakespeare’s the goal was to replicate this, to good stuff came out of that.” tale of desperate young love… make Yulia and Juliet just as ‘larger than life’. “But the rehearsal period wasn’t …although that was not the elaborate. Because they are not intention from the start. Dwinger, This seems to be a signature professional actors I don’t know if who had just received much acclaim characteristic of her craft. Speaking over-rehearsing was ever the way to for her graduation filmSirene , was in 2017 before the Clermont go. These actors were so authentic fascinated by “the arena” of the Ferrand international premiere of that you really wanted to retain detention centre and had an idea to Sirene she commented how, “I like their essence.” create a story about two friends, a bit of realism but I think it is really both girls, one of whom is released, nice when a film is larger than life, Dwinger’s film is cast mainly of the other of whom has to remain. not really of this world but dreamier women, not by design she and more exaggerated.” underlines, it just seemed natural “It was just about two friends at that given the film’s subject and themes. point, but then we (Dwinger and The production was supported by That said, she is delighted that its screenwriter Jolein Laarman) KORT!, a joint project between the selection for Berlinale coincides realised that it would be much more NL Film Fund and public with the festival’s 2019 interesting if they were in love with broadcaster NTR. Retrospective: Self-determined – each other as this would mean the perspectives of women filmmakers. stakes would be so much higher. So The two leads, Sara Luna Zoric (who we were talking about young love plays Yulia, also starring in Take Me She adds: “And because I really love and about passion and about the Somewhere Nice, p12) and Dylan stories about teenagers this tragic aspect of their love being Jongejans (Juliet), were discovered Generation program was always a doomed, and we thought ‘hey wait a via digital street casting on social goal for me, and now it has actually minute, this really reminds us of media. Both give highly assured happened. I am deeply honoured Romeo and Juliet’. We actually performances, fiery and nuanced, that the film is selected.” started with our own story and and the chemistry between the two gradually navigated towards the on screen is palpable. How did most famous of Shakespeare’s Dwinger prepare them for their plays.” roles? Director: Zara Dwinger Script: Jolein Laarman Production: Lemming Film Sales: Kapitein Media

26 27 Berlinale Generation 14plus Goldie Sam de Jong Coming of age in NYC

homeless families. He visited youth Early on, De Jong made the decision juvenile centres and visited a not to foreground the politics. As an Brooklyn family centre. outsider, he didn’t feel qualified to comment on US welfare issues. His Goldie, world premiering in Berlin, interest was in the human side of is a coming of age story about a the story. “For me, the story focuses young woman trying to keep her on the idea of pop culture being a family together, and her sisters out way out of a tight situation - a way Sam de Jong of the clutches of the welfare out of being marginalised.” services after her mother is Sam de Jong spent two years imprisoned. Goldie is played by Was the experience of his first writing and researching his Slick Woods (the gap-toothed, American movie exhilarating or second feature Goldie in the US, shaven headed Vogue and Calvin deeply stressful? “There were writes Geoffrey Macnab. The Klein fashion model). “The film extreme highs and extreme lows,” new work is selected for Berlin ended up being a collaboration he says. He was very excited to Generation 14plus. between us. A lot of elements in the discover the film was actually story are based on her life and happening. All the time he spent The young Dutch director didn’t journey,” De Jong says of his young researching and writing endless have the money to rent an star. He met her through New York- drafts of the screenplay, he had apartment. He therefore stayed in based casting directors who had been constantly scared the project the “shittiest, smallest” Brooklyn worked with her before she was might collapse. He had heard all the Airbnbs he could find or couch famous. stories about actors dropping out surfed with friends. He spent some and films being put into turnaround time in Harlem but couldn’t afford or losing financing. “The first day of to venture into Manhattan. “A lot of elements in the shooting, I couldn’t believe it was “Starting life in the US is really hard. story are based on her actually happening. At the same If you don’t have any credit score, it life and journey” time, you feel this extreme pressure. is hard to rent an apartment,” De It’s your second film. You’re in a Jong observes. foreign country and you’re the only Dutch guy in the crew!” In the end, someone he met through FilmBuff/Gunpowder & Not many young Dutch writer- Now LA-based, De Jong has various Sky, the US distributor of his debut directors have their second features other new US projects on the boil feature Prince (2015), gave him a financed by Twentieth Century Fox. but has also been developing a new room. That, though, is what happened film with Dutch outfit Halal (with with Goldie. The film was made whom he worked on Prince). “Yes, I De Jong was finding out about the through a joint venture between Fox want to start a project in the US and welfare system and the plight of and Vice Films. “It was quite scary at it would be stupid to leave now…. homeless families. His own first to deliver a first draft and to but I also feel a great desire to work experiences bouncing around New work on building a trustful with my Dutch friends again.” York helped give him an insight into relationship – to feel free to be their worlds. His research also took yourself and experiment,” De Jong him to LA, Seattle and Boston. He says of the relationship with his met counsellors, social workers and backers. Director & script: Sam de Jong Production: Goldie Films Inc.

28 29 Berlinale Forum Music from the body Retrospekt Esther Rots

Esther Rots “Those are the two things I have differences between the Dutch and always tried to use in my own work.’ the English. The artist and com- poser may live in the Netherlands Waters’ son, Harry Waters, joined but his work still reveals his British Geesin on the recording of the roots. “You can’t beat British ­Retrospekt soundtrack. “We don’t humour, the fundamentals of know each other. We didn’t grow up which are very present in Retros- together, but there was a taken for pekt,” he says. “Laughing in the granted trust and respect between face of adversity, it’s a survival us from the beginning.” mechanism, that aspect of British The collaboration between artist culture.” and composer Dan Geesin and Tracks on Retrospekt have such filmmaker Esther Rots stretches ­off-beat titles as ‘White Fluffy Geesin is active as sculptor, musi- back to the late 1990s, when ­Bathrobe’ and ‘Breaking Off cian and filmmaker. “Conceptually, they worked together on The Branches’ and some are sung by there is a lot of cross-fertilisation Garden (1998), then a series of Dutch opera singers Luc Ket and between disciplines,” he says of his Esther’s short films followed by Bas Kuijlenburg. “Esther and I have approach. If he is told that his ideas Can Go Through Skin (2009). always worked to put the viewer in won’t work in one medium or Their latest work Retrospekt is the middle of a visual and acoustic ­format, he will go off and try to selected for Berlinale Forum. experience,” Geesin says of the use ­realise them in another. “I don’t Geoffrey Macnab reports. of sound and music in the film. He take no for an answer,” he says of describes their approach as his approach to his art. “If I have an The enigmatic and elliptical “entropic crescendo… it’s the idea for a film and the funding is ­Retrospekt, supported by the moment before the fly hits the turned down, then I go off and write ­Netherlands Film Fund, features windscreen, everything comes into songs.” If he has an album of songs scenes from the life of Mette (Circé focus and then splatters into green and can’t finance the recording, he Lethem), a domestic abuse counsel- yellow, black and red fragments!” will start drawing instead. “I am lor. Rots has talked about the constantly busy but in different ­project as an example of “sensory What is unusual about the collabo- ­arenas.” As a live performer using cinema.” In keeping with such a rations between Rots and Geesin is his harmonium, his music has been description, Geesin describes his that the music often pre-dates the compared to that of the famous soundtrack as “music from the shooting. ‘White Fluffy Bathrobe’ Scottish raconteur and musician body.” Operatic and absurdist, it is was written before the film was even Ivor Cutler, as well as to 80’s pop. a tribute of sorts to Geesin’s father, in development but cites the same Ron Geesin, and to his collabora- influences, seen merely from a Geesin generally wants full creative tion in the early 1970s with Pink ­different perspective. autonomy on his projects. He adds, Floyd’s Roger Waters. One of their though, that he and Rots are open “We put the viewer in the albums together was actually called Geesin spent his childhood in to working on other people’s middle of a visual and “Music From The Body”. ­Sussex but headed to study in the ­projects either internationally or Netherlands in the mid-1990s. locally. In the meantime, they’re acoustic experience” “That, for me, was a blend of melan- Although he returns regularly to the collaborating again on a version of choly and humour and the reso- UK, he has been based in Amster- one of their films,Men In Sheds, for nances that were set up between,” dam ever since. This means he is the NNT Theatre Company in Geesin reflects on that album. well placed to pinpoint the cultural ­Groningen. Geoffrey Macnab. Director & script: Esther Rots Production: Rots Filmwerk (NL), Column Film Nederland (NL) Co-production: Serendipity Films (BE)

30 31 Dutch co-productions at Berlin 2019 Power partners Competition, Generation & Panorama

This year’s Berlinale is full of Amsterdam-based production some creative input in the script features from filmmakers all company BALDR film has two before applying at the NL Film around that world that have separate documentaries in Berlin. Fund,” Hoeve remembers. Dutch Dutch producers on board. In Panorama is Omar Shargawi’s creative talent includes sound Some are documentaries, some Western Arabs, an intimate portrait designer/mixer Peter Warnier, art are dramas, but each one has a of a Danish-Arab family, shot over work specialist Sander Brouwer and Dutch imprint. Geoffrey Macnab 12 years and reflecting the post-prod house Fever Film. reports. experiences of three generations. Lead producer is Snowglobe in Petra Goedings’ Phanta Vision is the Monos, directed by Alejandro Denmark. “I have been following minority co-production partner on Landes and Alexis Dos Santos, is Snowglobe since their Belgian director Bas Devos’ screening both in Sundance and establishment; they are a young, Panorama entry Hellhole, a moody Berlin. This is a kidnap drama ambitious company with similar new art house drama about various involving child soldiers set deep in tastes to our own. They are very characters adrift in Brussels in the Colombian jungle. Amsterdam- open and we have a creative, 2016. The film was made through based Lemming Film discovered transparent and constructive Minds Meet, the Brussels-based the project at CineMart in 2016. “We collaboration,” Frank Hoeve (who company launched by Tomas Leyers were immediately drawn by the co-founded BALDR with Katja in 2006. ““We co-produced Devos’ premise of the project and of course Draaijer) says of their relationship. first feature film which was very by directors Alejandro Landes and The upcoming suspense drama successful, and we were delighted to Alexis Dos Santos, whose work so Mitra by Kaweh Modiri (winner be a part of his second,” Goedings far has been really impressive,” says Eurimages Co-production says of the natural progression Lemming’s CEO Leontine Petit. Development Award) is a Dutch towards working on Hellhole. minority production also to be Phanta was keen to introduce Dutch There are several other co-producers co-produced with Snowglobe. elements into the production from on board, among them La Franja the beginning. The production from Colombia itself, Campo Cine The Netherlands Film Fund designer, costume designer and from Argentina, Mutante Cine in supported Western Arabs. Technical several members of the camera, Uruguay, and Pandora from work, including scanning, was sound and make-up department Germany. Petit knew it was going to overseen at the Dutch lab Haghe were Dutch. However, Goedings be a challenging project but was Film and the sound editing was acknowledges that the main determined to make it work. handled by the highly respected creative thrust inevitably comes Amsterdam-based Ranko Paukovic. from the director and lead producer. DOP Jasper Wolf and focus puller Cinema Delicatessen is already on Pansci Puts were both from the board to handle Dutch distribution. Like most other Dutch producers, Netherlands. “As a producer, we Goedings credits the Netherlands tried to find the right crew for this BALDR’s By The Name Of Tania Film Production Incentive as an strong project. We are extremely (Generation 14plus) is a story about “essential” tool when it comes to happy that Dutch DOP Jasper Wolf the sexual exploitation of underaged co-production. This cash rebate of did such an amazing job on this very girls in the region of the gold mines 35% of eligible production costs relevant and important film,” is how of Peru. Belgian producer Hanne greatly enhances the attractiveness Petit reflects on a rewarding Phlypo from Clin d’Oeil brought of the Dutch as potential experience. the project to BALDR. “We got co-production partners. Goedings involved at an early stage and had also points to the selective support ▲ Monos Directors: Alejandro Landes annd Alexis Dos Santos Production: No Franja (CO) Co-production: Lemming Film (NL), Campo Cine (AR), Le Pacte (FR), Pandora Filmproduktion (DE), Mutante Cine (UR) 32 33 Sales: Le Pacte Dutch co-productions at Berlin 2019 Power partners Competition, Generation & Panorama

available from the NL Film Fund. co-production titles have had post- co-producers in the Netherlands. “With Hellhole, we had both. That production work undertaken in the She will be back in Berlin this year makes us a much more serious Netherlands. with competition entry A Tale Of partner. There are many more Three Sisters from Turkish director possibilities for co-production.” Ellen Havenith’s company PRPL, set Emin Alper (Beyond the Hill, up in 2012, is the Dutch partner on Frenzy). Again, this is a case of the Annemiek van der Hell of The Miracle of the Sargasso Sea, the Dutch partner building on a pre- production/distribution outfit new film from Greek director Syllas existing relationship. Circe worked Windmill Film is the Dutch Tzoumerkas, which premieres in with Turkish producer Nadir Öperli co-producer on Stupid Young Heart, Berlinale Panorama. A thriller- on the late Seyfi Teoman’sOur which screens in Berlin’s youth- drama about two women stuck in a Grand Despair. The Turkish oriented sidebar Generation 14plus dead-end town, this is the second of producers struggled to financeA (having premiered in Toronto last Tzoumerkas’ films which she has Tale Of Three Sisters in the Turkish autumn). This is a Finnish-set co-produced, following on from A market and were keen to find drama about a 15 year old girl who Blast in 2014. Its sound design (by western European partners. The becomes pregnant. The main Marco Vermaas) and some of its VFX film was shot in Turkey in the winter producer is Helsinki-based Tuffi (including a startling scene of small of 2017 but post-production was Films while Swedish outfit Hob Ab tiny men escaping from one of the done in the Netherlands, and the is also on board. Van der Hell met main character’s belly at STORM) on-set sound department was also her Finnish collaborators through were done in the Netherlands. Dutch). The Match Factory is EAVE, the EU-backed training and handling sales. networking organisation for There are some obvious attractions producers. to co-producing a Greek movie, not “The attitude of the NL Film Fund least the chance of spending some in the past was very pragmatic,” says The Dutch contribution to Stupid time in Greece. The Dutch Bosklopper, remembering the Young Heart came in some production designer Jorien Sont difficult old days before the cash surprising forms. For example, liked being in the country so much rebate system was in place. Dutch Amsterdam-based Rob’s Prop Shop she bought a house there. producers could only co-produce was responsible for getting the lead with foreign partners with whom actress pregnant – or at least for Havenith is soon to begin work on a the Dutch had strict reciprocal designing the synthetic belly she new majority Dutch production arrangements. Financing was tight. wore in the film. Sound post- Quicksand. She has successfully “If you couldn’t guarantee up front production was undertaken by attached Greek and Estonian that the minority partner would WarnierPosta while colour grading partners. “There is reciprocity not return the favour next time, you was also completed in the only in financing but in creativity,” wouldn’t get the money.” Now, the Netherlands (by Rachel Stone), as she says, pointing out that PRPL has Circe boss suggests, the Fund’s were the VFX (at Planet X) and most worked with both before as a attitude is more “relaxed” and of the music and stuntwork. minority co-producer. When PRPL is talent-orientated. “You immediately the minority partner, she will always see the fruit that comes from this,” One obvious knock on effect of the look to have a creative voice, not just she says of a strategy which is rise in available co-production to be as a financier. already seeing record numbers of funding is that the post-production Dutch-backed projects selected for sector has continued to grow. Stienette Bosklopper of Circe Films the world’s most prestigious Almost all the new wave of minority is one of the most experienced festivals. Tale of Three Sisters Director: Emin Alper All of these Dutch minority co-productions received support from the Netherlands Film Fund. Production: Liman Film (TR) Co-production: Komplizen Film (DE), Circe Films (NL), Horsefly Productions (GR) 34 35 Young, gifted and Dutch Talent from The Netherlands in Berlin

As soon as she left the Academy, Loes Komen Stefanie Kolk Hugo Emmerzaeln Komen formed her own production company Room For Film with fellow graduate Eva Verweij. The company already has a student Oscar to its name for the short When Grey is a Colour. While running the company, Komen has also been busy networking and learning. She worked as an intern Producer Loes Komen, Stefanie for Waterland and then as a junior Kolk already has experience on the looking for people I can write with Kolk and Hugo Emmerzael will producer for N279 Entertainment, festival circuit. Her graduation film on the films that I direct and I am representat The Netherlands at under the formidable Els Clan and latest short Harbour both looking for directors that I can Berlinale Talents 2019. Vandevorst, where she was heavily premiered in Locarno, and have write for,” she explains. involved in the post production been shown extensively in Loes Komen was the youngest and release of epic Dutch western international film festivals. Her Hugo Emmerzael describes member of her class, aged only 17, Brimstone. forthcoming short film Eyes on himself as an impassioned film when she enrolled in the Dutch the Road is a new take on the critic, journalist, programmer and Film and Television Academy in Komen and Verweij make a outsider’s perspective, featuring live speaker. He writes for the 2012. Seven years later, the producer successful double act. “We knew three girls on a road trip who talk Dutch film magazine De Filmkrant already has a wealth of experience. we wanted to produce together about a terrible tragedy that and every month contextualizes a because we complement each happened within the periphery of film for the film theatre ‘t Hoogt in “How to fail better” is the slogan for other very nicely,” she says. They their friend group. a personal column. He gives this year’s Berlinale Talents. Komen are both pragmatic and realistic, cinema introductions, Q&A’s and thinks this should make for a and are spending time building up At Berlin she will be bring a new lectures in ‘t Hoogt, Het Nutshuis, rewarding programme. After all, as their catalogue of shorts and even feature project (drama) called EYE and other film theatres she points out, producers probably radio plays before the leap into Broccoli that she has been throughout the country. learn more from their mistakes features. developing with New Amsterdam than from their successes – and they Film Company, about a group of “What I expect most from Berlinale have to have thick skins. As a writer-director, Stefanie Kolk teenage models from across the Talents is to have an opportunity to is constantly told she has a highly world sharing a house in Paris and introduce myself to the world and Komen didn’t have any specialist unusual background for a trying to launch their careers. In to be inspired by others, colleagues knowledge of the film business filmmaker. Before she enrolled at debt, living on $5 a day and that I don’t know yet that might be when she applied to the Academy the Film Academy, she studied constant auditioning, most end up very inspiring or insightful in the but she had watched Paris, Texas biophysics. “I do feel that I think in being sent home with nothing. In way that they are chasing some of (one of her dad’s favourite films) a different way than a lot of people Berlin, she hopes to meet potential the same challenges that I am,“ he several times. At school, she had who started out in the film world,” collaborators, “possibly a comments. “Which comes back to directed radio and theatre and had Kolk suggests. “Perhaps it’s in the cinematographer and also maybe a my ambitions which are to be even made short documentaries. way I observe and notice things screenwriter I could write with.” better at what I do, to be more When she first visited the Film about human behaviour. Or informed, more inspired, to get to Academy for an open day, she perhaps it is because I still feel like Alongside her own films, Kolk, who know more people and get to see immediately realised that “all the a bit of an imposter, which has became a mum in October, is also more films, and I think that skills of what I like to do came given me an outsider’s active as a writer on other Berlinale Talents will help me together with film.” perspective.” filmmakers’ projects. “I am achieve that over the coming year.” When Grey is a Colour Director & script: Marit Weerheijm Production: Nederlandse Film Academy – Loes Komen

36 37 Knowing the score Dutch composition talent

IFFR Pro’s recent collaboration often] there is songwriting involved Merlijn has three projects ready for leaving that up to me and worrying the Crimea by Oeke Hoogendijk, the soundtracks of the self-monikered with Buma Cultuur, the organisa- in the score, sometimes it really release in 2019; Judas, a TV series about the function of the music drama Sons of Honour by Sophia ‘tall Dutchman’. tion that supports and promotes helps define period and class.” directed by Joram Lürsen; Vicious, a within the film. But the conversation Luvara, the transmedia If You Are Dutch music copyright in both ­feature film directed by Dennis Bots we have is usually more focused on Not Here, Where Are You? directed And how does the process work for The Netherlands and key export and the TV movie A Most Annoying emotions and storytelling rather by Maartje Nevejan, and the minority him? “Sometimes it’s a hole in one,” markets, sees the presentation of Island, directed by Albert Jan van than aesthetics.” co-pro Sunburned, directed by he muses, “and sometimes it marks six Dutch film composers at IFFR Rees. ­Carolina Hellsgård. the beginning of a long search...” 2019 to the international film community. Minco Eggersman Floris Verbeij

Vincent van Warmerdam Merlijn Snitker

Merlijn Snitker Merlijn Snitker has a raft of awards Alex Simu under his belt, most recently a nomi- Ella van der Woude nation for the ECSA Grand Scores Alex Simu Award 2017 for Topkapi’s Public Ella van der Woude Alex Simu is an acclaimed clarinet- Minco Eggersman Floris Verbeij Works, and in 2018 he received a Ella is classically trained with a tist, teacher and composer and tours Aside from running the VOLKOREN Floris Vebeij is trained in classical Vincent van Warmerdam Golden Calf nomination for his degree in composition, and has been internationally to perform in the jazz record label (as well the Tongval and jazz music and has composed Vincent van Warmerdam is a self- The Resistance Banker soundtrack composing film scores for most of and world music scenes. Since 2010 beer-label occasionally) singer/ soundtracks for numerous feature taught composer whose tone can be (dir: Joram Lürsen). As part of a com- her artistic life, although she is Simu has composed music for drummer Eggersman is a prolific films and theatrical productions, as fragile and melancholic, with a touch posing trio he scored for Dutch hits ­better known in the field of pop, numerous award-winning inter­ producer and soundtrack com- well as for his own jazz group. of irony, he claims. Starting out as a such as Joram Lürsen’s Love is All. ­having worked with The Pixies and national film productions. These poser. “People say they can hear guitarist, his award-winning compo- ­Working solo from 2013 he has also Massive Attack’s Stew Jackson. include the BUMA Award for Best when it’s a soundtrack by me. Even “I tend to use hybrid instrumenta- sition skills were honed in film and scored for international projects Van der Woude has worked with top Original Score for a Documentary though I always try to search for a tion (electronic mixed with acoustic) theatre. His many achievements such as The Prime Minister (Erik Val established and emerging filmmak- 2018 for Back to the Taj Mahal Hotel unique voice to every film, I see it as but my main focus is just this: work- include European Film Composer of Looy, Belgium) and the Swedish Siv ing talent from The Netherlands directed by Carina Molier, and Best a compliment as I believe there’s a ing very close on screen to the dram- the year for The Northerners Sleeps Astra (Catti Edfeldt and Lena including Guido Hendrickx (Among Original Score 2017 for Disappear- tone of voice that exposes who I am aturgical events,” he says. “Although (directed by his illustrious brother Hanno Clyne). Us, 2014; Stranger In Paradise, 2016), ance directed by Boudewijn Koole. as they are connected to the stories each score has brought a sense of Alex), and a Golden Calf for Kicks Mees Meijnenburg (A Hole in My He also won a Golden Calf for his of the films I write for,” he says. achievement of their own, I’d say (Albert ter Heerdt) as well as a raft “For me no projects are alike,” com- Heart, 2014; We will never be Royals, score for Koole’s Beyond Sleep (2016) scoring An Act of Defiance (Dutch of further nominations. He scored ments Snitker, “I don’t like to repeat 2015) and Ena Sendijarevic (Import, 2018 saw the releases of the Bos- version: Bram Fischer) was quite a the Argentinian Rojo (Benjamin myself and I always try to find a new 2016). “Transparency is what I believe nian filmRegained Memory and the unique collaboration between direc- Naishtat) which is selected for approach to a film or TV score.” He ­characterises my score. As a film Dutch Visit by Stijn Bouma, plus the tor Jean van de Velde and me. We IFFR Limelight. describes how, as a sort of agree- Recent cinema-related projects composer, my only goal is to create documentaries A Strange World just seem to have the same approach ment with the audience, he always include Sendijarevic’s Take Me an invisible force which carries the (Julia von Graevenitz) and The New to creating options and decisions “The signature use of guitar or banjo presents leitmotivs and orchestra- Somewhere Nice, selected for IFFR listener towards the destination. The Limburger (Kim de Bis). and trust each other. Also, working gives me a specific sound,” Van tions at the beginning of the movie – Tiger Competition, and Instinct, the music score should never be noticed, with Anne de Clercq (TV series Warmerdam points out, “but my a musical introduction to the main directorial debut of Dutch actress it has to be part of the whole. My In 2019 Minco will start work on Rofjesdag, 2016; Hallo Bungalow, scores really differ from film to film. characters. Snitker’s eclectic style is Halina Reijn. “The collaboration is scores vary as much as the film several films from Eastern Europe, 2015) was a delight as she is such an When the story demands, I can also a cross-over of acoustic and elec- very different every time. Some direc- scripts do,” stresses Simu. as well as the release of the docu- intuitive director. I guess I just love it surprise with whole different piano tronic music which proves that tors have a strong and detailed idea mentary Behind the Blood (Hondu- when everybody involved feels they or brass-orientated orchestrations, soundtracks can be both inconspicu- about what kind of instruments Simu is currently working on four ras) and the film Tapwater Engine are working towards the same goal.” even electronic or symphonic. [Quite ous and mesmerizing. they’d like to use, while others are Dutch projects – the doc Treasures of (Sweden), both featuring the

38 39 Barbara Meter retrospective The measure of Meter

to their demands. This was the that turn just as restlessly as the Barbara Meter form, more related to visual art artist’s film rewinders,” describes than to theater or literature, not Savirón. “Shot on Super-8, reworked derived from those, but a direct and blown up to 16mm with the expression of film itself, in which I optical printer, and enlarged to could express myself most freely.” 35mm, the blurred, soft grain purposefully becomes an homage to The Ann Arbor exhibition reprises the quality of cinema as both curator Mónica Savirón’s ‘Found weaving craft and relentless labour Sounds’ retrospective of Meter’s of love.” Acclaimed Dutch experimental work (all of which has been digitised filmmaker Barbara Meter will be by EYE), organised in partnership Meter describes the Bazinian honoured at the prestigious Ann with EYE and originally shown in analogue aesthetic of her early Arbor Film Festival (Michigan) in 2017. It features works dated from experimental tradecraft, noting how March 2019 with a retrospective 1970 through to 2012. it contrasts with the less hands-on, of her works. She talks to Nick more practical, digital. “The thing Cunningham. Among the many works, the 1970 about analogue film and sound is 3-minute Song for Four Hands that you can clearly see what is “This was the form, the From the very beginning of her offers a man and a woman the happening. You can see the film plastic art, in which I career, even when she was making tantalising opportunity for going through the sprockets, but narrative short films, the work of conversation before shutting off with digital you can’t. Therefore in could express myself Barbara Meter was labelled hip and their right to do so with a deafening analogue film you have more most freely” underground. She liked this musical chord. “The unsuccessful contact with the material itself, compliment as she had, she says, “a delivery of words leaves room for which is intrinsic with experimental rebellious streak”. Her presence at another kind of language,” suggests film.” the London Underground Festival curator Savirón. “The cinematic in 1969 was therefore demanded, expression. Juxtapositions, light “The advantages of digital? and for Meter the experience was flares, rapid zooms, and overall Comfort, you can sit at home and earth-shattering. movement transmit a series of edit. The digital camera doesn’t feelings that would have been make any sound and can do sound “I was confronted with buried otherwise by words.” and image at the same time. It is experimental film, and for me that much easier to operate and is was a complete revelation. It gave Core to Meter’s experimental work, cheaper. But the fact that traditional me all the freedom I was looking either side of a period in the mid filmmaking was more expensive was for. I knew a person could operate 70s to early 80s when she made an advantage in that you had to be a their own camera, but I didn’t know highly polemical feminist films, was lot more critical at source with that I could,” she says. “I saw all her use of the optical printer, limited materials. Now you can these films for which one person “which I really loved because you shoot a lot more, but then there is did everything: camera, sound, could manipulate the image like a so much more to edit. For every editing, producing. I saw that there painting.” This can be seen to advantage there is a disadvantage.” was no need of narrative, no need of wonderful effect in Ariadne (2004), linear progression. You didn’t need also part of the Ann Arbor producers as you could make it programme. “A woman’s hands lay cheaply, so you didn’t have to bend on knitting wheels and vinyl records Portraits (1972) Barbara Meter

40 41 Series catch-up Production Incentive for high-end series

Three Dutch (co)producers of the elastic nature of reality Felix’s partner Femke Wolting, and major high-end series discuss through its central character, a fairly simple tickbox exercise the merits of the Netherlands Alma. After getting into a near helps ease any investor doubts. Production Incentive, after its fatal car accident, Alma discovers “They look at 2 or 3 things, the roll out to the small screen she has a new relationship with quality/reputation of the company, sector in December 2017. time and uses this ability to find are we big or serious enough to say out the truth about her father’s if they order a series we can take Submarine’s Undone, Column death.” care of everything on time and “The Incentive is very Film’s Floodland and Pupkin’s budget? The third one is if Incentive straightforward and it Little Criminals were three of the The level of Incentive investment [involvement] can offer them a very allows you to focus on first recipients of Production was €1,465,959 which enabled the competitive price, and then production” Incentive funding for high-end production to employ an army of obviously it all gets very attractive.” series, which offered 30% cash Dutch animated talent across all rebate on production costs spent in disciplines. “The beauty of this for So roughly half way through the Netherlands. Originally me is that you can keep quite a big production and final delivery introduced in 2014 for feature films amount of creative control on your deadline of July 1 2019, how does alone, the Incentive remit was project and not have to water down Felix feel about things? “Extremely widened in 2017 to meet small or juggle all the different opinions happy!,” he enthuses. “You’re screen demand. of different producers and funds talking to the happiest man in and whatever,” comments Amsterdam. It’s great fun – this The initial grant of €7 million to Submarine’s Bruno Felix. “That’s production is great on so many eleven high-end series projects what I like about it, it gets very levels, like it’s a very Amsterdam equated to €26.4 million in straightforward and it allows you to project, though most of the money subsequent Dutch production focus on production.” comes out of the United States. The spend, averaging €2.4 million per writing and the acting is American, project. “In the Undone series we work with but the director Hisko is not only a producer out of Los Angeles who directing on set with the actors but A recent Osberg evaluation points knows very much what they want to is obviously overseeing the story and out how such Incentive investments do. They have one distribution the art direction on all levels here in serve to leverage higher levels of client pay for it, in this case the studio, so it’s super great to be broadcast investment and Amazon, and then it’s us, the working with him and a big team of additional funding from the creative team. So the money comes Dutch talent. 80% is Dutch, the market, both in the Netherlands from Amazon and the Production show has an amazing look, I’ve and internationally and, as such, Incentive. We have a studio full of never seen anything like this before. maximise greatly the intrinsic value people and we work for one and a It’s truly unique.” of what ends up on screen. half years, and then we deliver a high level animated 8-part series Column Film’s 8 x 50-minute drama Undone, directed by Dutch drama series, with great talent series Floodland is directed by animation maestro Hisko Hulsing, attached. For me, it really is the acclaimed feature director Erik de is a 8 x 22 minute Amazon series next level.” Bruyn (Wild Mussels, Nadine). In lead-produced by The Tornante the series, a heavily traumatised girl Company and co-produced by The streamline model makes the of African origin is found wandering Dutch multimedia powerhouse company attractive (and receptive) around the polders of the border Submarine. The series “explores to further such global deals, argues region between Flanders and The ▲ Undone (TV series) Director: Tommy Palotta Production: The Tornante Company (US) Co-production: Submarine (NL)

42 43 Production Incentive for high-end series

Netherlands. Tara, a Dutch police been so different for the of any subsequent application, inspector from Rotterdam, and production, and we would have had having worked with Incentive on Bert, a psychiatrist from Antwerp, the majority of spend landing in many of their previous features. are trying to investigate what has the Netherlands,” stresses Van der happened to her. Soon they suspect Horst. “So that’s why we could only “We knew that the Production that the innocent looking border apply for a relatively small amount Incentive was going to be

Photo: Bram van Woudenberg region and the people that live of the finance that we still needed – [extended] for TV series. That there might be hiding more secrets it’s still a lot of money but if the meant that we were totally aware of than the tourist brochures show… scheme was in place at an earlier the regulations and that we needed stage, we would have been able to to have 50% of the finance in place The series is a Netherlands/ maximise it a lot further.” before applying. That meant we Belgium co-production (with were going to the NPO fund at a Eyeworks Film & TV Drama) Nevertheless, it came along at a specific time to reach the amount budgeted at just over €5 million, crucial time when it was “all hands we needed to be there for the first which received Production on deck trying to get as much round of Production Incentive. It Incentive funding valued at finance as possible no matter was all a question of timing and €273,628. where” in order to close the finance scheduling because we absolutely on the series. “So it was a perfect needed to shoot in Summer 2018. situation… and it was really great It was all planned.” “The Incentive wasn’t that we could get that via the like the cherry on the pie Production Incentive.” or anything like that. It “It came along at a The 8 x 25 minutes Pupkin Film made the difference youth drama Little Criminals, crucial time when it was between there being a directed by Rob Lücker, was all hands on deck trying series or not” granted Production Incentive to get as much finance funding totalling €463,970. The as possible” series follows seven 12-year olds Column producer Chantal van der that pull off the heist of the Horst is a big fan of the financial century, but the loot turns out to be advantages that the Incentive very different from what they So in the great scheme of things, confers but explains how, on this expected… how important was the Incentive project, the widening of the contribution to Little Criminals? Incentive scheme to include high- The €1.850 million project received “It was the difference between end series came along a tiny bit too NPO funding both for development there being a series or not. The late for her project. She had already and production, but there was still Incentive wasn’t like the cherry on sourced Screen Flanders support an approximate 25% shortfall, the pie or anything like that. It which meant that the majority of which was met by the Incentive. made the difference between there production spend would be in Producer Sander van Meurs points being a series or not.” Belgium. out not only how the timing of the series and the introduction of the “If the Production Incentive was in Incentive dovetailed so well, but place just half a year earlier, then how his company were already very the whole situation would have conversant with the do’s and don’ts Little Criminals (TV series) Director: Rob Lücker Production: Pupkin Film

44 45 Mar - May 2019 EYE Exhibition Shell shocked A Tale of Hidden Histories

Associate curator Marente quickly more complicated because film team at work recording him, so Bloemheuvel explains the ration- after around 15 minutes we see his these kids from his present are ale behind the latest EYE exhibi- parents pick up a different boy at the filming the memories of his past.” tion, running March to May 2019. station. And this homecoming repeats itself and the nature of their For Broomberg & Chanarin’s Dodo A Tale of Hidden Histories focusses grief becomes ambiguous.” (2014) the artists re-discovered the on the work of artists Broomberg & Mexican set of the filmCatch-22 , Chanarin, Omer Fast, Chia-Wei Hsu Bloemheuvel cites Meiro Koizumi’s footage of which was combined with and Meiro Koizumi who set out to Portrait of a Young Samurai (2009) montage of the film’s unused nature examine how audiovisual media can in which the artist asks an actor to shots, as well as five photographs of be used to explore, deconstruct and play a farewell scene of a young a dodo egg. The starting point was ‘unmask’ stories about history and kamikaze pilot, which he has to do the representation of war as thus determine the subjectivity of its over and over again. “The artist is presented in the classic novel, sources. Across nine works the constantly intervening and he is underlines Bloemheuvel, before it artists investigate how stories are asking the actor over and over again explores many side roads, constructed and how they change to express more Samurai spirit, and discovering common ground en when told and retold from various as the video unwinds the actor starts route. “The result is a multi-layered perspectives. The majority of stories to cry and you see his pain. He seems work on the representation of war tell histories which derive from to be brainwashed in the whole and the impact of the Hollywood conflict zones. process, and he’s really pushed to industry on the landscape of another the limit. He can’t take it anymore. It country, in this case Mexico.” This is not an exercise in finger-­ feels like there is a symbiosis with pointing and exposing the inade- his character and for the viewer this “What you see here are smaller quacies of any given historical is a very moving experience.” histories of people that serve as an method. Indeed, the new interpreta- example of a greater political tions we see are artistically-derived, reality,” Bloemheuvel concludes. non-scientific­ and particularly un­ “Many stories, many “The artists do it completely their journalistic. “What they’re especially interpretations, and own way – it’s really a different way making clear is that there are many of working if compared to a scientist stories, and many interpretations, maybe not even one of or a journalist. What makes these and maybe not even one of them is them is right or correct works interesting is that they always right or correct or true,” underlines or true” leave it completely open as to EYE associate curator Bloemheuvel. whether something is true or not. I even believe that the question of “Omer Fast is an artist who plays In Chia-Wei Hsu’s Huai Mo Village truth or otherwise doesn’t matter with fiction and reality and truth as (2012) the artist focuses on the story for them.” well as dealing with the psychology of a Taiwanese priest who served of contemporary drama,” she during the Cold War as a CIA infor­ The exhibition is accompanied by a continues. “We show a work called mant who subsequently founded a programme of films, talks and Continuity (2012) in which a family – local orphanage whose occupants events in the cinemas entitled ‘Shell a man and a woman – reunite with were invited to capture on film the Shock – Post Traumatic Cinema’. their son who comes back from narratives of the Cold War era told Afghanistan where he has served in by the priest. “So we see the priest the army, but the story becomes telling his story, but we also see the Broomberg & Chanarin, Dodo (2014), Courtesy the artists and Lisson Gallery London, United Kingdom, © Broomberg & Chanarin

46 47 EYE Xtended EYE on VR The Deserted Tsai Ming-liang

Geoffrey Macnab talks to EYE’s completely immersed in this world the form as its artistic evolution Anna Abrahams about Tsai of the main character. It is very continues. Ming-liang’s upcoming VR surreal, half-dream half-reality,” project The Deserted, as well as Abrahams says of the work, a poetic The big difference Abrahams sees the film museum’s dedication to drama about a man recovering from between VR and film is that the the evolving format. an illness. He is on his own in a run- former is more about “structures in down apartment high in the space” while the latter is about As an art form, Virtual Reality is still mountains with only a huge fish in a “structures in time.” In other words, in its infancy. Distributors haven’t bathtub for company. Visitors come VR projects aren’t as reliant on yet worked out a commercially to see him including his mother and conventional storytelling devices as practical way of getting it to work in a bride-like figure. typical films. They are immersive front of larger audiences or even to experiences in which viewers put on reach agreement on standardised Even though Abrahams has been their headsets to enter entirely new equipment. Nonetheless, the most courting Tsai Ming-Liang for over a worlds. adventurous artists and filmmakers are flocking to use VR - and the EYE “VR is more about Some sceptics have complained that Museum has created a pioneering sudden cutting in VR can cause programme to enable the best of structures in space headaches and that the format can their work to be seen in a gallery while film is about be disorienting and difficult to space. Xtended has already structures in time…” watch. Abrahams is predictably showcased pieces by Alejandro G. dismissive of such complaints. Iñárritu, Laurie Anderson, Paul “When the train was first invented, Auster and Marina Abramović. In year to persuade him to bring the people were getting sick and saying early 2019, it will be hosting work to EYE, the Taiwanese director ‘oh, our body is not made for this Taiwanese master Tsai Ming-liang’s was immediately interested in speed’. Also, with rolling first VR project,The Deserted. showing the work there. There are escalators.” few other places where it is possible The Deserted was first seen at the to exhibit VR projects in a museum As with any other technology, she is Venice Festival but the director has setting. It helped, too, that he has a confident that audiences will get been reworking the project since long relationship with the used to it very quickly. In the then in advance of its Amsterdam Filmmuseum both as venue and as meantime, EYE will continue its screenings. “He has been making it distributor, and that many of his pioneering work with VR, screening better and better and better. We are features from Goodbye, Dragon Inn big-name artists in Xtended while going to get the premiere of the to Letters From The South have also making family-friendly VR fare newest version,” noted Anna screened at IFFR. available through its education Abrahams, Programmer EYE on Art, department, while providing artistic who oversees the Xtended series, Abrahams concedes that VR is not pioneers with the perfect platform just before the Amsterdam opening. yet “an economical, feasible on which to present their work. medium,” although she predicts The Departed had its first this will soon change. In the short screenings in Amsterdam on term, EYE remains one of the best January 10th. “It’s a beautiful work, places to see pioneering work in the 55 minutes, 360 degree video. It’s medium. EYE is determined to be not interactive but you are there at the beginning and to follow Tsai Ming-liang TW, 2018

48 49 Dutch industry news Short Cuts

Dutch Crossing at Cinemart Dutch filmmaker Jacqueline van looking to find co-pro partners from Souvenir support Vugt’s feature drama Crossing has France, Germany, Spain, Greece, been selected for CineMart 2019. Morocco, Malta and worldwide. The experimental minority co-pro In the film, three stories intertwine Souvenir by Miriam Gossing and Lina on a ferry crossing from Morocco “The three storylines intertwine Sieckmann, produced by Schalten und Light As to Spain. In the course of the in real time, always in the now,” Walten, Elbe Stevens Film (NL) and Coin journey, the fear of loss turns comments director van Vugt. Film GmbH, is selected for IFFR Voices Feathers at the tide for all… “The crossing is a voyage from the Short. In the film, which received NL Film characters’ individual and collective Fund support, interviews with seamen’s European FF The film is budgeted at €1.6m with pasts to their future while they are widows take the viewer through the development finance secured from suspended on the ferry. The ship’s history of a trade as old as our Rosanne Pel’s Light As Feathers has the Netherlands Film Fund. arrival brings the inevitable closer civilisations, told by the women left been selected for First Feature Viking at IFFR Producer Revolver Amsterdam is and closer.” behind on shore. Competition at the 31st European Film Festival in Angers, 25 Jan - 3 Feb 2019. A well as producing the opening film at (CineMart, NFF+HBF, 2015) is selected The film, which world-premiered at IFFR (Dirty God, see p4), leading Dutch for Limelight. TIFF 2018, is about a teenage boy who production house Viking Film boasts Dutch Stijn Bouma’s Visit is selected for in a luxury hotel, a failed businessman on an has a younger girlfriend, 13-year-old three minority co-productions in Comments Viking Film’s Marleen Slot: International Competition at Clermont expedition, a lost porter and a young army Claudia, whom he dotes on. He just official Rotterdam selection. These are “I’m very proud to be at IFFR with such Shorts at Ferrand 2019. The film is produced by deserter. Dutch co-producer is Pedri doesn’t know, though, how to draw a Anke Blondé’s The Best of Dorien B a diverse variety of films, and that I was Derrick-Jan Warrink of Keplerfilm and Animation. line between affection and abuse. (Belgium) and Ali Jaberansari ’s able to be part of those four films Clermont Marina Blok (NTR). On a stormy day, widow Tehran: City of Love (NFF+HBF, 2016) thanks to the Netherlands Film Fund Thea is visited by her son Willem in her big Revered Dutch docmaker Johan van der In Short Film Competition is Sven in Voices. Benjamin Neishtat’s Rojo and Hubert Bals Fund.” Ferrand house located in the distant countryside. Keuken’s The Palestinians (EYE Collections, Bresser’s L’été et tout le reste, which She convincingly rejects his idea to move 1975) is selected for the festival’s Court premiered in Venice’s Orizzonti Short somewhere else. When Willem leaves d’Histoire section whose theme this year is Films Competition, and Sarah however, she turns out to be lonelier than Palestine. In 1975 the director visited the Veltmeyer’s short film Kiem Holijanda we thought. concentration camps of South Lebanon to which world-premiered in Berlinale The Souls to Berlin Co-pro record the grief of the women who’ve lost Generation 2018. Also in International Competition is the their loved ones in the war, the desperation of PRPL’s The Souls (director Tallulah H. thriller storytelling complemented Belgium/France/Netherlands co-production the injured and the amputees, the Schwab) is selected for the 2019 with magical elements, which creates This Magnificent Cake, an anthology film set determination of the fighters to claim the Berlinale Co-production Market. The a suspense mystery as well as an in colonial Africa in the late 19th century land of the country and the bewilderment of 90-minute €1.643m budgeted thriller adventurous cinematographic telling the stories of 5 different characters: a the small children yearning to learn more concerns city-dweller Paul who, after a experience,” she comments. “We hope troubled king, a middle-aged Pygmy working about a country they’ve never met… hiking accident, finds himself trapped to find one or two co-producers from on a remote farm. This inconvenience Europe and/or Canada. Furthermore transforms into terror as the farm we are looking for distributors, TV immersion into all IFFR Pro activities liked the fact that while you are talking starts to unleash its mysterious and sales agents in Berlin.” Ro-labbers in 2019. The main focus of the 5-day about stories and pitching, you are powers. programme is to provide emerging thinking about what you would do The production has €1,643,000 in Three promising Dutch producers – professionals with the means to build differently. But it is also very nice to Producer Ellen Havenith is eyeing up a place which includes a Netherlands Hugo Naber of SNG Film, Max de Wolf and develop an international network. step back and reflect a bit. You are away May 2020 shoot on her Dutch/French Film Production Incentive award of of Halal Film & Photography and from your normal life and have five language production. “We envision a €315,000. Family Affair Films’ Noortje Wilschut - 2018 Dutch Labbie Loes Komen days to think about where you plan to crossover film that offers classic will undergo the full Rotterdam Lab reflects on the experience: “I really go, and what projects you want to do.”

50 51 Sacha Polak

Brilliant, daring and provocative, Sacha Polak arrived like a comet with her debut Hemel in 2012, a tale of shifting sands in the relationship between a promiscuous young woman and her beloved father. In Zurich (2015) a woman discovers the extent of her partner’s double life after his death.

Her 2019 IFFR opening filmDirty God tells the story of Jade, the victim of a facial acid attack trying rebuild her life within a fickle and narcissistic 21st Century. The film will go on to compete in World Cinema Dramatic Competition at Sundance. Photo: Geert Snoeijer