interviews
Alone in space Chuskit Journal The Invisibles No. 1 | 2019
Binti February
Photo: ALONE IN SPACE www.ecfaweb.org Index Editorial
3 ALONE IN SPACE Interview What unites us…
5 Nominations for the ECFA Awards … is in the focus of ECFA’s work, not what separates The difficulties we’re having to crop all information 8 CHUSKIT us. In these times, now that Great Britain is about in the ECFA Journal’s usual size and format, is an Interview to step out of the EU and populism and national- indication of the variety and richness of our mem- ism are on the rise in Europe, questioning ideas and bers’ activities. The article on involving children in 11 Film pitching with children ideals is more important than ever. I am very happy pitching sessions proves that also within our indus- that this mindset is shared by so many in the chil- try there is still a lot to try out and explore. Like, 13 BINTI – On the set dren’s film sector! A warm welcome to the fifteen finding various ways to make children participate new members who joined ECFA in 2018 and the five in the creative processes (co-creation, which is also 15 APOLLO JAVAKHETI who have already joined during the first month of the main topic of discussion in this year’s KIDS Re- DoxSpot the new year! gio Meeting Point during the Berlinale) and thus strengthening, again, generation-equality. 16 KIDS ON THE SILK ROAD: HORSE FEVER A lot of work is ahead of us – especially shaping the Interview new Creative Europe Programme, raising awareness In this sense, we wish you a wonderful 2019. Stay for the need of high quality children’s media and curious, brave & productive! 18 FILMS ON THE HORIZON thus for more generation-equality among other Eu- ropean associations (such as distributors, cinemas, I am very much looking forward to seeing you all at 20 COPS AND ROBBERS Short Cut producers) and politicians. Furthermore we want to the AGM on 9th February in Berlin. continue creating opportunities for you all to meet 21 THE INVISIBLES and exchange. – Interview Margret Albers ECFA President 24 Dutch Features hits the market Production
25 doxs! industry exchange
26 ESTONIAN CHILDREN’S FILMS Production
28 MATTI AND SAMI AND THE THREE BIG- GEST MISTAKES IN THE UNIVERSE Interview
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Ted Kjellsson about ALONE IN SPACE “Gimme two kids, an alien and a spaceship and I’ll make a great movie”
A giant spacecraft traveling with only none Swedish person to recognise A spaceship? two passengers on board: 12-year-old Astrid Lindgren in this film, but she is Kjellsson: In a studio, up north in Swe- Gladys and her little brother Keaton, just in our DNA. We tell stories about den. It was important for the kids to lingering around all day, heading to- the same themes, making them a bit have a set with buttons and beepers wards a planet that never seems to darker, but still quite enjoyable. A and stuff to touch, instead of green come in sight. Until an unknown ob- Swedish children’s film in a sci-fi con- screens. And we made the alien for ject crashes into the ship… Suddenly text might sound like something new, real, so the kids could see and feel it they are not alone in space anymore. but it’s just a mashup of ingredients and talk to it. from our childhood. In our heads this ALONE IN SPACE has an original for- combination doesn’t seem surprising The design of the alien was crucial mat: a high-profile sci-fi adventure at all. for this film. It’s a human figure with that is both epic (a space odyssey), in- limbs and clothes, it laughs and ap- timate (two siblings in a close bond), A lot of the film’s attraction is in parently snores exactly like I do. scary (aliens firing space guns) and the setting that you created from Kjellsson: We wanted a humanoid cre- way. contemplative. scratch. ature. Surprisingly enough, my first Kjellsson: We’ve put a lot of effort Kjellsson: For Swedish standards the reference was Nosferatu, later com- in making them shine. Little Keaton Ted Kjellsson: I like the ‘Astrid Lind- €2 million budget was quite modest. bined with the classic Area 51 alien (Dante Fleischanderl) has quite a hard gren in space’ tagline. Both co-au- I have done a lot of commercials and (that was supposedly found in the part, hitting the alien in the head thor Henrik Ståhl and me grew up on I know about set design and special American Nevada desert), a bit of Ad- and still be likeable. Gladys (Ella Rae Swedish children’s literature by Astrid effects. I know how to build stuff and miral Ackbar (STAR TREK) combined Rappaport) carries the movie on her Lindgren, Maria Gripe, Ulf Stark… At how to blow up stuff. It was a matter with the fifties comic book visuals. shoulders and she pulls it off – like a the same time we were fed with big of producers fully trusting us. I saw We wanted him to be part scary, part Pippi Longstocking in space! She such Hollywood movies made by Steven the images in my head and nobody cute. Some even see ET in it, but I a cool character, in an Ellen Ripley- Spielberg and Ridley Scott. thought it would be doable, but we’ve don’t. I love ET, but he is a small nu- kind-of-way. Ripley, as the first fema- build the first Swedish animatronics dist. le action hero for me, was a milesto- How did you make those worlds mask Vfx for a main character, and a ne. I want to show my daughters and meet? 600 square meters big space ship. There’s two siblings, taking care of other young girls that they can kick Kjellsson: It might be difficult for a each other in a particularly touching ass. To make those main characters
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it’s a risk to take. less scary and the aliens a bit more funny, talking in a Jabba the Hutt kind What about the framework of the of way. story, the escape from planet earth? Kjellsson: The reason why they esca- There must have been a temptation pe is a classic chain: an environmental to make it scary as hell, just for the catastrophe leading to war leading fun of it. to poverty… We never go into detail Kjellsson: This is my first feature, and about it, but it is connected to the en- I felt well-placed to make it a child- vironmental situation we are in today. ren’s movie: I have five kids myself, An even bigger mystery is the role of and I can still relate to my inner child. the mother. She stole a spaceship to But deep inside I’m more of a slasher rescue herself and her kids, which is a guy. My time will come when I’ll do my work, we recorded half of the movie in animatronic. Their collaboration with harsh thing to do. But now she’s gone, first slasher movie. chronological order. That made them Henrik was one of the key elements and nobody knows how and why, lea- truly experience the story. Their first to make the film work, together with ving behind a daughter who has diffi- You have ‘Johnny Be Good’ on the meeting with the alien, really was the the kids being in a real spaceship. It culties to cope with it. There’s more soundtrack, because that song is first time they saw Henrik in that suit. all related to my first pitch, when I to the mother than you see in the film, on the golden record (that was said: “Gimme two kids, an alien and a she’s complex. sent into space in 1977 containing Henrik? You forced your co-author spaceship and I’ll make a great movie”. sounds and images to illustrate hu- into a suit to play an alien? Everything comes back to that. The final chase through the man life and culture on earth). What Kjellsson: Yup. He felt honoured, but spaceship, with aliens firing space would be on your golden record? in the end he had to go through a lot You did something daring and got weapons at humans, is state-of-the- Kjellsson: Some really weird Swedish of training so that his neck could lift away with it: you made the first 15 art sci-fi. How did you dose that jokes, combined with a very perso- the six kilogram heavy helmet for minutes of the film about being bo- excitement for a 7+ audience? nal environmental message, like “Hé eight hours per day, 15 days long. I red, without getting the audience Kjellsson: Some seven-year-olds have guys, don’t do what we did. Take it easy somehow stopped noticing Henrik in bored. seen lots of stuff, but since this is in out there.” there, I was directing the alien and Kjellsson: We’re demanding a lot of their own language, it suddenly feels – forgot about that sweaty actor inside. our young audience, but most of them very close. We’re on a thin line there Gert Hermans I saw my dream coming true to have enjoy those 15 minutes, because they between scary and too scary. In the an alien on set, which was fun for me, feel some tension and mystery under- first test screenings we had a lot of but not for Henrik. Meanwhile Niklas neath. The first version was like Tar- the seven-year-olds running out of Hermansson and Oscar Wallroth cont- kovsky in space. We trimmed it down the theatre, in the last screening only rolled the eyes and cheekbones of the and planned it meticulously, but still one went out. We’ve made the music
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NOMINATIONS FOR THE ECFA AWARDS Nominated for the ECFA Award
Throughout 2018 ECFA juries have nominated films for the ECFA Award in 17 festivals in and outside Europe. This prestigious title ‘Best Young Audience Film of the Year’ is voted FANNY’S JOURNEY QUEEN OF NIENDORF THE BREADWINNER by children’s film professi- France, Lola Doillon Germany, Joya Thome Ireland, Nora Twoney onals in three categories: Nominated at the JEF festival (Belgi- Nominated at Ciné-Jeune de l’Aisne Nominated at Cinema in Sneakers (Po- Feature, Short and Docu- um) festival (France) land) mentary. The final awards are by almost 150 ECFA members’ votes and will be presen- ted during the Berlinale. And the nominees are…
I AM WILLIAM SUPA MODO TONGUE CUTTERS Denmark, Jonas Elmer Germany/Kenya, Likarion Wainana Norway, Solveig Melkeraaen Nominated at BUFF (Sweden), Oulu Nominated at Kristiansand Children’s Nominated at Lucas Festival for Children’s Film Festival (Finland), Ale Film Festival (Norway), Olympia Film Young Filmlovers (Germany) Kino (Poland) Festival (Greece)
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Nominated for the ECFA Award Nominated for the ECFA Doc Award
THE WITCH HUNTERS LOS BANDO WILDER THAN WILDERNESS APOLLO JAVAKHETI Serbia, Rasko Miljkovic Norway, Christian Lo Czech Republic, Marian Polak Georgia, Bakar Cherkezishvili Nominated at Kino Dcieci Kids Film Nominated at Just Film Festival (Esto- Nominated at Zlin Film Festival (Czech Nominated at doxs! (Germany) Festival (Poland) nia), Smile Film Festival (India) Republic)
MATTI AND SAMI & THE THREE BIG- LENNO & THE ANGELFISH THE LITTLE ONE GEST MISTAKES IN THE UNIVERSE The Netherlands, Shamira Raphaella Czech Republic, Diana Cam Van Nguyen Germany, Stefan Westerwelle Nominated at Filem’on Film Festival Nominated at Olympia Film Festival Nominated at Schlingel Film Festival (Belgium) (Greece) (Germany)
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Nominated for the ECFA Short Award
LISTEN THE HEDGEHOG‘S HOME THE THEORY OF SUNSET The Netherlands, Astrid Bussink Croatia, Eva Cvijanovic Russia, Roman Sokolov Nominated at Oberhausen Short Film Nominated at BAB Festival (Slovakia) Nominated at Olympia Film Festival Festival (Germany) (Greece)
The ECFA Awards Price Ceremony will take place on 9th February in Ber- lin, during the Berlinale.
FRUITS OF CLOUDS PROVENCE Czech Republic, Katerina Karkankova Belgium, Kato De Boeck Nominated at Cinema in Sneakers (Po- Nominated at Filem’on Film Festival land) (Belgium)
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Priya Ramasubban about CHUSKIT “We are what forms the fabric of society”
Chuskit has a very simple dream this concept of life as a circle. Ever- – going to school. That dream is ything that happens to you, whether cut short when she is rendered a it is good or bad, leads towards a ch- paraplegic after an accident. She’s ange. Life will go on in a circle: things confined to life indoors in the carry on until they’ll be destroyed company of her strict grandfather, and there will be a new beginning. It who tries to make her understand takes days to create a mandala that that school can’t handle her needs. is so beautiful, but the same people As life at home gets harder, she who made it are bound to destroy it, starts rebelling against the traditions so they learn to accept that nothing to 5,500 meters high, as high up as the but that one goal in life. of her family members and other lasts forever. That summarises the base camp for Mount Everest. People This friction between tradition and elders in her remote Himalayan film, I presume the audience will un- there have maintained a very simple modernism is not a strictly Ladakh village. In a place that is paved only derstand this mandala element from way of living, closely connected with thing. It has been seen in so many by rough stones, and a school that their heart. Don’t get stuck in your nature. Suddenly that started to ch- traditional, rural communities can only be reached by crossing a misery forever, but look forward to a ange, because it’s such a unique place around the world. river, how can Chuskit ever make new beginning. CHUSKIT tells a simp- and many tourists are coming during Ramasubban: Most insular communi- her dream come true? Director Priya le story, that doesn’t have many sub- summer for hiking, trekking. Living in ties often don’t embrace the coming Ramasubban travelled up to the Kash- plots. All films that have inspired me the mountains, far away from ever- of novelties. Traditional cultures so- mir mountains to make a moving film had that extra layer that motivated ything, these people have a very com- metimes react to changes by either about acceptance and resistance, and me to seek and learn beyond the film. plete acceptance of Buddhism. “Wha- saying “our way of being is the best” came back down with stories to tell I wanted to leave something with the tever happens, happens. Don’t question or “let’s give up our own way and move and a strong case to defend, which audience that goes beyond the simpli- changes, let’s accept them and move out”. My answer is different. Chuskit she does with wisdom and passion. city of the story. on.” That’s why I’m telling the story believes that a change is possible wit- from a child’s perspective. Adults can hin the beautiful framework of where The film opens with a colourful man- The film is shot in Ladakh. rationalise things, while children still she lives. Don’t give up the old to seek dala that gets a deeper meaning as Ramasubban: CHUSKIT is inspired by a allow themselves to say “I really, real- the new, but find a happy coexistence the story evolves. true story from that region, in the sta- ly want this”, not seeing anything else of both. That was important to me. Priya Ramasubban: Buddhism knows te of Kashmir. There are mountains up
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manners in Chuskit’s family leave a hour someone knocked on their door lot of room for discussion and de- with a glass of warm water (because bate. that carries extra oxygen). Afterwards Ramasubban: When having discus- everybody was in good shape. Having sions among adults, often younger an entire crew lying down, doing no- people will agree with the elders thing for two days has an impact on out of respect. But in many cultures the budget. And yet we needed extra you’ll see that once you stop being people to carry our equipment becau- the main provider in terms of income, se we ran out of breath when we did you’ll shift some of your authority it ourselves. But all these efforts paid to the next generation. In terms of off in pure beauty. When shooting in the grandfather, now it’s his son and Ladakh you can’t make an ugly film! daughter-in-law who are the main de- The scenery is simply too beautiful. cision makers. Actually in Ladakh peo- ple are much more gentle in the way In its essence, CHUSKIT isn’t so they express authority, there is lots of much a film about physical disabili- What is so essential about life in Tradition is represented by Chus- love in the way they talk to their chil- ty. those villages? kit’s grandfather. How much autho- dren. Chuskit is an exception. Most Ramasubban: The overarching need in Ramasubban: It’s all about diversity. I rity does he have? children behave much better then she Chuskit’s life is not to get up and walk travelled the world working for Natio- Ramasubban: He’s losing it, as many does. But that wouldn’t have worked again, but to be included. Whether nal Geographic and Discovery Channel older people do. There is a saying: ”If for the film, so I made her a bit more we talk about disabled people, ethnic and I saw how the Western Utopia is a tree can’t bend with the storm, it’s pushy. minorities or people with different embraced everywhere. People drea- bound to snap.” The more rigid we sexual orientations, they all want the ming of a new car or smartphone, that are, the more likely we are to break. How was it practically to shoot a same: to be included. “We are what would make them look all “jazzy and Granddad sees himself as the voice of film in such a remote place? forms the fabric of society. Don’t look snazzy”. That sort of homogeneity in tradition and religion: “Learn to accept Ramasubban: Challenging! When at us like we are freaks.” Chuskit has my opinion is poor. There is so much what is determined for you. Why fight shooting the winter scenes, the tem- been sitting there with her dreams more beauty to find in every country it?” Until in the end he realises he is peratures went down to -15°C. And squashed, while people keep on say- with a diversity of small subcultures the one fighting, who instead should there was the lack of oxygen, due to ing: “It’s alright. Don’t worry, we love that we hardly get to see at all, far be more accepting. He comes to a full the height. I had made some mista- you anyway.” With so much frustra- away from the mainstream. There is a circle in his transformation. kes when shooting in Ladakh before, tion inside, now her default position lot more to Ladakh than the visually so this time we went by the book. has become anger. arresting beauty. I was surprised that even if the au- When the crew arrived, they had to thority is with the older people, the lie down for two days. Every half an
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This entire scale of emotions, main people, but that would make the sto- actress Jigmet Dewa Lhamo acts ry more shallow. The film makes clear out with not much more than her that sometimes we’re amongst good eyes. people with the best intentions and Ramasubban: From the script, many yet nothing is working. Most of us people told me I could never find a have loving people looking after us, child that can act like that. I was just and yet we can get frustrated and incredibly lucky. Up in the mountains unhappy. This way is harder to write, 30 children came and all got the same but more fulfilling in the end. I was audition scene: you come back home lucky to have a brilliant script mentor, from school very hungry, but the Jolein Laarman, who pushed me to snack your mum is bringing, is not the places that I wasn’t willing or capable one you wanted. All kids tried arguing to go. and shouting but Jigmet just looked at the mother, pushed away the bowl Initially Chuskit and her grand- with her elbow and turned her face father are often framed by them- away. That moment I said: “Let’s not selves, only later we see them more audition anybody else. She’s the one.” closely together, setting the emoti- Jigmet was almost 12 and living in a onal tone of the film. dormitory, her parents drop her off Ramasubban: In large parts of the this into visually engaging frames. you can get away with quite a lot. on Sunday and then pick her up again script, Chuskit sits isolated in the two weeks later. For one sad scene, I window, the outside world just one Were you at certain moments in – asked her to recall the moments they step away from her but still she can’t your life asked to live within your Gert Hermans first left her at the boarding school. grab it. In the same room with her limitations? When she felt that sadness again, we grandfather, yet they can’t bridge the Ramasubban: I was lucky. My parents cleared the room and said: “Keep with gap. Only after she resolves the situa- never told us what to do, and I myself that emotion and give me your dialo- tion, you see her surrounded by peop- am more of an impulsive person. But I gue.” And she did. le. And there’s a bridge, literally filling have noticed around me how people the gap between the two of them. My might often tell you about the roles Chuskit is surrounded by people DoP Arvind Kannabiran should take you should fulfil. Limitations are of- who deeply care for her though, the credit for the visual appeal. As ten imposed artificially upon people, showing empathy and compassion. a director, I explained exactly what I especially when you’re a girl. But I Ramasubban: It would have been easy wanted and he and my Associate Di- found out that when people get com- to have her surrounded by villainous rector Rajesh Thanickan translated fortable with what they truly want,
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FILM PITCHING WITH CHILDREN “ABBA look like scary aliens”
Why is ‚pitching with children‘ such a Rychla (THE DAY I MET MY SUPER- brilliant idea? Because producers and HERO). Sometimes panels take turns, screenwriters can get feedback from which keeps the children fresh and the target audience at the perfect alert. Panel members get full free- moment: in full script development dom. One wobbles his legs, and that phase, when children’s advice can is allowed. Another one can’t keep his help to cut the cords. During pitching hands off the cookies, and that is al- © Cinekid - Melanie Lemahieu sessions with children this autumn in lowed too. One has brought his teddy Amsterdam (Cinekid) and Riga (IFF) bear, that is warmly welcomed to the moderator has to decide if she will again later, you can pay attention to all pitchers were just as nervous as ent- panel. intervene. Nienke de la Rive Box ma- the details.“ husiastic about meeting their audien- kes her debut as a Cinekid moderator ce. Preschool projects are pitched for this year and prefers to stay in the It is important that children know why very young children, other panel shadow. „Those hyper-verbal kids can they are here. „Every project starts Organisers carefully monitor the di- members are between 8 and 12 years stimulate other panel members, or just with an idea. We want to know what scretion of children‘s pitching sessi- old. They all speak English perfectly; the other way around.“ you think about our ideas.“ Children ons. Children dare to speak freely in a often these are children from bilin- should not feel any pressure on their small, serene panel; adult busybodies gual families, because an interpreter Nienke de la Rive Box: „I ask the pit- shoulders, otherwise they might give should make themselves invisible or wouldn’t work within the concept. chers in advance what they want to ‚socially desirable‘ answers „because stay out. The pressure of a tight sche- Co-ordinator Thijs van der Laak (Ci- achieve and how I can help them. If that‘s what professionals expect from dule can never be imposed upon the nekid): „We know very little about the they themselves find the right tone, my me“. panel members. Lights are dimmed background of our panel members. role becomes superfluous. That is the and pitchers sit face to face with the Those who register first are invited ideal situation. Maybe we should start WHAT CAN BE THE BENE- panel at a table or walk among the and we strive for a good mix of boys filming the sessions? Pitchers are so ab- FITS OF SUCH A PITCH? beanbags in which kids are lying com- and girls.“ A child claiming a dominant sorbed in the conversation that after- fortably. „I pitch exclusively for the pa- role can disrupt the dynamics of the wards they only remember a few points The benefit of such a pitch with chil- nel, not for the room,“ says Magdalena conversation. At such moments the of interest. If you can watch that pitch dren, the pitchers have in their own
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hands, depending upon their appro- something that you didn’t tell others, would YOU do it? When a playground ach. Some screenwriters tell the en- would you feel guilty?“ The children‘s must be protected against intruders, tire story, others only make a start answers show a strong moral sense. „I the children come up with all sorts of and then let the children take over. would rather confess my secret and live fences and booby traps. Fantasizing Preferably they choose one or two honestly, than become rich and popular for a greater purpose! elements on which they want to go with a bad conscience.“ In SLOPIE, it deeper with the panel. is all about an omniscient voice that 3. Measuring the context of a story prompts little Slopie to give the right answer to every question. „I would Some story elements sound little fa- refuse it. I like to figure out things my- miliar to children, especially when self.“ recalling the writer’s childhood years. Like in ABBABABB!, depicting a socie- Other very specific questions during ty divided into two camps: punk ver- the sessions included: sus disco. But what do these subcultu- - For the Icelandic film ABBABABB!: res mean to children of today? How do „Do you find it funny when somebo- they react to a mood board with pho- © Cinekid - Melanie Lemahieu dy farts on screen?“ The answer is to tos of rowdy punks and eccentric dis- guess: of course! © IFF – Andrejs Strokins co freaks? Scriptwriter Nanna Kristín 1. Very specific answers to very spe- - In ABBABABB! the villains come from Magnúsdóttir wants to know: who do cific questions a hostile country, but „which are those 2. Creative solutions to various pro- you think looks more dangerous? The ‚bad countries‘?“ According to the chil- blems children all agree to the same photo. Everything depends upon your prepa- dren, Germany, Russia, Iraq and North Among all the pictures of mohawks ration. Casual questions like „do you Korea are rogue states par excellence. Pitchers can surf along on the kids’ and leather jackets, they resolutely think this movie will be fun?“ or „would - For JIPPIE NO MORE: „Do you find it imagination and benefit from it. In choose a photo of ABBA! „They look you like to see this movie?“ yield little annoying if in some scenes the adults Cinekid I once saw a complete new like weird, scary aliens.“ They don’t result. Fiona van Heemstra (JIPPIE NO only talk to each other without inclu- episode of a TV series taking shape, understand why all grown-ups start MORE): „I was mainly looking for first ding the children?“ thanks to a skilful moderator mapping laughing. impressions, but what I got was clear - The authors of WHEN FISH START the main characters and their conflict answers to very specific questions.” FLYING want to know if „a film about zones for the children. Fifteen minu- Christian Lo (LOS BANDO) is pitching death is too serious for children.“ tes later a scenario was completed: JENNY‘S TIME, about a girl discover- Some pitchers focus on one element. - The Norwegian documentary KIDS „The dog hates bathing so he escapes to ing a family secret. The fact that there For example, Gaetana Poponcini (SLO- CUP is shot against the background of go rolling into the mud etc.“ Dora Šuš- is a horse in the film is a nice bonus, PIE) wants to know exactly how child- a football tournament but „should we tić (BLOCK 5) also tickles the panel’s but nothing works any better than... ren deal with guilt. „Suppose you know show who will be the winner?“ imagination. Her basic question: How time travelling! That’s the ultimate,
12 | Journal 01 | 2019 Industry On the set
the panel says! Popular themes easily which characters kids want to find out BINTI: The heat is on come to the surface. „I love fishes but more about. I hate football“ or „I think time tra- velling is great but dying is scary“. In Pitchings with children prove their the light of the Belgian project HERE usefulness time and time again. Some A hot summer under a burning sun... BE MONSTERS, about a fisherman‘s it’s impossible to escape from the daughter, an intense discussion fol- heath on a film set. While working lows about the cinematic appeal of on BINTI, Frederike Migom’s first fea- jellyfish and cuttlefish. ture-length film, actors are constantly looking for shelter under large pa- 4. Emotional orientation rasols. „Fortunately, I function better in the heat than in the cold. And soon BINTI Director Frederike Migom For JIPPIE NO MORE, about a child the young actors will get a chance to with Down syndrome, director cool off in the neighbours swimming Dancing off the beat Margien Rogaar (SCRAPWOOD WAR) © IFF – Andrejs Strokins pool.“ tests the emotional spectrum of her screenwriters change the course of We meet producer Katleen Goossens target audience. „How do you behave their story on the spot, some pro- 11-year-old Binti has a special career (Bulletproof Cupid) on the set in a when you are angry? Do you want to be ducers add new ambitions to their dream. She wants to become a fa- quiet and fancy neighbourhood in the comforted or left in peace?“ Her most checklist (Sasha Kirienko is advised mous vlogger. Until one day, together Antwerp suburbs. „This street is a po- important question is: How does it by the panel to invest in cross-media with her dad, she has to run and hide pular film location. People here are feel to be different? „Some children in applications for RING OF LIFE) or see from the police, who threatens them used to the presence of film crews. the panel were ‚different‘ themselves. their ideas confirmed. And the panel? with deportation from Binti’s native The owners of this house are extre- They told me: It‘s not easy to fit in After a job well-done they quickly country. Seeking shelter in an aban- mely relaxed about things, while actu- when you‘re different, but sometimes swallow the last cookies. doned tree house she meets Elias and ally we are turning the whole building you can make it happen.” the two become friends. Binti promi- upside down. We also filmed at the – ses to help her companion in his one- airport in full holiday season, which Line Hatland asks for advice when Gert Hermans man battle for a better cause, named appeared to be rather complicated. making her mind up on KIDS CUP, a the ‘Save the Okapi Club’. Meanwhile Since 9/11 airports have become less documentary zooming in on some an ingenious plan starts taking shape keen on such challenges. Moreover in participants of a youth football tour- in Binti’s brain: dad should marry Eli- times of full capacity, all airplanes are nament. What does the panel think is as’ mum… in use.” important: football, the lives of the children or the broader context? Ba- Today a dance scene is recorded. Ac- sed on a trailer, she can even find out cording to the script, musician Baloji
13 | Journal 01 | 2019 On the set
this position, but I don’t want to be a per and mentor of a whole generation full time bogeyman. Some days I keep of young musicians. more distance, actors and crew mem- bers themselves must learn to take All the time a burning sun is hanging responsibility.” over the film set. But the house next door has a swimming pool and there is Decriminalising a promise that by the end of the day, they’ll all be allowed to take a dip in For Frederike Migom, BINTI is a plat- the cool water. That motivates them form to pass on her message of social now. Frederike Migom: „The heat is commitment. „I want to decriminalise somehow problematic for us. Last the phenomenon of illegal immigrant week we filmed a street party at 35° should clumsily dance off the beat. Di- ary with the director. I once worked workers. Often these families are C with many extras (the whole neigh- rector Frederike Migom energetically for an English production, where rules striving for a normal life here.“ Ba- bourhood showed up) costumes, dan- shows how she wants it to be done are much stricter and children under loji, playing the role of Binti‘s father ce sequences, two cameras... that was and boosts the actors’ energy level. all circumstances must have access (and actually being Bebel’s father in intense. A lot of hard work has been As demanding as passionate, she feels to their private toilet and relaxati- real life), agrees. „This children’s film done, but I truly enjoy it. Everyone like a fish in water on her first feature on room. Here things are a bit more brings up plenty of things that are re- seems to feel comfortable and happy, set. Migom: „I love working with ac- loose. On the second shooting day we levant to an adult audience. It is a sto- which will surely shine through in the tors. Especially the children should did this very emotional scene, with an ry about integration and about lives final result.“ Look forward to the next feel relaxed on set. Bebel Tshiani (Bin- interrogation in a police car. The air that are broken by political decisions. spring season (Belgian domestic re- ti) and Mo Bakker (Elias) are the best. conditioning had to be switched off We have not won that battle yet; the- lease: April 3rd), when all those shiny Discipline, professionalism, persever- and together with the temperature re is still work to be done.“ In Belgium happy actors can be seen in a movie ance, cheerfulness... they have it all. emotions were rising. Afterwards he is known as a socially inspired rap- that is full of colour, vital energy and They have flair, they fit together on they needed a break. What is so nice social empowerment. screen and their acting is excellent.“ about this set is that such things are possible at any time when needed.” – Full time bogeyman Gert Hermans On the set An Vandevelde’s role is Children’s coach An Vandevelde: much bigger than ‘a fancy babysitter „Child actors might often feel a bit in disguise’. With her background in lost and displaced on a film set. Not theatre, she helps the children pre- with BINTI! I am their 24/7 intermedi- paring for their roles. „I am proud of
14 | Journal 01 | 2019 DOXSPOT ,
APOLLO JAVAKHETI Nominee for the ECFA Doc Award
A wide and grey countryside, moun- talk about financing a journey to the tains, sheep, cows and potato fields USA in order to study cosmonautics, – this is the scenery of Javakheti, a you will get the impression that flying tatoes and shovelling dung, he always APOLLO JAVAKHETI, director: Bakar poor and isolated region in Georgia. to the moon is not just a naïve kid’s finds time to watch the moon and to Cherkezishvili; producers: Bakar Cher- Against this backdrop Bandura’s ho- dream. It gives Bandura the strength continue building his own spaceship. kezishvili & Julien Diebel; production rizon is so much wider: he wants to to cope with his everyday challenges. & sales: TAFU - Theatre & Film State become an astronaut. Becoming an astronaut would mean Director Bakar Cherkezishvili shows University, Otar Litanishvili, Georgia, escaping the drab monotony of every- the protagonist’s everyday duties 2017, 16’. day life, bad prospects and poverty in equally to his efforts in crafting a Georgia. spaceship out of trash and scrapped stuff he finds everywhere around. With only few words the film manag- This evokes the impression that for es to give the audience an idea of the Bandura reaching for the stars is not protagonist’s life and his vision for only a dream but a realistic plan: “I will Bandura lives with his mother under the future. The atmosphere is creat- fly to the moon” – hearing his state- simple conditions in a small village ed by images of a bleak landscape, in- ment, you simply have to believe him. in Javakheti. Since his father’s death, cluding the sounds in the background: The Doxspot column is published he has had to take on several jobs in bleating sheep and cows, that consti- APOLLO JAVAKHETI was nominated with the help of the doxs! festival addition to his time spent at school. tute the livelihood of the villagers. for the ECFA Doc Award at the doxs! for children & youth documentaries His life seems to be as grey and harsh Bandura has a tough daily routine, festival, where the documentary (Duisburg, Germany), www.do-xs. as the environment he lives in, how- working on the farm and in a local award has now been presented for de. ever, Bandura is filled with an endless cheese factory. The camera follows the third time. ECFA honoured the imagination and great hopes for the him through his everyday activities: Best European Children’s Documenta- future. Watching him building his own while going to school, milking the ry at the award ceremony in Duisburg spaceship out of trash, hearing him cows, tending the sheep, picking po- in November 2018.
15 | Journal 01 | 2019 INTERVIEW
Jens Pedersen about KIDS ON THE SILK ROAD: HORSE FEVER “People showered in success are usually quite boring”
Daniar (12) lives on a farm in the admit that of the five Silk Road films mountains of Kyrgyzstan, in an end- we made, this one is visually by far the less, open landscape. One day his most beautiful. When filming in these father gives him a wild, young stallion mountains and valleys, it was so calm to tame. Overjoyed and proud, Daniar and quiet that it felt like we were takes on the challenge but his beloved shooting indoors instead of outdoors, horse has a bad temper and has to be even if the space was so big. put down after a dramatic incident. Daniar loses what he loves the most… When it’s all about the character, In a Q&A after the screening at the then why was Daniar the perfect doxs! festival, Jens Pedersen addres- one to pick? ses the audience in a very convincing Pedersen: In a documentary casting German language. “After my graduati- you meet many children that are – so ally quite boring, because they never loses, that makes him grow a lot as a on I worked a few months as a waiter to speak – just children, sons of their get to reflect on their defeats. character. in Hamburg.” But that was long befo- fathers, daughters of their mothers. re he took off on another, impressive They haven’t found their own voice Did you see defeat coming straight This film is part of a series named journey, along the Silk Road. yet. When I first met Daniar, I didn’t away? ‘Kids on the Silk Road’. see much of a special character in Pedersen: No, I wasn’t counting on Pedersen: So far we made five films Even if KIDS ON THE SILK ROAD: him. Until the horse was mentioned. the horse to die. You never plan for and we’re aiming to finance 10 more. HORSE FEVER is a moving and “My father bought me a horse and he defeat. I was counting on Daniar to go In each country we had collaborators deeply personal film, what makes it has great expectations! It is wild and through some hardships before finally suggesting us children to meet. But stand out as well is the beauty of an hard to control, but I try to please it all riding towards the sunset on the back out of every 20 candidates, often only utterly cinematographic landscape. the time.” That’s when all bells start of his horse. But it didn’t turn out that one child seems suitable for a docu- Jens Pedersen: You might call that ringing! This child is moving towards way. There’s another film in this se- mentary. a coincidence, as I didn’t consider it something that is not necessarily go- ries about a guy living on a beach in much. For films like this one, you only ing to succeed, which makes him more Bangladesh who wants to become a So you don’t believe in the myth consider the character and the evolu- interesting. People showered in suc- surfer. He signs up for a competition that every child has a story to tell? tion it is going through. But I have to cess, succeeding all the time, are usu- he is expecting to win, and when he Pedersen: Maybe every child has, but
16 | Journal 01 | 2019 message, and we kind of juxtaposed too scary for them. But actually I sup- that in the editing. pose that a child can tell any possible sinister story to another child, as long The boy has a particularly beautiful as there is a solution in the end. Chil- narrator’s voice. dren can tell each other gruesome Pedersen: It’s like all the time he is things, and I can show that in a film, as telling you a secret. Many people in long as it ends with a positive reflec- Kyrgyzstan talk like that, which makes tion on what happened. That’s why at it very pleasant to listen to them. the end we show Daniar’s new horse.
How should I imagine your conversa- What can we further expect from tions with the boy? the Silk Road project? Pedersen: We started with prelimi- Pedersen: We have about 2/3 of the not necessarily a cinematographic the actual Silk Road as a trail towards nary interviews, just sitting in the hay- financing in place but the last bit is story that can be expressed through the development of an individual. stacks chatting around. The next step hard to find. As partners and stake- actions and pictures. It’s all about is carefully talking your way towards holders, there is our national Danish children that rise up to the challeng- Going to Kyrgyzstan, you must have the film structure: What would you broadcaster, Arte, the Danish and es of life. In every individual story been pretty sure to end up with a usually do on a day like this? Gradu- Norwegian Film Institutes, and the we’re looking for a universal element. film about horses. ally you learn more about your char- Dutch TV channel IKON has bought In this case Daniar learns about the Pedersen: Not necessarily. We could acter’s daily life and you can pinpoint some episodes. We have just started hardships of love. He thinks love (for a as well have made films about pover- certain scenes and locations. At some production again, together with the horse) is about always being mild, not ty, or street vendors, or about their point you have to wait for something other directors Simon Lereng Wil- setting any limits. But sometimes love specific interpretation of Islam. It is to happen that could be the climax of mont, Kaspar Astrup Schröder and will incite you to be strict. Otherwise indeed a horse-riding country but your story. And afterwards you might Camilla Magid. With Toolbox Film now – like in Daniar’s case – you might lose many people’s attention meanwhile fill in some blanks with elements that we have a bigger production compa- what you have. has shifted from horses towards cars, you absolutely need to fit the story ny on board. With their qualifications believe me. Daniar has a warm heart together. and enthusiasm, we can charm the All these stories are located along for animals, but it’s not embedded in birds out of the trees. the Silk Road trail? their culture, on the contrary. Like his Knowing that all the questions from Pedersen: All throughout history father tells him: don’t get emotional- the audience would refer to the – there was never ‘one single Silk Road’ ly involved with a horse, because you killing of animals, you proactively Gert Hermans – it was a maze of roads connecting might end up eating it. The scenes in started questioning them about it in countries. For us this road signifies an which Daniar saves a dove from the your Q&A today. evolution in emotions, or in maturity. hands of his classmates, are his per- Pedersen: These kids were so small, We’ve taken the liberty to interpret sonal resistance towards his father’s I was afraid the film could have been
17 | Journal 01 | 2019 Films on the Horizon
ALONE IN SPACE THAT BOY NEEDS FRESH Animation, France, Belgium, Germany [email protected] AIR 2018 www.levelk.dk Directors: Michel Ocelot Prod.: Nord-Ouest Films, Studio O, HOPE YOU’LL DIE NEXT Mars Films, a.o. TIME :-) World Sales: Wild Bunch Feature Film, Hungary, 2018 Phone: +33 1 43 13 22 54 Director: Mihály Schwechtje [email protected] Prod.: Amego Film, KMH Film, Proton www.wildbunch.biz Cinema Feature Film, Sweden, 2018 World Sales: KMH Film Director: Ted Kjellsson Feature Film, Germany, 2018 GAMER’S RULES Phone: +36 1 41 40 885 Prod.: Nice Drama AB Director: Carolina Link Feature Film, Belarus, 2018 [email protected] World Sales: TrustNordisk Film Int. Prod.: UFA Fiction, Warner Bros. Film Director: Igor Chetverikov www.kmhfilm.com Sales Prod. Germany Prod. & World Sales: Belarusfilm Phone: +45 36 86 87 88 World Sales: Picture Tree Int. Phone: +375 17 267 10 02 THE ICELANDIC GANG [email protected] Phone: ++49 30 42 08 24 80 [email protected] Feature Film, The Netherlands, 2018 www.trustnordisk.com [email protected] www.belarusfilm.by Director: Mans van den Berg www.picturetree-international.com Prod.: NOBS BEFORE THE DAY BREAKS HEAVY TRIP World Sales: Attraction Distribution Feature Film, Latvia, 2018 THE COACH’S DAUGHTER Phone: +1 514 846 12 22 Director: Roze Stiebra Feature Film, Poland, 2018 [email protected] Prod. & World Sales: Locomotive Prod. Director: Łukasz Grzegorzek www.attractiondistribution.ca Phone: +371 29 29 86 67 Prod.: Koskino, TVP SA [email protected] World Sales: IKH Pictures Promotion THE INVISIBLE BOY – SE- www.locomotive.lv Phone: +48 514 254 490 COND GENERATION [email protected] BILLE Feature Film, Latvia, 2018 DILILI IN PARIS Feature Film, Finland, Norway, Belgi- Director: Inara Kolmane um, 2018 Prod.: Film Studio Devini, Masterfilm, Directors: Jukka Vidgren & Juuso Laa- Magic Lab, a.o. tio World Sales: Film Studio Devini Prod.: Making Movies Oy, FilmCamp, Phone: +371 67 24 16 88 Umedia, a.o. [email protected] World Sales: LevelK Feature Film, Italy, 2018 www.devini.lv Phone: +45 48 44 30 72 Director: Gabriele Salvatores
18 | Journal 01 | 2019 Films on the Horizon
Prod.: Indigo Film, Rai Cinema LOUIS & LUCA – MISSION PHANTON OWL FOREST STUPID YOUNG HEART World Sales: True Colours - Glorious TO THE MOON (aka: EVA’S CHRISTMAS Films MISSION) Phone: +39 06 37 35 23 34 [email protected] www.truecolours.it, www.ilragazzoinvisibile.it
JACOB, MIMMI AND THE TALKING DOGS Feature Film, Finland, 2018 Animation, Latvia, Poland, 2019 Animation, Norway, 2018 Director: Selma Vilhunen Director: Edmund Jansons Director: Rasmus A. Sivertsen Feature Film, Estonia, 2018 Prod.: Tuffi Films Prod.: Atom Art, Letko Prod.: Maipo Films Director: Anu Aun World Sales: Yellow Affair World Sales: New Europe Film Sales World Sales: Sola Media Prod.: Luxfilm, Kinosaurus Phone: +358 50 36 00 350 Phone: +48 503 03 51 63 Phone: +49 711 96 89 44 40 World Sales: Attraction Distribution www.yellowaffair.com [email protected] [email protected] (see contacts above) www.neweuropefilmsales.com www.sola-media.com www.eiafilm.ee/ TEAM ALBERT Feature Film, Denmark, 2018 THE LITTLE COMRADE PACHAMAMA POWER TO THE CHILDREN Director: Frederik Nørgaard Animation, France, Luxembourg, Ca- Documentary, Germany, 2018 Prod. & World Sales: Regner Grasten nada, 2018 Director: Anna Kersting Filmprod. Director: Pierre Godeau Prod. & World Sales: Anna Kersting Phone: +45 39 63 44 24 Prod.: Folivari, O2B Films, Doghouse Filmprod. [email protected] Films, a.o., World Sales: SC Films Int. Phone: + 49 30 23 93 07 46 www.regnergrastenfilm.dk Phone: +44-20 72 87 19 00 [email protected] [email protected] www.powertothechildren-film.com www.scfilmsinternational.com Feature Film, Estonia, 2018 ROMY’S SALON Director: Moonika Siimets PAT AND MAT: WINTER Feature Film, The Netherlands, Ger- Prod.: Riina Sildos, Amrion Prod. FUN many, 2019 World Sales: Eyewell Animation, Czech Republic, 2018 Director: Mischa Kamp More information on all these films Phone: +4670 733 28 55 Director: Marek Beneš Prod.: Bos Bros., Leitwolf Prod., NDR, you will find on our website: [email protected] Prod.: Patmat Film a.o. www.ecfaweb.org/european-chil- www.eyewell.se World Sales: Attraction Distribution World Sales: Attraction Distribution drens-film-network/feature-films (see contacts above) (see contacts above)
19 | Journal 01 | 2019 Short Cut
COPS AND ROBBERS (RÄUBER UND GENDARM) “Playing Cops and Robbers on the old playground… why am I still doing this?”
Intimate portrait COPS AND ROBBERS is a very per- This short animation partly creates an sonal testimony, about the transition oppressive atmosphere by showing period between child and adulthood, how fast the evolution from child- and is available at the Shortfilm Dis- to adulthood can go, and how over- tribution Office of the KurzFilmAgen- whelming that experience can be. tur, Hamburg. Referring to the visual sensation of playing computer games, the camera COPS AND ROBBERS consistently shows Daniel’s perspec- Director, script & production: Florian tive which directly involves the audi- Maubach, music: Jonathan Schwenk, ence. Daniel’s perspective on Carla, Germany, 8’15”. with whom he has a tender relation- Contact: [email protected]. ship, helps to identify with the situa- tion and results in an intimate portrait of everyday experiences.
In this coming-of-age film Daniel ground with Christian, making Daniel, Follow the heartbeat starts to realise while playing ‘cops his best friend Kai and Christian equal- The Short Cut column is published and robbers’ with his friends, that ly jealous. A constellation loaded with The animation is minimalistic and suc- with the help of the Mo&Friese there is more to life than catching and excitement, which over the course of ceeds in diving into Daniel’s inner life KinderKurzFilmFestival dedicat- getting caught. Like, the chance to a day will discharge more and more. without including lots of dialogue. ed to short films. As a part of the approach the girl he likes. The characters hardly speak, the story Hamburg Short Film Agency the Florian Maubach’s graduation film is mainly told by observing small de- festival aims to present documen- When playing cops and robbers, the COPS AND ROBBERS (Germany, 2017) tails and following Daniel’s heartbeat. taries and experimental films in anxiety of getting caught causes a won the Deutscher Kurzfilmpreis (Ger- The rare dialogues seem very intui- addition to animation and short certain thrill. But in this case the ini- man Short Film Award) 2018 in the tive – in an almost documentary style. films as well as to arouse the cu- tial situation already creates a tension category ‘Best Animation Film under Unusual is also the colour pallet that riosity of children and to stimulate among the players: Daniel is interest- 30 Minutes’ and has been screened in changes more and more, adjusting it- their imagination. ed in Carla, who shows up at the play- festivals all over the world. self to the inherent tension.
20 | Journal 01 | 2019 INTERVIEW
Claus Räfle about THE INVISIBLES “He said: Now make something good out of it”
vive in a climate of fear, insecurity and ill-founded hope. With fake identity papers, without food rations or safe accommodations, relying on their bra- ve aides, whom Räfle commemorates with this film.
Four Jewish survivors learned that sometimes the best place to hide is in plain sight, thus dodging the Gestapo and their network of inform- and Count Ciano, who were system- schlag, who snitched on many of her ants, knowing that death was just one atically spied on. Janson’s story gave fellows to the Gestapo. mistake away. Living so recklessly in me and my wife, co-author Alejandra the middle of Berlin, they became Lopez, the idea of searching for more Then how did you find your intervie- practically invisible to the Nazi re- ‘invisibles’ and tell their inherently ex- wees? gime. THE INVISIBLES mixes dramatic citing survival adventures. Räfle: Historians Barbara Schieb and reenactment with interviews with the Beate Kosmala of the ‘German Resist- real survivors whose lives inspired the How did you further develop that ance/ Silent Heroes’ Memorial were film. idea? of great help. After we had convinced Räfle: We started reading biographies, them of our project, they provided us Claus Räfle: In 2004, I made a TV doc- most of which had been written by the with information, recommendations Claus Räfle’s docu-drama tells about umentary about a Nazi brothel, in persons concerned or by their (grand) and addresses. The first one we called four young Jews, two women and two which the young Jewish Rosalie Jan- children. We found many cross-refer- was Eugen Friede, who lived in Ger- men going underground in Berlin, af- son survived as a house clerk. The so- ences to wonderful humanitarians, many after an adventurous life in the ter the Nazis officially declared the called Salon Kitty near to the Kurfürs- who have all been honoured as “right- DDR, GDR and Canada – he died in Oc- city to be “free of Jews” in February tendamm was frequented by high eous among the people” in the Yad tober 2018 at the age of 92 years. As 1943. Of those 7000 “invisibles” 1700, Nazi dignitaries such as Minister Rib- Vashem Memorial in Jerusalem, but a typical Berliner he was a bit rough, mainly young people, managed to sur- bentrop and guests such as Mussolini also to a Jewish “rat” like Stella Gold- but finally we were allowed to come,
21 | Journal 01 | 2019 INTERVIEW
taking some biscuits with us. Only a agency, and Hanni Lévy was taken to week later, at our own expense, since Paris by an uncle who had found her we didn’t get funding yet, we went on a Red Cross list of displaced per- back with our equipment, a camera- sons. All of them have become 90 man and a sound engineer and spent years and older. two days talking about his life in the post-war period, interrupted only by a How did you find your actors? lunch. When we were done, he looked Räfle: We developed profiles accord- at me and said: “Man, I’ve told you my ing to the real-life individuals. Ruby O. entire story, now make something good Fee is an extraordinary talent I once out of it.” spotted in a TV crime story. Passport forger Max Mauff had played a servile What about the other protagonists? employee in a GDR ministry in Spiel- Räfle: All in all, we spoke with ten sur- berg’s BRIDGE OF SPIES. He had an vivors - including Inge Deutschkron, uncanny resemblance to the original whose moving story has already been and hid his feelings behind a “perfect adapted many times. We went for cousin” facade. I thought his quick itarian Hans Winkler, a humble justice mal TV documentary. When taking lesser-known stories: those of Eu- physicality was brilliant. Aaron Altaras employee, who accepted young Eu- this plan to different TV stations, I got gen Friede and Cioma Schoenhaus, (as Eugen Friede) already attracted gen Friede into his family, thus endan- nothing but refusals. Apparently that the orphan Hanni Lévy and doctor’s attention as a child when playing the gering his wife and children. Through kind of film already had been done a daughter Ruth Arndt. She and her role of a German-Jewish boy on tel- him and his companions, we wanted thousand times before. ARD and ZDF friend Ellen worked as housemaids evision. And Hanni Lévy recognised to show that helping people in need had contributed a lot to that tradi- for a colonel who organised in his villa herself in the wonderful Alice Dwyer. was possible. This also applies to the tion, however, in 2009 and 2010 there tastings for officers with black mar- We wanted the feature film to have situation today, now a populist whirl- was a general consensus that the au- ket goods. Colonel Wehlen was like a its own power and beauty, not simply wind is drastically changing the social dience had seen enough of it. Even if more ambivalent Schindler character running alongside the documentary climate in many European countries. I could sense the uniqueness of our who impressed his customers with narrative. A casting agency proposed That is why our story has obtained a stories and their strong emotional im- French delicacies, wines and pretty us actors that granted authenticity to timeless relevance and the feeling pact, more and more it felt like I was girls, whom he thus offered a chance even the smallest roles. about it is completely different from trying to sell plutonium. Facing our to survive. The Arndt-Gumpel family how it would have been ten years ago. defeat, we considered how to devel- right after the war migrated to New In a supporting role we see the op a more intense emotional power York, Cioma Schoenhaus managed recently deceased Andreas Schmidt Did you think of a documentary in order to reach out to a larger au- to escape by bicycle across the Swiss in his last performance. from the very beginning? dience. That’s when the idea came up border where he opened a graphic Räfle: He plays the wonderful human- Räfle: First we wanted to make a nor- to combine documentary with feature
22 | Journal 01 | 2019 INTERVIEW
widespread distribution. It’s fantastic umentaries, that almost becomes im- how many countries the film has been possible. Due to THE INVISIBLES, now screened in cinemas, on TV, as video that chance has come. I am currently on demand and at festivals… Many working on two fiction projects based young people, four or five genera- on true stories: one set after the end tions after the war, have witnessed of World War II and one contemporary the crimes of the Nazi era, that go story. so far back that they almost seem unreal to us. It is so important that Is there something more you want history will not repeat itself. In this to add? respect, our story feels very contem- Räfle: Television stations and Film porary, now that societies can sud- Funds these days in the first place denly take a drastic turn, as you see seem to look at what the major com- in Brazil, where a right-wing populist panies are producing. The whole has become president. It is crucial to sector has embraced a sort of indus- film, like Heinrich Breloer did in his film to your protagonists? protect the achievements of liber- trial feel, it’s about brands and for- outstanding political documentaries Räfle: Only Eugen Friede and Hanni al democracy – and THE INVISIBLES mats. I think those in charge at pub- in the 90s. When we finally had the Lévy were at the premiere in October might contribute to that awareness. lic broadcasters and cinemas should TV stations convinced, we needed a 2017. Cioma Schoenhaus died a few That is the legacy of these four brave use their wonderful ability to create distributor. The same thing happened months before filming began, but ‘invisibles’ who’s interviews made it programmes in a more creative and again: everywhere we were told that his children and grandchildren were possible that many young people can open-minded way. a documentary drama simply couldn’t there and Mrs. Arndt-Gumpel, who see their story. In Germany, the film work in cinemas. Until we met the new seemed so incredibly vital in the inter- has reached almost 100,000 viewers – team at Tobis-Film shortly before the view, died as well, but her sons were with 54 copies, which is a lot for this Uta Beth expiration of our funding deadline. there. For these families, the movie is type of film. In 2016 we finally shot the film with- a true salute, and they are very proud in three weeks. Finding the original and happy about it. Hanni Lévy is 94 What is your background as a film- documentary footage was relatively now and she’s coming with us to the maker? easy. After making a whole series of New York première of the film in Jan- Räfle: Since the beginning of the 90s documentaries about Nazism and the uary 2019. I have made socio-political historical post-war era, I knew exactly where to documentaries for public television, look for it. What wish do you have for THE IN- as well as several satirical works. I’ve VISIBLES? always wanted to do something fic- Did you finish in time to show the Räfle: I’m already very happy about its tional, but once you start making doc-
23 | Journal 01 | 2019 Production
Holland‘s leading Global Content dis- technology based fables, each film tribution company Dutch Features is continues Dutch Features’ tradition DUTCH FEATURES HITS MARKET one of ECFA’s new members. During of bringing first-class family films to this year’s Berlinale, the sales outfit the world, inspiring young genera- WITH FOUR TITLES hits the European Film Market with tions and making our complex world four brand new family titles. From just that little bit easier for them to touching, nature-tinted coming-of- digest. This is what the new harvest age drama to elaborate fantasies and looks like:
BEARS LOVE ME TAIKI SUMMER WITH RANA AFTERLIFE
Eight year old Jip´s dream comes true The last thing Bruno wants is a family Suzan is spending the summer holi- After a bike accident, Sam (14) is in- when the family goes on holiday to digital detox holiday! He just wants days with her grandmother while her credulous when waking up in the af- America to spot wild bears. But too to play games with his online friends. mother goes to Syria as a war report- terlife. There she can reunite with late the family realises adventures in During the road trip Bruno’s parents er. She bonds with Rana, a Syrian girl her mother whom she has missed so the wild are not everyone’s cup of tea. lose their patience, giving him a road living in a nearby refugee camp, much much. Sam is given the choice to stay Jip is determined to see bears, her fa- side time out. Bruno disappears into to the disapproval of her friends. or to return to earth. She decides to vourite animals, and goes rogue on a the Swedish forest where he learns Family drama (68’), director: Sanne Vo- stay but then changes her mind, hop- solo adventure. Every time her fam- that the real world can be as beautiful gel, producer: JoCo Media. ing to reverse events in this new life. ily is about to catch up with her, Jip and exciting as the virtual world. Youth drama (93’), director: Willem takes a different turn. Only in the end Family adventure (86’), director: Mir- Bosch, producer: Pupkin Film. Jip realises she is also like a cub that jam de With, producer: Fiction Valley. needs mommy bear… Family adventure (85’), director: Eva M. Contact info: Fulko Kuindersma (Acquisitions & Marketing for Dutch Fea- C. Zanen, produceR: Topkapi Films. tures), +31 23 88 80 168, [email protected].
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“Hobbies we have plenty” doxs! industry exchange
ers – always depending on finances spoke about her experience with the ing habits, that also force cinemas to The doxs! for their next film – have to earn a production and acclaim of her feature seek for themselves a new role. Es- festival in living through their “hobby”. On the debut QUEEN OF NIENDORF, that was pecially for documentary films, pro- Duisburg other hand, there was positive news made without any financial support – duction slots should be short, not to this year or- to share. According to Margret Albers, an exception hopefully not to become lose track with the age of your pro- ganised an the “Outstanding children’s films” ini- the general rule. Her next project will tagonist or the profile of your sub- experts debate on the support for tiative, founded in 2013, has managed be a documentary film supported by ject. This means that TV programmers new documentary initiatives for chil- to sensitize the audience for original BKM (Federal Government for Culture and funders should show a little more dren and youth, on the level of both film content. Keeping track with the & Media) and the Kuratorium Junger trust and courage, and should be will- production and visibility, in co-opera- international tendencies, for instance deutscher Film (Board of Trustees ing to take a risk once in a while. tion with the Förderverein Deutscher with the ECFA Doc Award, from this Young German Cinema) about a group Kinderfilm (Outstanding children’s year on for the first time documentary of girls aged 11 to 14 that became – films, Margret Albers), the Filmbüro projects are also welcomed within the famous as so-called influencers on Holger Twele NW (Bettina Braun) and the GRIMME new tender, alongside animation and YouTube. But to keep track with the Academy (Aycha Riffi). Special guest live action features. And the region of age of her protagonists, she needs was German filmmaker (and member North Rhine-Westphalia grants a six funders’ decisions (governmental or of the ECFA Jury) Joya Thome (QUEEN month scholarship for research and private) to be taken fast. OF NIENDORF). development on documentary films. Not only projects in production can be It was no sur- The title of submitted, but also ideas in an embry- prise that in the the event is onic stage. Bettina Braun (Filmbüro closing debate, a tongue-in- NW): “The first tender showed that good quality of cheek refer- it’s not the content for young children films was as- ence to the fact that we’re lacking most, but projects signed as the first priority. Over the that the uto- for youngsters aged under 14.” last years we’ve recognised multiple pian society in developments and achievements, which every individual can artistically Young film- most of them heading in the right deliver, as conjured by Karl Marx, is maker Joya direction. Meanwhile new challenges not a given fact. As a result, filmmak- Thome occur, due to the changes in the view-
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ESTONIAN CHILDREN’S FILMS BEAT BOX OFFICE
Last December, PHANTOM OWL FO- VILLE in 2006. Now they’re back with year, it will hit the Estonian cinemas REST topped THE GRINCH and gained a third title about the little dog-girl. with the story of Morten, a little red more than 100,000 admissions within In LOTTE AND THE LOST DRAGONS, head boy who wants to sail the sea less than a month. In January 2019 together with her newborn sister, and therefore builds himself a ship. LOTTE AND THE LOST DRAGONS, an Lotte helps two scientists in their However, he has to share it with… animated adventure having its inter- quest for a herd of dragons, who were bugs. Compared to Jancis’ previous national premiere in the Berlinale’s considered to be extinct. The Lotte films, CAPTAIN MORTEN AND THE Generation section, saw a prolong- series has always been consequently SPIDER QUEEN is the most fairy-tale ation of that success. Puppet film non-violent. Juxtaposed with the cur- like. This visually stunning road-trip CAPTAIN MORTEN AND THE SPIDER rent trends in international children’s over sea and land pays homage to a QUEEN is currently travelling the animation, this is a rather rare move. traditional animation technique. festivals worldwide. Local children’s And although days in Lotte’s village films are nailing it in Estonia! may seem calm, they are oh so full of life – full of little joys and unexpected PHANTOM OWL FOREST, directed by CAPTAIN MORTEN AND THE SPIDER everyday adventures. With stunning Anu Aun, is considered to be the very QUEEN visuals, LOTTE AND THE LOST DRAG- first Estonian Christmas film. It per- ONS is heart-warming eye-candy for fectly gets you into a winter holiday seems to touch every single Estonian. all ages. mood, but stands the test in every After a screening I overheard a child season. 10 year old Eia spends the that no longer wanted an iPhone for Kaspar Jancis is known for his ab- THE SECRET SOCIETY OF SOUPTOWN holidays on a farm in South Estonia. Christmas but just wanted to spend stract and often surreal animated There, in a winter wonderland, Eia time with her granddad. I believe this films. His shorts have won several Why children’s films matter? starts her quest to save a primeval sums up everything about the film. awards, including the Cartoon d’Or. forest. The film deals with forgive- CAPTAIN MORTEN AND THE SPIDER The Estonian filmmakers’ interest ness, love, and the importance of a Estonia might not seem big enough QUEEN, an Estonian-Irish-Belgium-UK in producing children’s films has in- family, and it’s social comments – the for a successful franchise. Janno co-production, is a full-length puppet creased tremendously over recent threats of reckless forestry – are clev- Põldma and Heiki Ernits have proved animation that premiered last year at years. In 2015 THE SECRET SOCIETY erly hidden under an overall layer of the opposite. The directing duo pre- the Zagreb International Film Festi- OF SOUPTOWN was a box-office hit. A sweetness. PHANTOM OWL FOREST miered their LOTTE FROM GADGET- val, and then travelled to Annecy. This year before that, the youth film ZERO
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films are often universal. According to Tibbo, PHANTOM OWL FOREST is one example of an Estonian children’s film with a far-reaching topic. “ An Es- tonian journalist stated that the film raises a belief among the audience that harvesters are devilish machines, that LOTTE AND THE LOST DRAGONS must be stopped before they destroy all our beautiful nature and kill our POINT had mesmerised teenage audi- birds and animals. That’s a true remark. ences. However, local children’s films Especially when thinking about the en- have never been as visible as nowa- vironmental crisis that today’s children days. Piret Tibbo-Hudgins, Head of – tomorrow’s grown-ups, must face,” Productions at the Estonian Film In- she adds. stitute sees it as a refreshing change. PHANTOM OWL FOREST “Film magic touches young and old. Both PHANTOM OWL FOREST and We cannot assume that films should LOTTE AND THE LOST DRAGONS are directors. est childhood friendship. For Estoni- only be made for grown-ups when a part of the ‘Estonian 100’ film pro- ans, who all have read the book, this large percentage of the filmgoers are gramme (celebrating the Baltic Cen- What’s next? will be a nostalgic trip down Memory children. Furthermore, children are an tenary), just like the THE LITTLE COM- Lane. exceptional audience – cinematic sto- RADE, by Moonika Siimets. Based on No doubt that 2018 was a fruitful year ries, role models, the film world itself… the autobiographical novel by Leelo for the Estonian film industry. Even So, with LOTTE soon to premiere at they all have an impact on patterns of Tungal, this is not a classic children’s with the anniversary year behind us, the Berlinale, MORTEN hitting the do- children’s behaviour. That makes it cru- film, yet, it tells the story of Soviet oc- we have more surprises up our sleeve. mestic cinemas in spring and RAGGIE cial to produce films that address the cupation through the eyes of a child. The Estonian-Danish co-production being released next year, there’s defi- younger viewers in a positive way.” In that way, the film bridges the gap RAGGIE will premiere in 2020. This an- nitely a lot to look forward to. Not a Each nation shares its own beliefs, its with the young audience and has the imated feature tells about little Anu bad start for 2019. social background, and of course, its power to unite generations. THE LIT- and her brother Mart. When Mart has language. That’s why big international TLE COMRADE is Siimets’ full-length to go to school, Anu has to spend long – productions are not enough. Small nu- feature debut, PHANTOM OWL FOR- days by herself. To cheer her up, Mart Aurelia Aasa (Estonian Film Institute) ances, sometimes cleverly hidden in- EST was Anu Aun’s second feature. makes her a rag doll called Raggie. side jokes touch people’s hearts more The ‘Estonian 100’ programme did However, this turns out not a regular than international, high-budget films not only provide us with excellent doll… Based on a children’s book by ever could. Yet, the topics covered in films but also gave voice to emerging Eno Raud, RAGGIE tells about an hon-
27 | Journal 01 | 2019 INTERVIEW
MATTI AND SAMI AND THE THREE BIGGEST MISTAKES IN THE UNI- VERSE Stefan Westerwelle: “Being special is the luxury every child has”
MATTI AND SAMI AND THE THREE totally impossible absurdity as a BIGGEST MISTAKES IN THE UNIVER- credible story. How did you get your SE starts with a flashback: a bunch of audience willing to believe? people stuck at a lakeside. We have Stefan Westerwelle: In my heart I’m no clue how they ended up here in still that five year old boy believing But if a family sticks together as one, more often. the middle of nowhere… until we’re that everything can be sorted out miracles can happen. In this family un- introduced to a family with two sons if you wish for it hard enough. For fortunately it’s up to a young boy to What happened to the father that – Matti & Sami – and plenty of prob- me the situation is totally credible, create a situation in which his parents he lost track? Probably he doesn’t lems. Mum can’t hold things together otherwise the movie couldn’t have have to start communicating and take even know precisely what he’s mis- anymore, while dad is longing for his worked. Finding a balance between care of their children together. sing so much, and therefore calls it native country Finland. Matti decided realism and fantasy was my ultimate ‘Finland’. it’s about time to give luck a little challenge. How did the family situation get so Westerwelle: Being rootless is not push: how about a winning lottery tense? just about geography, it’s about what ticket that grants you a house in Fin- There’s another important balance: Westerwelle: This family constella- home feels like to you. Dad doesn’t land? But the dream ends where the between optimism and pessimism. tion is not exceptional, it is on the know what happened to the love he lie begins… In the Schlingel Festival, Westerwelle: I believe every problem contrary a rather common thing. Mum once felt, that made him move to MATTI AND SAMI AND THE THREE can be solved if you have the neces- is at the edge of a burn-out, father is Germany. He and his wife must have BIGGEST MISTAKES IN THE UNIVERSE sary persistence and positivity. It haunted by depression, and suddenly known happy times. But things have won the ECFA Award. We met with sounds a cliché but if you follow your a 10 year old child has the idea it’s his changed. For Matti visiting Finland German director Stefan Westerwelle heart, things will work out. I spiced responsibility to save them, thus get- has become a symbol for his longing at the Filem’on festival in Brussels. the story with problematic situations ting into the position of overtaking to get closer to his father. Your movie was able to present a that at first glance seem unsolvable. responsibilities. You see it happening
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What does Finland have that Germa- was the right dose. Do you think we ny doesn’t have? went more than 3% over the top? Westerwelle: It’s one of the craziest countries I’ve ever seen. Both the Let’s say it was a 3+... language and the culture, especial- Westerwelle: On the third day of the ly in the North, are so very different shooting Sabine Timoteo (playing from what we are used to. It felt like Matti’s mum), who is known for her we were shooting somewhere in Mon- strong, tormented women’s roles, tana, USA. I was always told Fins don’t said: “Now I understand what we’re talk much, but the Fins I met were the Your statement seems to be that doing. We’re making a children’s movie. tertwined. You’re born as a part of a most talkative people I’ve ever seen. average people are boring. These I can exaggerate and be funny and I en- family, and it takes time to realise you kids are definitely not boring! joy it so much.” have an identity outside that family, You were shooting in the North? Westerwelle: ‘Being special’ is the lux- with your own thoughts and feelings. Westerwelle: We had six days in Kok- ury every child has. Only when grow- The film sets sparkle with colours. For positioning yourself as an individ- kola, which is like the Finnish Holly- ing up, you learn to adapt, earning Your set designer was working over- ual, lying is a practical tool. It all goes wood. When arriving in Helsinki, rain a living. You learn to ignore certain time? back to that cheesy phrase: if you fol- was pouring down. But the very first parts of your character that make Westerwelle: When telling a rather low your heart, all bets are off to do day of the shooting, the weather got you special, while children still can dark story in a children’s film, you the right thing. hot and it stayed like that for the full explore all their potentials and inter- need to lift it up and keep it light. six days, up till our final take. One ests. I think Matti is a totally normal We easily switched from one tone to From all staircase scenes I’ve seen in week later it started snowing. 10 year old boy, full of hopes and ex- another, like in my favourite scene: my life, yours was one of the most pectations. I never wanted to tell a Sami’s cooking looks funny, but the ingenious. Nick Holaschke, playing Sami, is re- story about ‘special people’. scene flips over to the other side of Westerwelle: We had a great location markable. the spectrum as soon as the parents scout, who found us the most beauti- Westerwelle: You should observe him Nevertheless there seems to be so- get involved. It’s that switch from ful staircase in the entire city of Ham- in the scenes where he only appears mething wrong with adults in gene- ‘light’ to ‘heavy’ that creates the ten- burg. Even if people warned me that as a side character: without further ral in this movie. They all seem a bit sion, the emotional impact of the film. green walls make the actors’ skin look directives, he got drawn into those crazy. pale, I still think it looks marvellous. scenes and became part of them. Westerwelle: For making my first According to the title, lying is what When we were working with him, he children’s film, I had this credo: causes all the world’s catastrophes. – hadn’t started at school yet. He was everything should be 3% over the top. Westerwelle: Telling lies is bad, but Gert Hermans completely natural, not yet formed by It’s a matter of taste, I’m sure some sometimes helps you solving prob- schedules and frames. people won’t like it, but I thought it lems. Right and wrong are always in-
29 | Journal 01 | 2019 COLOFON
ECFA Journal No. 1-2019 ECFA Journal Published by ECFA Contributors to this issue: European Children’s Film Association Gert Hermans (Editor) Place de l’Amitié 6, 1160 Brussels, Belgium Reinhold Schöffel, Felix Vanginderhuysen, Margret Albers, Gudrun Sommer, Lisa Rölleke, Renate Zylla, Phone: +32 475 55 02 97 Laura Schubert, Lina Paulsen, Anna Knochenhauer, Email: [email protected] Anshulika Dubey, Kristine Simsone, Rachel Voorbij, Website: www.ecfaweb.org Nienke Poelsma, Alice Goezu, Uta Beth, Fulko Kuin- dersma, Holger Twele & family, Aurelia Aasa, Johan- Please send press releases, advertisements, questions & information to: nes Lõhmus and Hilde Steenssens. Gert Hermans, [email protected] Proofreading: Adam Graham ECFA’s goal is to support cinema for children and youth in its cultural, economi- Design: Stefan Koeneke cal, aesthetic, social, political and educational aspects. Since 1988 ECFA brings to- ECFA website: Udo Lange gether a wide range of European film professionals and associations, producers, directors, distributors. ECFA aims to set up a working structure in every European country for films for children and young people, a structure adapted to Europe’s multicultural interests.
For more information and memberships (€ 250 per year): ECFA European Children’s Film Association Phone: +32 (0)475 55 02 97 Email: [email protected] Website: www.ecfaweb.org
The European Children’s Film Distribution Network: www.ecfaweb.org/european-childrens-film-network/network Databases on children’s film festivals, sales agents, distributors and TV-programmers interested in European films for children.
30 | Journal 01 | 2019