Nanouk Leopold back in Berlin with Cobain Dutch filmmakers target IFFR Rosto honoured at Clermont Ferrand My Giraffe in Berlin Generation Barbara Visser on Barnett Newman

Issue #30 January 2018 Sundance, IFFR, Berlin and Clermont Ferrand issue Index COLOPHON 4-5 Sundance exposure Minority 30-31 Native bed fellows Topkapi Films co-pros Time Share and Holiday in is co-producer on The Bed and Land in See NL is published four times per Sundance World Cinema Dramatic Berlinale selection year by EYE International and Competition The Netherlands Film Fund and is distributed to international film 32-33 Kafka in Brazil Maria Ramos doc professionals. 6-7 Tailor made IFFR topper Bero Beyer The Trial about the impeachment of discusses new features of this year’s fest Brazilian president Dilma Rousseff is Editors in chief: Marten Rabarts, selected for Berlin Panorama. (EYE), Jonathan Mees 8-9 Cross border affair The second (Netherlands Film Fund) Executive editor: Nick Cunningham feature of Palestinian Muayad Alayan is 34-35 Then we take Berlin Dutch Contributor: Geoffrey Macnab selected for IFFR Tiger competition filmmaking talents at Berlinale 2018 Concept & Design: Lava.nl, Amsterdam Layout: def., 10-11 Camera Obscura Director David 36-37 Rebel with a cause Jonas Amsterdam Printing: mediaLiaison Printed on FSC paper Verbeek on his An Impos­sibly Small Smulders is The Netherlands’ Shooting © All rights reserved: Object, selected for IFFR Star at this year’s Berlinale The Netherlands Film Fund and EYE International 2018 12-13 Nihilism rules ok René Eller’s 38-39 EYE Exhibition Danish artist debut feature We, selected for IFFR, is Jesper Just CONTACT Sandra den Hamer about youthful hedonism and cynicism CEO EYE 40-41 Short and to the point Zara E [email protected] 14-15 Bad connection Possession in Dwinger and Shady El Hamus selected Tiger Competition is a polemic about the for Clermont Ferrand Marten Rabarts tyranny of modern mobile communications Head of EYE International E [email protected] 42-43 Gospel of Rosto Clermont 16-17 Visseral reaction Barbara Visser Ferrand celebrates Dutch artist/film­ EYE International tells the story of the infamous mutilation maker/musician Rosto who is world- PO BOX 74782 and ‘restoration’ of Barnett Newman’s premiering his Reruns 1070 BT Amsterdam The Netherlands ‘Who’s Afraid of Red, Yellow and Blue III’ T +31 20 758 2375 44-45 When Harry met Johan W www.eyefilm.nl 18-19 The parent trap Saskia Diesing’s Pompidou doc programmer Harry Bos on second feature Craving is selected for the Johan van der Keuken retrospective Doreen Boonekamp IFFR Limelight CEO Netherlands Film Fund E [email protected] 46-47 Short Cuts News from the 20-21 Final testimony Morgan Knibbe Dutch film industry Jonathan Mees presents his short doc The Atomic Communications Soldiers at IFFR. Plus other Dutch shorts 48 Ceres Dutch minority co-pro in Berlin Netherlands Film Fund E [email protected] Generation Kplus 22-23 Analogue memories Digna Sinke’s Netherlands Film Fund Keeping and Saving, about the desire Pijnackerstraat 5 to hold on to possessions, selected for 1072 JS Amsterdam IFFR Limelight The Netherlands T +31 20 570 7676 W www.filmfonds.nl 24-25 Teen spirit Nanouk Leopold’s Cobain is selected for Generation 14plus

26-27 A tall tale Berlinale has stuck its neck out with a Generation Kplus nod for box-office smash My Giraffe

28-29 Due South Denis Vaslin talks to See NL about Argentinian feature The Omission, selected for Berlin Panorama Cover: Cobian Nanouk Leopold See page 24 We René Eller See page 12

2 3 World Cinema Dramatic Competition Sundance exposure Time Share & Holiday Holiday Director: Isabella Eklöf Script: Johanne Algren, has a sinister plan to take their loved Fund involvement translated Isabella Eklöf ones away. The film is co-produced into approximately €100,000 of Production: Dharma by Circe Films, whose Cobain (see minority co-production support and Film (DK) page 24) is selected for Berlin €60,000 from the Production Co-Production: OAK Motion Pictures (NL), Generation 14Plus. The film will Incentive. All of the editing (editor: Common Ground have its European premiere at IFFR. Natalie Alonso Casale) and the Pictures (SE) entire sound and image post- Circe’s Lisette Kelder was determined production were completed in Sebastián Hofmann to co-produce the latest Hofmann The Netherlands. In addition, visual Isabella Eklöf film after the impression his Halley effects (such as flamingos) were Two Dutch minority co-product­ ­ (2012) left on her – and the Dutch applied in post- after the Dutch producer Trent knew very ions, Time Share by Mexican industry as a whole. “That was a establishing plates were created in little about the director and producer filmmaker Sebastián Hofmann film we loved very much,” she Mexico. “We were very much of Holiday (Isabella Eklöf and David and the Danish feature Holiday underlines. “And why we were very involved, more than we are used to B. Sørensen) before he met them at (Isabella Eklöf) are selected for eager to be involved in Time Share, as a minority producer,” stresses CineMart 2015. But he was intrigued the prestigious World Cinema but it was difficult as there is no Kelder. by the feature debutante’s notes Dramatic Competition of the formal relationship for funding about a “female Godfather, trapped 2018 Sundance Film Festival. between Mexico and The Nether­ “Sebastián is very original and within a criminal environment” and Nick Cunningham reports. lands. But we were really excited Time Share is just as bizarre and quickly watched three of Eklöf’s when we found out that the Film funny and beautiful as Halley. short films to prepare for the In Time Share the sinister meets the Fund was prepared to support it, The actors are brilliant and the film meeting. magical as two patriarchs find based on their expectation that it looks disturbingly stylish, almost themselves in a holiday nightmare would be selected for an A-festival. grotesque. We really hope that “All of them were very interesting, after becoming convinced that an It was great to know that everybody we can follow him onto his next visually and stylistically, and American timeshare conglomerate was such a big fan of Sebastián.” project as well.” Isabella had worked with a lot of non-actors, which I found very interesting. She is not afraid to make drastic choices – I especially liked that. I knew it would be a risk as it is not often that the Fund gives minority support to a first feature, but I thought if we could make a equip­ment was Dutch and, in post- and Danish production entities. nice package and a great director’s production, all the sound design Talking in early January, Trent was statement then it might be and sound editing was overseen by yet to see the final version. While he possible.” Dutch professionals. The Danish felt the first cut was too long, coming team were amenable to suggestions in at over two hours, the second What made the project relatively at script level as well. “This was a and third versions indicated that easy to co-produce was the flexibility director who was very open to the Danes were making all the of the Danish team. They were working with six or seven different correct choices, as evidenced by the Time Share prepared to switch nationalities of opinions, but then she was able to Sundance selection. “It really is a Director: Sebastián Hofmann key characters to facilitate Dutch take her own decisions, which was film that can work at the cinema as Script: Sebastian Hofmann & Julio co-pro terms. Dutch technicians very special,” stresses Trent, adding it is slow and intense, and I am Chavezmontes Production: Piano (MX) Co-Production: Circe Films (NL) oversaw the sound on set, the focus that there was a mutual and really looking forward to seeing the pulling and make-up. All the camera palpable “click’ between the Dutch finished result.”

4 5 IFFR preview Ideas & innovations Tailor made

In the same spirit, the festival is plenty of well-established and hosting a screening of Paul Thomas illustrious guests, among them Paul Anderson’s awards contender Schrader, who will be introducing Phantom Thread, in which Daniel his Bergmaneque new feature First Day-Lewis stars in what he says will Reformed, in which Ethan Hawke be his final role, as a British fashion plays a priest struggling with his couturier. The screening is faith. Schrader will also be giving accompanied by the Rotterdam a masterclass. Meanwhile, the Bero Beyer Philharmonic. “These things are celebrated British actress Charlotte crazy, especially if they’re for a new Rampling (star of The Night Porter, IFFR director Bero Beyer film, but they always have a real Stardust Memories and Oscar- indulges in a little pillow talk cinematic power,” Beyer reflects on nominated for 45 Years), will talk with Geoffrey Macnab. showing a movie with live music. about her role in Andrea Palloro’s Anderson is expected to attend the Hannah. British satirist Armando The great Thai director, Apichat­pong screening and Beyer hopes he Iannucci is also Rotterdam bound, Weerasethakul, a Palme D’Or will stick around at the festival to to accompany his film The Death Of winner and regular visitor to IFFR, sample its esoteric pleasures. Stalin, which closes the festival. has said on several occasions that he doesn’t really mind if audience Meanwhile, IFFR titles are going to IFFR boasts the oldest and most members fall asleep during his be shown further afield than ever respected co-pro market, CineMart, films. This is almost bound to happen before. Half a dozen of the festival celebrating its 35th edition. to some of those visiting his new films (all of them directed by women) This year, that event is being given project, SLEEPCINEMAHOTEL, at will be shown during the 4th edition a radical re-think with 16 chosen this year’s festival. of IFFR Live across more than projects as opposed to more than 50 participating cinemas across the 30 in previous years. “The concept “We asked him to come up with world – one of them this year is in of co-production markets is well something that could be a new work Harare. Rotterdam is thus reaching established. There are plenty of at the festival,” IFFR artistic director audiences in post-Mugabe Zimbabwe. them. CineMart is always going to Bero Beyer explains of Apichatpong’s­ be a key part of what we do whether idea for an installation that involves The 2018 festival opens with the it’s 16 projects or 25 or 40 but the audiences, awake or asleep, in a very international premiere of Jimmie, way of dealing with those projects is intimate way. They can book into the a road movie about a father and his going to be radically different.” hotel, which is being established­ at four year-old-son on the run across the World Trade Centre Rotterdam as Europe, by Swedish director Jesper “The aim now is to choose fewer part of the festival’s Art Directions Ganslandt. “What I think is incredibly projects but to give them more programme. There aren’t many powerful about the film is that it attention and exposure. (This process beds, but non-guests can also visit takes a very concrete and very easily had already started through the during the day. understandable concept and real Boost NL programme on which it takes it to the extreme,” Beyer says. collaborates with the Netherlands Beyer will be spending at least one Film Festival in Utrecht.) Sales agents night in Apichatpong’s cinematic Rotterdam has always been known have responded warmly to the hotel. He hails the idea as represent­ as “a discovery festival,” where you change, which makes CineMart less ing the adventurous spirit that makes come to find new names and new of “a rat race” and allows for a more IFFR “so much fun.” talent. This year, though, there are painstaking and selective approach. Phantom Thread Paul Thomas Anderson

6 7 IFFR Tiger Competition The Reports on Sarah and Saleem Cross border affair Muayad Alayan

Palestine and Israel. This means support – at just under €1 million that politics can’t help but intrude the budget was too small and into the couple’s illicit interaction. very little of the money was spent As Niens puts it, “the consequences in Holland. Nonetheless, Niens, of their behaviour are so immense.” like many other leading Dutch producers, points to the trans­ The veteran Dutch producer formative effect the rebate has had (who was Oscar-nominated for Twin in recent years on the Dutch Muayad Alayan Sisters in 2004) realised that this industry. was just the kind of project the The much anticipated second Netherlands Film Fund was likely to “It is really, really important,” she feature of Palestinian filmmaker get behind. It had artistic pedigree declares, “and has really put a Muayad Alayan has been (the Alayan brothers’ debut feature, spotlight on Holland, making it drumming up interest at co-pro Love, Theft and Other Entanglements much easier to co-produce.” In the markets over the last two years had premiered at the Berlinale) and past, Dutch producers always had to and is now competing for a political edge. “reach out” (quite often in vain) to the Rotterdam Tiger awards. foreign partners to ask them to Geoffrey Macnab reports. The film was shot in Jerusalem, both come on board their films but could on the Palestinian East side and the offer little in return. Now, foreign The story of an affair between Israeli West side, and in Bethlehem. producers are reaching out to them a married Palestinian man and a During the summer, clashes erupted – and the Dutch have the means to married Israeli woman, The Reports in Jerusalem and the production help. on Sarah and Saleem received both team had to overcome more and HBF+NFF co-pro support and more obstacles. Several locations in KeyFilm already has several other funding from the Berlinale World East Jerusalem were not accessible projects in the pipeline, among Cinema Fund. due to military checkpoints and them the Henry James adaptation, several members of the team were The Beast In the Jungle, directed by In May 2016, Muayad Alayan and his not allowed by the Israeli army to Clara van Gool. The company is also brother (and scriptwriter) Rami cross into Jerusalem to be on set. presenting Craving, the new feature approached Hanneke Niens of “There were days when they really from Saskia Diesing, at IFFR (see KeyFilm to see if she would come on had to stop shooting. It was just too page 24) and is close to production board the project as the Dutch dangerous,” Niens underlines. on Tench, the latest feature from co-producer. Niens had already Belgian director, Patrice Toye. worked on a Palestinian film, The producer wasn’t on set during Hany Abu-Assad’s Oscar contender the shoot but was being sent rushes “I’ve been co-producing now for The Idol, and was keen to help the regularly. “We had said let’s spend more than 20 years. The more you brothers if she could. every penny on the film and not co-produce, the more co-producers, in transporting producers just international financers, funds and “This is just a human “What triggered me in the script is because they love to shake hands sales agents you know,” Niens says story, a private one, of a that you really feel that this is just a with the main actors,” she says of of the formidable range of contacts man and a woman human story, a private one, of a man her absence. she has built up – one reason why having a secret affair” and a woman having a secret affair,” so many filmmakers from The Niens reflects. The difference is Sarah And Saleem didn’t qualify for Nether­lands and abroad remain that the story is located between Netherlands Production Incentive keen to work with her and KeyFilm. Director: Muayad Alayan Script: Rami Alayan Production: PalCine Productions (PS) Co-Production: Manderley Films (DE), Monofilms (MX), KeyFilm (NL)

8 9 IFFR Voices An Impossibly Small Object David Verbeek Camera Obscura

centre of Taipei famous for its night; there is a sequence showing pepper shrimps which he used to the photographer flying home to visit regularly. Amsterdam and meeting an old woman on the plane who tells him “I always loved eating there late at about her life. night. This was a roadside restaurant that was open until around 4am… “Somehow, magically, it appears to I would see all kinds of people. us as an audience that this old

David Verbeek Photo: Bojan Mredjenovic There were gangsters and party lady’s life is the life of the little girl,” people who had just come out of the Verbeek explains. The old lady Dutch director David Verbeek clubs. The food they were selling tells the photographer that she too has long had a love affair with was extremely good, some of the is obsessed with light. She is a Taiwan, the setting for his new most delicious food that I know… physicist who has been researching feature An Impossibly Small I began to think what it would be black holes in outer space. Object, selected for IFFR Voices. like to be the son or the daughter of These black holes attract and Geoffrey Macnab reports. the guy who has this roadside restaurant.” Around a decade ago, David Verbeek “Fascinated by a girl was working on the soundtrack of In the story a foreign photographer he photographs from his film Shanghai Trance, which (played by Verbeek himself) is afar, but can never had been shot in China. He had a fascinated by an eight-year old girl communicate with” strong admiration for Taiwanese he photographs from afar, but never composer, Lim Giong, who had communicates with. worked with directors such as consume light, which can’t escape. Jia Zhangke and Hou Hsiao-hsien. The director knew exactly what he The particle at the centre of these When Verbeek went to Taiwan to wanted. This wasn’t a film that was holes is called ‘an impossibly small collaborate with him he was shot on the hoof. “We were working object.’ This is where the title comes immediately entranced. with very small children. It had to be from. In the film, people are very tightly scripted. You can’t ask attracted to one another without “That’s really how I discovered children that young to improvise or being able to explain why. Taiwan for the very first time. use their own sensibility to take it I remember being on the streets of wherever it goes. Every line was Why did Verbeek cast himself as Taipei and just realising how there… but I asked everybody around the photographer? “We were different it was from Shanghai, the girl to improvise as much as looking for a way to make this film where I had been living for two years possible – the father of the girl, the within the small budget we had… before that. I remember being very mother, the customers in the it became apparent to me that the intrigued by the atmosphere in restaurant.” best way to have the one character Taiwan.” who has to turn up in the Taiwan The film, which was shot over a part, the airplane part and the An Impossibly Small Object is the period of three years, has three Amsterdam part was just to do it third film he has made in Taiwan different strands. There is the little myself. I was the one constant (after R U There and How To Describe girl losing her best friend because person who was definitely going to A Cloud). The starting point for the he is moving away; there is the be there all the time. It kind of had story was a street restaurant in the photographer who takes pictures by to be me!” Director & script: David Verbeek Production: Flash Forward Entertainment (TW) Co-Production: Nukleus film (HR), JDP Croatia (HR), Lemming Film (NL)

10 11 IFFR Maximum Overdrive We (Wij) René Eller Nihilism rules ok

– it feels like 10 marathons,” Eller theatres or from previous films that reflects. He had heard the book they have made or from academies being discussed on a TV programme where they are learning. They’re not on the VPRO one Sunday morning there yet! They’re all behind their and was immediately intrigued. computers or their playstations.” “I don’t want to make In the end, the filmmakers took over mediocre films. I want “It was a very puzzling book. It took casting themselves, visiting music to push boundaries” me half a year to read and I actually festivals and other events at which René Eller threw it away a few times. It was a they could track down teenagers reality story that was a bit too much with the strength of personality and We [Wij] may be a summer for me,” Eller says. The nihilism the looks to play the roles. movie, but don’t expect one of startled him as much as the novel’s those evocative stories about very frank treatment of teenage Once the actors were chosen, the youngsters spending long, lazy sexuality. The director describes next step was to make them into a days together, learning lessons himself as “a very positive person” closely knit group. They were taken about life and love as they who sees the future as “bright” and on expeditions, paintballing outings prepare for adult life. who looks for the “good in people.” and spent a lot of time together The book, though, gave him a very before shooting began. Even so, René Eller’s debut feature, selected empty feeling. filming was really harsh, Eller for IFFR Maximum Overdrive and stresses. It didn’t help that they supported by the Netherlands Film The teenage protagonists are from a were shooting in small Catholic Fund and Production Incentive, is generation in which “everything villages in Belgium where the locals altogether more disturbing than seems negative.” The big causes, were deeply suspicious of them. that. Based on the novel by Elvis whether socialism, campaigning for “We were constantly being stopped Peeters and his collaborator Nicole nuclear disarmament or fighting to by police and attacked by people,” Van Bael, it follows a group of save the environment, don’t carry the director recalls of the some­ teenagers enjoying the sunshine much weight with them. They’re not times fraught atmosphere during and freedom. They want to discover hippies, they’re not yuppies. “When production. As the director ruefully the world and they have nothing to I talk to that generation, they’re a bit reflects, that’s what can happen when lose. So they start by playing sex lost. They don’t really know what they “you have eight youngsters running games and end up starting a porn are going for. They become more naked over streets and fields in an site and venturing into prostitution. and more cynical and hedonistic… area that is very conservative.” they see life from day to day.” Eller is the founder of Czar Films “I am a little shocked by how emo­ and a very experienced multi award- Casting the film well was crucial. tional, difficult and complicat­ ­ed it winning director of commercials and Eller needed to find young actors who is to make something really good. music videos who has made films could capture their generation’s I don’t want to make mediocre for everybody from Coca Cola and sense of ennui and anxiety on screen. films. I want to push boundaries,” Polaroid to Boy George. He had been He started following the conventional the director reflects. He says he was in Brazil, working on another feature route, using established casting “completely empty” at the end of project, when he first read the novel. agents. He realised, though, that shooting and so exhausted that he “It’s really important to find a script “kids of 16, 17 and 18-years old” felt he had shell shock. He’ll direct you really believe in because it’s such weren’t so easy to find. “When again – but needs to recharge fully a complicated thing to make a film you’re casting, you’re casting in first. Geoffrey Macnab Director: René Eller Script: René Eller, Sanne Nuyens, Bert van Dael Production: New Amsterdam Film Company (NL) Co-Production: Miauw (NL), A Team Productions (BE) 12 13 IFFR Tiger Competition Possessed Metahaven, Rob Schröder Bad connection

“The smartphone in IFFR Tiger selection Possessed Velden says of the film. “I would not with the question, “do you guys this film stands for takes a swipe at our obsession call it a straight-up essay film but it want to make a film?” At first, they constant dread, terror with the smartphone. Geoffrey definitely uses elements of that.” were wary but they quickly and isolation” Macnab reports. discovered that Huybrechtse was Van der Velden and Kruk originally sincere in his offer – and that he had Possessed is the latest feature from formed Metahaven as a graphic the contacts and expertise to get the Metahaven, the award-winning design studio dedicated to design project going. As graphic designers, studio of Amsterdam-based and spectulative projects with a Kruk and Van der Velden tended to filmmakers and designers Vinca political and philosophical edge. do everything themselves. Working Kruk and Daniël van der Velden. Their first major work was inspired with Dutch Mountain Film taught The film, co-directed by fellow by Sealand, an abandoned rig/ them to accept the division of filmmaker (and designer) Rob fortress in the North Sea that was labour within feature filmmaking. Schröder, is described by the reclaimed as a tiny independent They brought on board Rob Metahaven team as “a complaint” state. It has been put to use as a Schröder, a close friend who already against the tyranny of modern mobile “data haven,” outside the control of had considerable filmmaking communications. “The smartphone any state, and as the site for a casino. experience, as their co-director. in this film stands for constant “The really interesting point about dread. It doesn’t stand for Over the years, the Metahaven the collaboration is that is opportunity and connection but founders have become increasingly confrontational and that it has for terror and isolation,” Van der drawn to film. “If you work on your moments of friction in it,” Van der Velden elaborates. own projects in design and research Velden says of the working relation­ then you start to tell stories. At least, ship between the filmmakers. The film offers a meditation on we did,” Van der Velden stresses. communication and connectedness The Metahaven principals saw film The film features plenty of designs in the digital era. It is a “mash-up” as the perfect medium for bringing from Metahaven, among them the of found footage culled from together their visual obsessions beautifully patterned scarves used YouTube, archive material of with their desire to create narratives. to veil the faces of the women in bombed out cities at the end of the front of camera. These women evoke Second world War, newsreel footage One early film was The Sprawl memories of classical sculptures from the Balkan wars of the 1990s, (Propaganda About Propaganda), and of old De Chirico paintings surrealistic imagery shot by the exploring the use of the internet and but the women are also intended to filmmakers themselves and social media for propaganda be militant and aggressive – an fictional scenes involving a young purposes. They also recently made “internet tribe.” woman, played by Olivia Lonsdale. an experimental short called There are voice-overs from London- Information Skies, a hybrid film Possessed, which will be released in based leftist academics Nick Srnicek involving live action, graphics and The Netherlands by Cinema and Alex Williams, co-authors of animation that was nominated for Delicatessen, may take a dark view ‘Inventing the Future: Post­capitalism a European Film Award. of smart phone culture but Van der and a World Without Work’. Velden believes it could as easily be Possessed, their first feature-length watched on a digital device as on the “On the one hand, there are work, was conceived in 2014 when big screen. “We are not from a influences that are political. On the producer René Huybrechtse of traditional film background and we other hand, there are influences Dutch Mountain Film called Kruk are not bound to the cinema as the that are much more lyrical,” Van der and Van der Velden out of the blue only place to experience… cinema.” Director & script: Metahaven (Vinca Kruk and Daniël van der Velde) and Rob Schröder Production: Dutch Mountain Film (NL)

14 15 IFFR Limelight Visseral response The End of Fear Barbara Visser

Barbara Visser According to many, including the film) who believe that this was Visser, the restoration was a the work of a charlatan with little travesty, and consisted of little other technical skill, something that than a shoddily applied coat of could have been done by a child. household paint. All the subtlety “I wanted to know if it is really that and depth of the original was lost simple. I assumed that it wasn’t forever. Many articulate experts in [she is proved right], even though the film attest to this (although the the painting is almost mono­ eerie, disembodied voice of an chrome. In the film you see that unapologetic Van B. on Visser’s even trying to get such an enormous The End of Fear, world-premiering cellphone provides textual canvas straight on its frame takes a in IFFR Limelight, may tell the counterpoint to their opinions). few weeks for one person to do, and story of the mutila­tion and Newman is quoted at the beginning this is even before the painting infamous restoration of Barnett of the film: “aesthetics is to the process begins.” Newman’s “Who’s Afraid of Red, artists what ornithology must be to Yellow and Blue III” but Barbara the birds.” This pithy aphorism What Visser didn’t reckon on was Visser’s art-doc morphs seam­ could be applied to the painting’s the emotional attachment that the lessly into an examination of restorers too. commissioned artist Renske van aesthetics, painterly processes Enckevort would develop with her and artistic ownership. Nick “By making this film [supported by work. She had worked on it for Cunningham reports. the Netherlands Film Fund] many months, painstakingly mixing I learned that Goldreyer had bluffed and applying layer upon layer of For many Dutch people the attack himself into a corner, and had no paint to create a rich and melodious by disaffected artist G.J.van B. choice but to cover the whole canvas, veneer. It may have been a copy, on Barnett Newman’s masterwork even if it is against all the rules of a piece of artifice, but her love for it in 1986 was a pivotal moment. the trade: retouching 15 metres of is palpable, and when the time It certainly was for filmmaker slashes on a monochrome surface comes for her to hand it over she is Barbara Visser. of oil paint would always be visible.” distraught.

As a girl, Visser was frightened by Visser may be a fine documentary The director underlines that, despite the vast red canvas, measuring filmmaker but she is also an this part of the film being an 2.5m x 5.5m. She couldn’t under­ accomplished artist. For her, a artificial construct, it wasn’t devised stand the mysterious work and fled simple linear telling of the tale was merely to create an added layer of Amsterdam’s iconic Stedelijk never going to be so interesting, conflict. “Renske’s grief stemmed museum in a state of apoplexy. despite the profound effect Newman’s from the fact that even if we [Visser It was many years later, when Visser work had on her. “This is a story that and her colleagues] understand was in her first year of art school, is history. It happened in the past, intellectually that she made the that the attack took place. Van B. and I wanted to bring it into the painting, we still have this distance. “This is a story that made a series of violent horizontal present in some form.” But she, over the course of these is history and I wanted slashes across the width of the work many months, had lost all sense of to bring it into the using a tradesman’s knife. So the director commissioned a full distance to see it as a prop for the present in some form” scale recreation of the painting, as film or a piece of decoration. For her The painting was sent to New York much to answer the detractors it was part of her life, whereas for us for restoration by Daniel Goldreyer. (and there are letters from many in it was just an instrument.” Director: Barbara Visser Script: Barbara Visser, Bart Haensel Production: De Familie Film & TV (NL) Distributor: Amstelfilm (NL)

16 17 IFFR Limelight Craving (Dorst) Saskia Diesing The parent trap

Saskia Diesing know about her we invariably hear internally, whereas Coco is more through other characters, such as impulsive. In a way the film is very Coco’s father Wilbert, his new wife much about growing up and Miriam (whom Elisabeth detests) or maturing for Coco. In that sense it her boss in a framing factory. is a coming of age film.”

Little by little Elisabeth becomes Coco has no friends her own age weaker and more bed-ridden while despite attending university. All her Coco’s behaviour becomes more relationships are with people more erratic, but mother and daughter than twice her age, no matter how Saskia Diesing’s second feature reach an understanding of sorts fractious those relationships may be. Craving, produced by KeyFilm before the film’s dramatic, and “This theme of a big age difference and selected for IFFR Limelight, satisfying, conclusion as both concerns the complex and uneasy characters determine their own relationship between a fiery exit strategies. “A craving for solidarity young woman and her terminally and sympathy” ill mother. The director talks to Craving, supported by the Nick Cunningham. Netherlands Film Fund and the Production Incentive, is an is very interesting for me, but I am When estranged daughter Coco adaptation of the novel Dorst by not entirely sure why. At the end of hears of her mother’s cancer, she Esther Gerritsen, who takes a the day age doesn’t seem to matter decides to move in to look after her. co-writer credit on the film. The pair that much – but of course it does. The problem is, her mother also co-wrote Diesing’s highly Coco is a character who relates to Elisabeth just wants to be left alone. acclaimed feature debut Nena, older people because she is an only which won Golden Calves for best child and doesn’t really know how to Theirs has always been a fractured director and actress in 2014. Both relate to people her own age. She relationship. We know that when films share the theme of a vibrant needs the recognition of older people, Coco was 18 months old she was young woman having to deal with I guess, as she didn’t receive it when continually locked inside her an irascible and vulnerable parent. she needed it most as a child.” bedroom and left to fend for herself. When her parents separated soon “I think this whole dysfunctional The Dutch title Dorst literally means after, it was her father that Coco thing, which is always fascinating ‘thirst’ which has resonance, given went to. Since then she has been a and which was also in Nena, stems Coco’s increasing reliance upon wild child. In an unsatisfying from this eternal paradox of alcohol as the film progresses. relationship with an academic wanting to break free from our But Diesing is happier with the (Hans) in his fifties, alcohol-fuelled families – but we can’t,” comments English title Craving. “The film is periods of moroseness drive Coco Diesing. “A question that Esther about an eternal craving for love to kiss strangers or, in one scene, is asked a lot is if she relates more and recognition and being part of to publically fellate a barman. to the daughter or to the mother, other people’s lives – a craving and her answer is always both. for solidarity and sympathy may be Meanwhile, the mother speaks very But I guess my answer is to relate a the best way to describe it. But at little, although her breaking of the lot more to the mother, as I recognise the end of the day you find out that fourth wall indicates that she main­ this quasi-autistic part that means in reality we are lonely and by tains an inner dialogue. What we she seems to rationalise everything ourselves.” Director: Saskia Diesing Script: Saskia Diesing, Esther Gerritsen Production: KeyFilm (NL) Sales: Media Luna New Films (DE)

18 19 Final testimony IFFR Shorts The Atomic Soldiers Director & production: Morgan Knibbe

Morgan Knibbe Association of Atomic Veterans) cinematic and filmmaking skills Knibbe tracked down some of these affirmed by a slew of major awards survivors to record their testimonies. for his debut doc. “It is not that easy. This is done to camera. Knibbe The industry is quite conservative. eschews use of the official stock Investors see a young Dutch footage we have come to expect, documentary filmmaker, and ask because is it not representative of ‘why not a documentary using the veterans’ testimonies. The archive?’. But I see a powerful story voices of the men and their pained there… I will therefore focus on faces are sufficient to drive home making features until I can win Morgan Knibbe burst onto the horror of their experiences. their trust.” the Dutch and international documentary scene in 2014 with The soldiers were sworn to secrecy Also In Voices Short is Elastic his audacious feature Those about their experiences until the Recurrence by Johan Rijpma. Who Feel the Fire Burning. Clinton administration lifted the Without dialogue this experimental At IFFR he presents the short oath of silence, in the late 1990s. film details, in precise and doc The Atomic Soldiers. “Until that time nobody was allowed analytical slow motion, how the to talk about any of this stuff. Any fragments of a broken plate move In The Atomic Soldiers selected mention of the tests was considered off into space to form a decomposed for IFFR Voices Shorts, after more treasonous, which was a serious structure before they seek to regain than four decades of forced silence, threat to anybody with a military their original shape. some of the last surviving service­ background. But at the same time men share their unfathomable these men were very naïve, and In IFFR’s Curtain Call section, Michiel experiences of the atomic bomb frightened.” says Knibbe. “And then van Bakel will present Forest Paths, tests in the US in the 1950s. there is the question of cancer, with in which animated still photographs all of these bombs detonated so are used to reveal movement and Director Morgan Knibbe has long close to Las Vegas. Many people light on forest paths that are other­ held a fascination for these nuclear didn’t have a clue that this was wise invisible to the human eye. tests, carried out by both the US and happening. A lot of radiation was The director developed a ‘scanner- the Soviet Union during the height spread out across the area, and camera’ that extends the capabilities of the Cold War. The numbers are there were a lot of official cover-ups.” of our vision to allow for near- astonishing, with 900 bombs alone infrared light, therefore revealing detonated within 60 miles of Las The short film serves as a prelude to hitherto unobservable activity. 3rd Builders’ Street Director & production: Pim Zwier Vegas, most of which dwarfed the (and a calling card for investment in) bombs dropped on Hiroshima and a fictionalised feature that Knibbe Pim Zwier’s 13-minute short Nagasaki. hopes to make about the subject. 3rd Builders’ Street, selected for “I have been working on this for Bright Future, tells the story of the Equally shocking is the number of quite some time now. But it is huge. Khrushchovka, the first Soviet servicemen who subsequently died I had to do all this research now concrete panel houses which meant from radiation exposure. Of the because these men are dying. So it is a real improvement for residents. 400,000 soldiers who observed the now or never in terms of collecting For younger generations, however, tests, an estimated 800 are still their stories…” The feature idea is these houses represent a failed Forest Paths Elastic Recurrence alive, Knibbe points out. With the proving more difficult than one may utopia. The story is told without Director & production: Director & production: Michiel van Bakel Johan Rijpma assistance of NAAV (National assume, despite Knibbe having his dialogue. Nick Cunningham

20 21 IFFR Limelight Keeping and Saving (Bewaren) Analogue memories Digna Sinke

Digna Sinke still has bean slicers, bread knives not living in the past or thinking and forks that her relatives once that the analogue world is the only used. They link her to them. world that has value,” she says.

Of course, no-one will keep an Sinke isn’t just a director. She runs object if it reminds them of unhappy her own production company SNG times. Sinke talks of one interviewee Film, long renowned for its personal, who was married several times and idiosyncratic and artistic films.

Photo: Friso Keuris is estranged from his children. On Keeping and Saving she was This man doesn’t want reminders working with De Familie, the outfit Digna Sinke is not the type to of what went wrong in his life. run by Michiel Van Erp and throw things away. Nor is her “It’s easier to get attached to some­ Monique Busman. Premiering at 92-year-old mother, who features thing, a toy for example, if you only IFFR, the film is supported by the prominently in Keeping and have 10 toys. Nowadays, my nieces Netherlands Film Fund and will Saving (Bewaren), selected for and nephews have maybe 500 toys,” be distributed in The Netherlands IFFR Limelight. The director the director notes of the amount of by Mokum Filmdistributie. talks to Geoffrey Macnab. “stuff” that every child owns. The director points out that it From her earliest childhood, Digna Sinke noticed that younger people wasn’t a difficult film to finance. Sinke has collected and catalogued have a different attitude towards “The film plan was so well-written possessions – “all the items I love.” possessions. They see little point in She won’t throw anything away with­ keeping material objects when they out thinking about it carefully first. can store a lot in in the Cloud. “I am not thinking “I’ve been saving things for as long “The most extreme are the digital that analogue is the as I can remember,” she says, but nomads and remote workers, who only world with value” adds that she has always drawn a have as little as possible: a passport, distinction between “collecting” and a bank card, a laptop and a keeping things for their own sake. telephone. I wonder if people finally that it convinces everyone,” the will forget how to touch material director boasts tongue in cheek. Her mother used to collect cigar things to recall memories.” And the subject certainly hit a bands. “She was not from a rich chord. It’s an essay film that is both family,” Sinke says. In an era when The director began her career in the deeply personal and that has a material wealth was hard to come by, movie business over 40 years ago, social and political resonance. people would take a pride in owning as an assistant to the editor on Paul It is revealing not just about Sinke “a nice pot or a tablecloth.” Even the Verhoeven’s Turkish Delight (1973). and her family but about changing most banal objects would assume a She used to shoot her films on attitudes in society as a whole. totemic significance. There was the celluloid and yes, she has kept the “The most extreme are the digital added thought, too, that some piece old reels. However, Keeping and No, Sinke’s mother has not yet seen nomads and remote workers, who of bric a brac might turn out to be Saving was made on digital. This the film. “I showed the trailer to her have as little as possible” useful or that the mouldy newspaper enabled Sinke to shoot it partly last weekend. I think she liked it. from years ago could hold some vital herself. She is not an expert My mother is a very practical and secret about the past. Possessions cinematographer but if something straightforward woman. She saw helped give you an identity and a was bungled or out of focus, she I wanted to make a sincere film sense of security. Sinke’s mother could simply shoot it again. “I am about this subject.” Director & script: Digna Sinke Production: De Familie Film & TV (NL)

22 23 Berlinale Generation 14plus Teen spirit Cobain Nanouk Leopold

In saving the unborn child, he is Naomi Velissariou, who plays also saving himself. his mother Mia, as they prepared “I wanted to make for their roles. The familiarity something colourful The film, supported by the obviously worked as the pair form and lyrical” Netherlands Film Fund and the a flawless entity, and Leopold Production Incentive, is written and was confident enough to employ produced by Stienette Bosklopper of her technique of ‘dancing and Circe Films, her first feature catching’ to capture moments of

Nanouk Leopold Photo: Klaas Zwijnenburg screenplay, and is Nanouk delicious intimacy and spontaneity Leopold’s sixth feature. Her last on screen. Nanouk Leopold is back in Berlin film, It’s All So Quiet, opened with the masterly Cobain, selected Berlinale Panorama in 2013. “In the beginning I was a bit for Generation 14plus. She talks anxious that Stienette was ok with to Nick Cunningham. “I was looking for something beyond what I was doing to her script,” the what I write myself,” comments director reveals. “But she always The premise of Cobain may be Leopold. “I wanted to go in another watches the dailies and we always simple, how to safeguard the future direction, and I think it was the phone afterwards to talk about of an unborn child within the body speed and structure of the story that them. I found out very quickly that of a junkie mother, but its telling is I liked, and the fact that the main she really liked all the things I was complex, lyrical and immensely character is a boy of fifteen. I had doing. She gave me a lot of satisfying. never done anything like that freedom.” before. Also, I wanted to make Cobain is a 15-year old boy saddled something colourful and lyrical, and Leopold created a mood board of with a name he never wanted. I think I have succeeded in that.” music to complement the visuals He no longer lives with his mother, she had devised. This was a a former prostitute, but he cares for Debutant Bas Keizer was chosen departure for a director who has her immensely, even though her from over five hundred boys who generally eschewed musical behaviour and dependency upon were screen-tested for the role. assistance in upping the emotional him can be unbearable at times. Leopold points out how the ante. The film opens with a He is kind and practical, and very character that he subsequently resonant acoustic soundtrack to sweet natured, but the cards he has developed was gentler on screen accompany an abstract opening been dealt place have placed severe than on the written page, and that scene, bathed in blood red, the restrictions on the life he has the casting of a different actor significance of which become clear hitherto led. He is not comfortable would have sent the film on a towards the film’s conclusion. with foster parents and the different trajectory. “With him we surrogate family he turns to is did a lot of rehearsals, which “I would avoid music in the past for comprised of his mother’s former I normally do not do,” she says. illustration. But this time I really pimp and the prostitutes that he “He had to learn many things, like wanted to do it. This library of controls, one of whom offers Cobain how to fight. He is such a sweet boy moods enabled me to make the affectionate sex, albeit for cash. and was not used to screaming at edit I wanted.” But there is no anybody.” Nirvana in the soundtrack. Costs Cobain is determined therefore aside, the band’s music just wasn’t that his future half-sibling will not Leopold also points out how she appropriate. “Too literal, too be similarly blighted from birth. “just hung out” with Bas and actress obvious,” concludes Leopold. Director: Nanouk Leopold Script: Stienette Bosklopper Production: Circe Films (NL) Co-Production: A Private View (BE), Coin Film (DE), The Film Kitchen (NL), VPRO (NL) Sales: Beta Cinema

24 25 Berlinale Generation Kplus My Giraffe Barbara Bredero A tall tale

could touch,” Bredero remembers They don’t hide behind technique of the decision. or professional tricks. The film was shot over a few weeks during If the giraffe was crucial to the the summer holidays. Bredero success of the film, so was the young tried to create a party or a holiday actor who would play Patterson atmosphere so that it didn’t feel Pepps – and who would be on screen too much like hard work for the in almost every scene. “That was the young star. Barbara Bredero most important thing for me,” Bredero says of the casting process. My Giraffe was based on a story by The children’s filmMy Giraffe “I really had to fall in love with this Annie M. G. Schmidt, a legendary was a phenomenon at the Dutch person because it was going to be figure generally acknowledged as box office in 2017, one of the hard work. You are going to have to the queen of Dutch children’s most popular local films of the spend a lot of time together and you year. Now it is selected for Berlin are going to have to put all your faith Generation Kplus. Geoffrey into this little boy. It is always a “Liam had a vulner­ Macnab talks to director really big risk,” she continues. ability and innocence, Barbara Bredero. The young actor was going to have sweet-natured and to carry the movie. The director had very natural in front My Giraffe, supported by the to know that he was not going to get Netherlands Film Fund and the bored or distracted or upset over the of camera” Production Incentive, is a family period of production. story about a young boy, Patterson literature. Bredero had grown up Pepps, whose best friend Raf In the end, Bredero chose Liam de with Schmidt’s stories and had happens to be, as the title suggests, Vries, who was seven when shooting always admired their humour and a giraffe. began. This was his first film. invention. Not only did Liam show the energy Director Barbara Bredero, whose levels that the director was looking Having directed films and TV previous kids’ films include the for. He also had a vulnerability and dramas for children, Bredero has Mister Twister series and Morrison innocence. Sweet-natured, very just completed a grown-up movie, Gets a Baby, was intrigued by the natural in front of camera and photo­ Taal is zeg maar echt mijn ding (due project. The challenge was in genic, he gave her goosebumps, she out in Dutch cinemas in early 2018.) depicting the friendship between says. When she looked in his eyes, She believes her experiences on the boy and the animal. She decided she felt she could see “the whole kids’ movies have made her a better early on that she didn’t want to world. I could see his soul a little bit.” director. “When you work with rely on special effects and blue children, they have no background. screen. Instead, she had an “If I, as the director, fall for some­ They are clueless. You have to figure animatronic giraffe constructed. body, I think the audience will also out which way works,” she reflects. “If you’re directing children, it’s fall for this person,” Bredero Working with adults was less very hard for them to make believe explains of the reasoning behind stressful. The responsibility for the that a tennis ball in the distance is her decision. One advantage that success or failure of the film wasn’t a giraffe and is smiling at you. inexperienced child actors tends to just on her shoulders. “It was a big I thought I really needed a have over older professionals is relief for me! I really had a lot of fun, big puppet, something the kids their openness and natural quality. but in a different way.” Director: Barbara Bredero Script: Mirjam Oomkes, Laura Weeda Production: Lemming Film (NL) Co-Production: Hamster Film (DE), A Private View (BE), KRO-NCRV (NL) Sales: Attraction Distribution

26 27 Berlinale Panorama The Omission Sebastián Schjaer Due South

Sebastián Schjaer He points out how they are never easy “At the same time, The Omission to produce and place in the market. is a very local film and very typical of the new wave of Argentinian “But when I read the first version of cinema. It is a very good first movie the screenplay I thought he was really and I think it is one that deserves getting there,” Vaslin continues. to be discovered in Europe and “The subject was interesting, about The Netherlands. The Berlin a woman who is collecting money to selection is a fantastic thing and do something – but we don’t know the Panorama is a wonderful section what that is. And she is at the end of to be selected for.” Denis Vaslin of Rotterdam-based the road, both literally and metaphori­ Volya Films is co-producer of cally. And then there is a big change Also on the Volya slate is the Argentinian The Omission, in her life, so will she make it or not?” documentary Mrs F, currently in selected for Berlin Panorama. production. Directed by Chris van He discusses the art of co-pro The film received development der Vorm, the film follows activist with Nick Cunningham. support from the Hubert Bals Fund Ifeoma Fafunwa as she takes up the before director Schjaer took up challenge to stage her play HEAR In Sebastián Schjaer’s debut residency in Paris, courtesy of the WORD! about the abuse of women feature, a young woman moves to an Cannes Cinefondation. Such was in the male-dominated slum of inhospitable city at the southern tip the quality of the resulting effort, Makoko, in the lagoon of Lagos. of Argentina with her boyfriend and Vaslin was able to apply successfully Besides assembling an original cast her daughter with the sole purpose for Netherlands Film Fund + HBF of Nigeria’s most acclaimed of saving money. But the plan is put minority co-production support. actresses, Ifeoma has cast the young in jeopardy when she meets women of Makoko who are subject Manuel, a young photographer, at One of the conditions of such to such daily abuse. which point she becomes funding is to spend 50% in The emotionally overwhelmed and is Netherlands. As it happened, it was Volya is also financing the family unable to react to her own pain. more convenient for much of the movie Totem by Sander Burger and technical post-production, such as is developing Black Salt, their Co-producer Denis Vaslin first colour grading, to be done in second feature with Marjoleine heard about the project in San Argentina, so Volya oversaw the Boonstra. Docs on their roster Sebastian in 2015 and was marketing, trailer, poster design include About Men and Love by impressed by director Schjaer’s and press representation via Herrie Tatjana Bozic and Earth and body of short films to date. Film and TV in Amsterdam. Freedom by Marco de Stefanis. “They were very nuanced in terms of “The films we make must appeal psychology and character and “Co-productions are never easy on local, national and inter­ direction. He has a very subtle gaze because of cultural differences, the national levels,” Vaslin points out. on people. He is very realistic, and physical distance in general and “We like societal and political “Very nuanced in terms his work really corresponds to real sometimes in terms of artistic subjects but ones which tell human of psychology, character life,” he underlines. The screenplay content, but if you can overcome all stories. And they must be told and direction” that Schjaer was developing was these differences then you will get visually. It can be a chaotic visual ambitious and Vaslin was better films that can travel further style – why not? – as long it interested, despite the difficulties and are not just restricted to their corresponds to the film. And we are that first features always entail. country of origin.” never repetitive.” Director & script: Sebastian Schjaer Production: Trapecio Cine (AR) Co-Production: Volya Films (NL), unafilm (DE), Tareafina (AR)

28 29 Berlin Forum & Berlin Panorama Native bedfellows The Bed & Land Land Director: Babak Jalali Production: Asmara Films (IT) Co-production: The Cup of Tea (FR), involved in his new project Land. executive suggests that the starting post-production. “At Topkapi, we KNM (CH), Piano (MX), Topkapi Films (NL) Sales: BAC Films It also helped that there were some point for any co-production is the do TV series, single productions, very solid producers attached such relationship with the other television films and recently started as Ginevra Elkann (Asmara Films, producer. “Co-production is so to work on non-fiction projects as Italy) and Christophe Audeguis much based on trust and trust is well,” she explains, lest anyone form The Cup of Tea (France).” very personal,” she says. thinks that the company is devoted The film is handled for world sales only to movies. by Bac Films in Paris. Schillings works alongside company Laurette Schillings founders Frans van Gestel and True to form, the prolific producer This are just two of several Arnold Heslenfeld at Topkapi. has several new films likely to shoot Topkapi Films is co-producer on provocative art house movies on “We work on our own projects… but in 2018, among them thriller Tour two Berlinale titles, The Bed which Schillings has worked. we share our problems.” Schillings’ De Force from Lodewijk Crijns, (Argentina), selected for Forum She was the co-producer on Belgian focus tends to be on new talent which is about tailgating – “a fight and Land, directed by Baba director Felix Van Groeningen’s (although she has worked with in traffic that gets totally out of Jalali, in Panorama. Geoffrey Oscar-nominated film The Broken some very established figures.) hand.” Soon to start shooting is Macnab reports. Circle Breakdown, about a very Heslenfeld oversees the legal and Shit Happens (working title), from intense relationship between a financial side of the business. At any Anna van der Heide, in which illness Amsterdam-based Topkapi Films Flemish country singer and a tattoo given time, Schillings will have up forces a family to come together. has been used to working with artist. She also co-produced Danish to 10 different projects on the boil. Mijke de Jong’s new feature God Latin American partners on several director Thomas Vinterberg’s Some may be in development; Only Knows is also likely to go before projects, among them Adrián The Commune. The Topkapi others may be at the finals stages of the cameras this year. Biniez’s Gigante and Ana Guevara Pose & Leticia Jorge Romero’s Tanta The Bed Director: Mónica Lairana Agua. “I don’t know. We share the Production: Gema Films (AR) Co-Production: Rio Abajo Producciones same kind of humour maybe,” working together. At the Mar del home has been sold. They’re not (AR), 3 Moinhos (BR), Topkapi Films Topkapi’s Laurette Schillings Plata Festival, she met writer- quite sure how to spend their last (NL), Sutor Kolonko (DE) speculates, when asked just why the director Mónica Lairana, with moments together… Dutch and Argentineans seem to get whom Gema Films was working on into bed together so often. “They are the film. Schillings was able to Described as a ‘modern western quite passionate about everything, secure Dutch funding for the about Indians, Whites, distance, which I absolutely adore. That is project from The Hubert Bals Fund. longing, roadwork and abuse’, why I love working with them.” The Bed then went on to win the Babak Jalali’s Land explores the work-in-progress prize at the 2017 issue of alcoholism within a Native Schillings came across The Bed Holland Film Meeting Co-Pro American community, through the when she was on an EAVE workshop Platform. story of a family awaiting the return for producers, and met Gema Juarez of the body of their dead G.I. son Allen from Buenos Aires-based The Bed tells the story of a break-up. from Iraq. “We followed Babak’s Gema Films. What’s different here is that the work for a long time,” comments man and woman are a couple in Schillings. “We finally met in “We used to bump into each other their 50s who’ve been together for Rotterdam when he presented all the time at festivals and had lots many years. George (58) and Mabel Radio Dreams, winning a Tiger of good times together,” Schillings (56) have one last day before they award. We were very impressed by recalls of a friendship that split up for good. The removal truck him and decided that we would love eventually led the two women is already on the way and the family to work with him, and therefore got

30 31 Berlinale Panorama The Trial Maria Ramos Kafka in Brazil

process via behind-the-scenes head of state to be formally charged meetings between the defence team with a crime. However, Congress and the senators, as well as voted not to put him on trial for conversations with President corruption. Rousseff at the Presidential Palace as she awaits trial. “The film is “The film witnesses how the about what I personally find to be a impeachment triggers a political “I consider the impeachment Kafkaesque process – there was no earthquake in Brazil. It proposes a a parliamentary coup d’état” Maria Ramos crime of responsibility. The charges reflection on the dangers and were basically fiscal, namely the challenges facing Latin-American Maria Ramos’ The Trial, about issuing of six budgetary decrees that democracy.” A coda sequence offers the impeachment of Brazilian might have surpassed the annual a damning political and economic president Dilma Rousseff, is budget, and the delayed repayment assessment of the country a year selected for Berlin Panorama. of the agricultural subsidies spent after Rousseff’s dismissal. by state banks. Rousseff’s accusers Maria Ramos describes her latest suggested that this was an illegal In The Trial, it is obvious where feature-length documentary as a loan. There was no stolen money.” Ramos’ loyalties lie and she is “political thriller: a tale of betrayal unrepentant at having made another and corruption.” It focusses on the “I consider the impeachment a defiantly political film. In the past, trial and removal from office in parliamentary coup d’état, and the she has held the judiciary and the 2016 of left-wing Brazilian president role that the media played was political executive to account in Dilma Rousseff, a politician both huge,” Ramos continues. “And then films like Justice (Grand Prix at popular (among the working classes) there was sabotage by the ‘Visions du Reel’, Best Film at Taiwan and reviled (by the establishment) opposition, whereby everything that Int. Doc Fest, Amnesty Award at in equal measure. the government was trying to do, all CPH: Dox), Behave (Grand Prix at the decisions and policies that had One World, Fipresci Award at Dok- Ramos argues that fourteen to be passed in order to avert the Leipzig) and Hill of Pleasures (Best uninterrupted years of left wing or crisis, were not allowed through Director – Brasilia Film Fest). Workers’ Party (PT) rule proved too Congress. As soon as Rousseff was much for the right-wing opposition suspended from office, it became “Every film is political but this one The difficulties brought about clear that those who impeached her is especially so given its subject following the global financial crisis had no interest in clean government matter. The film is an attempt to of 2008 were all the excuse they but only in seizing power that they understand the complexity of this needed to bring what the director could never obtain democratically.” historical moment. It brings to light regards as trumped up proceedings a different narrative than the wide- against the president. The principal The interim president Michel Temer ranging media narrative that was architect of the impeachment was immediately imposed a right wing, propagated during the impeach­ Vice-President Michel Temer of the radically neo-liberal agenda that the ment. The coups d’état of the centre-right PMDB party and one of Brazilian population would never 21st century are conducted without her former allies. have voted for, Ramos argues. guns and without the military. Nine months after the impeachment, Nevertheless it reveals a collapse of Eschewing commentary and inter­ Temer was himself formally accused the democratic institutions which

Photo: Lula Marques views, the film offers a unique of corruption by the attorney is echoed in many democracies insight into the political judicial general, becoming Brazil’s first throughout the world.” NC Director: Maria Augusta Ramos Production: Nofoco Filmes (BR) Co-Production: Conijn Film (NL)

32 33 Dutch talent in Berlin Then we take Berlin Mascot & Kiem Holijanda

But all the time he is desperate to Sarah Veltmeyer second short Kiem Holijanda, which Veltmeyer. “I think my films are impress and gain the love of a was selected for 2017 Golden Calf very personal and small. Even mother whom he adores but for Competition (Netherlands Film though I am almost 30 I am whom his new politics are Festival) and now for Berlinale interested in telling coming of age anathema. Generation Shorts Competition. stories – this is still one of the themes that I understand best.” The film is produced by Joram In the film, co-written with Tom Willink of Dutch production Bakker and set in Kosovo, Andi (13) In early January the director company BIND. In a Holland where becomes obsessed both by the received backing from the Film the spectre of Geert Wilders and the phone of his brother Florist (20) and Fund to develop the 10-minute politics of the right looms large, The career trajectory of Sarah the free access to a Dutch porn star short Never Forget, which she Willink articulates the urgency of Veltmeyer is for from regulation. that an accompanying phone card describes as two girls on a balcony, the message the film drives home. Turned down from film school at offers. So much so that he is one of them contemplating her first “Mascot is a warning, an incisive the age of 23 she channelled her oblivious to his older sibling’s kiss with a boy waiting downstairs. film that mirrors our changing frustrations into a campaign of decision to leave the family home. “I always look to introduce some­ times.” autodidactism, working in a post- thing strange or funny, so it’s not production studio by day, filming “I was in Kosovo for a month doing just serious drama – I like to Van Heugten, whose debut feature her own material by night. She research and finding locations, introduce a light touch. I like using Gluckauf (also produced by BIND) eventually made a short film (Gotta) and I found my actors, and we went colour and everything is very quiet won Golden Calves for best film, for €5000, which caused enough of a back a month later to shoot the in my films. I try to create a world best direction, best script and best stir for her to raise the cash for her whole thing in five days,” explains that can be understood everywhere.” camera, concurs: “I see right-wing populist leaders like Wilders and Kiem Holijanda Sarah Veltmeyer Baudet as clever but dangerous politicians who feed the masses with anger. My fear is that the masses will become an unstoppable force. As a filmmaker I feel a responsibility Remy van Heugten to make my call to connect and not to isolate. Using my privilege as a Two significant Dutch talents dealing with the proto-fascist filmmaker, straight from my will be getting down to business attitudes that a young man develops underbelly, without holding back.” at Berlinale 2018. Remy van as a result of his being forced to feel Heugten is pitching his Mascot like an outsider. All of his life Jerry Adds producer Joram Willink: at the festival’s Talent has borne a facial disfigurement “Like myself, Remy is bound to tell Co-Production Project Market which has limited his social socially engaged stories which open while self-taught Sarah standing and ability to make eyes. Mascot goes even further on Veltmeyer’s short film Kiem friends, and his chosen refuge that path with a powerful message Holijanda is selected for becomes the football terraces where in a very distinctive style. I admire Berlinale Generation. Nick violence and racism are common his guts to do so. And combined Cunningham reports. currencies. Yet he is clever and as with his co-operative and passionate his confidence grows, so do his way of working, I am grateful to Remy Van Heugten’s new project is levels of articulacy, and he slowly work with him on the project and to politically and socially charged, assumes a firebrand populist status. present it at Berlinale market.”

34 35 Shooting Star 2018 Rebel with a cause Jonas Smulders

Young Dutch actor Jonas helping to kickstart his career. to meet writer Koch. However, ask Smulders is selected as The Many other roles in film and TV the actor about his inspiration and Netherlands’ Shooting Star at soon followed and he won a Golden he doesn’t cite well known movie Berlin 2018. He talks to Geoffrey Calf for his performance in Mees actors or directors. Instead, he Macnab. Peijnenburg’s TV drama We Will mentions the great Dutch mime Never Be Royals, about a troubled artist René van ’t Hof. “He tries to Jonas Smulders will be taking time teenage brother and sister growing tell stories with movement and out from his studies to attend the up on their own in child protection. not just with text. In film, it is really Berlinale. The Golden Calf-winning The young actor already had close important to be aware of how you actor, chosen as the Dutch links with Peijnenburg, having move.” Smulders talks with representative at Berlin’s Shooting appeared in the fast rising director’s admiration of how the Van ’t Hof Stars event for Europe’s brightest award-winning graduation short can use facial expressions and tiny young acting talent, recently started Even Cowboys Get to Cry, which also gestures to make audiences at The Netherlands Film School on screened at the Berlinale. understand a character. a directing course. Not that moving behind the camera means he is The first big screen role Smulders Smulders is fast gaining inter­ giving up the day job. “For me, landed was in Menno Meyjes’ national recognition. In 2015, he directing and acting are quite adaptation of Herman Koch’s won the Spotlight European different but in some ways they’re vicious, satirical novel, The Dinner. Breakthrough Award at Kilkenny’s quite quite similar,” Smulders says He played one of the privileged Subtitle fest and is represented by of the challenge of telling stories middle-class kids who commit an Janey van Ierland of leading talent through images, text and act of random violence – and whose agency Number 9 Manage­ment. movement. wealthy parents try very hard to help them escape the consequences of As for being a Shooting Star, he is their actions. “A Golden Calf for his looking forward to it, given that his performance in Mees predecessors include Carice van “That was the first big part I got in Peijnenburg’s We Will Houten, Marwan Kenzari and Sylvia a film. I auditioned three times,” Never Be Royals” Hoeks, all with international careers Smulders remembers of his role. in full swing. “I hope to talk with “The film says a lot about how you international casting directors, raise your kids. A lot of spoilt kids However, his experience on sets has meet a lot of actors my own age and act without responsibility and don’t also whetted his appetite to write to get a sense of the film climate think over what they do.” It helped and direct. He already has one in Europe. I really want to try acting that being a “rebel teenager” directorial credit to his name, T E X, in different languages.” himself, he could identify with this which he made last year, just before aspect of his character easily he started at the Film Academy. Smulders, born in 1994, comes from enough. Now, he is busy studying direction. an artistic background. His father No, the other students don’t cut him is a well-known painter and his On The Dinner, Smulders was extra slack or treat him with added mother was a dancer. Both have delighted to have the chance to respect because he is already a encouraged him in his career. When work with Jacob Derwig, one of successful actor. If anything, the he was 16, one of his mother’s the most respected contemporary reverse is the case. “I think I have

friends, an Italian director, cast him stage and screen actors in The to work twice as hard – but I think Photo: Janey van Ierland in a tiny role in a film, thereby Netherlands, and to have the chance that is a good thing!”

36 37 EYE Exhibition Jesper Just 17 dec 2017 – 11 mar 2018 Just daring

EYE‘s Head of Exhibitions Jaap ional and pose challenges, and public. “Many people are astounded Guldemond talks to Geoffrey I thought it could be interesting to by the way he uses architecture,” says Macnab about the current event, ask Jesper to react to this with his Guldemond. “Regular visitors have dedicated to the work of Jesper work,” Guldemond says. “He is the Just. first artist who dares to project directly onto these tilted walls.” “We are focusing our Danish artist Jesper Just’s new programme on the exhibition has been specifically For other exhibitions, Guldemond interface between tailored to the angular and and his colleagues have been visual art and cinema” modernist building. Those looking inventing many different ways to at the EYE Museum from Central cope with the difficult, but Station across the river have likened challenging, space. They have never seen the building used in such it to both a slingback shoe and, installed free hanging screens, put a way. It’s not an easy exhibition but predictably, to a spaceship. in fake walls and changed the it is a very radical one.” Those inside it can’t help but notice routing within the space in such a the sloping ceilings and tilted walls way that the building’s idiosyncrasies For his film installations Just uses – some of which veer inwards, some are hidden from visitors’ eyes. cinematographic tools – professio­nal which veer outwards. Just, though, “used the architecture actors, sophisticated lighting etc – as it is. He is definitely the first one but has always made it clear he has “We are actually focusing our who dared to do this.” no interest in making feature films. exhibition programme on the As he frequently declares, he is not interface between visual art and In preparation for the exhibition, against mainstream films (“I watch cinema,” is how Jaap Guldemond Just took his time to study the them myself”) but he has no desire explains the thinking behind the building. He worked out how best to make them. to display the work in the space. The exhibition consists of three major Jesper Just has been a major figure “One of Just’s installations. Images are projected in the international art world for fascinations is the in ingenious and unconventional around 15 years. Guldemond first impact of architecture fashion across corners, which make had the chance to look at his work on human behaviour” them bend and seem to fracture, on in depth when the Dane held a floors and on huge walls. He doesn’t solo exhibition at the Witte de With provide any benches. Spectators in Rotterdam in 2007. “It was the show. Cinema, he adds, should therefore have to stand as they first time that I really saw a couple be about more than just feature engage with the work. Just wants of works that were beautifully films projected on regular screens. them on the move and wants to connected to each other.” disorientate the viewer. One of Jesper Just’s fascinations is The exhibition has certainly the impact of architecture on human The artist is never the type to exhibit convinced Guldemond that the behaviour. That’s the reason why this work in a predictable way. “weird spaces” of EYE are as much Guldemond thought it a very good When he had a show at the Palais an advantage as a hindrance. ‘It is idea to let him loose on the EYE De Tokyo in Paris, he chose to set not easy to work with the given building. “From an architectural his installations up in the basement space, but if you manage to use the point of view, the exhibition spaces rather than in the usual galleries. specifics of it then the exhibition within the building are unconvent­ At EYE, too, he wanted to startle the will benefit significantly.”

38 39 Clermont Ferrand International Competition Short and to the point Nightshade & Sirene Nightshade Director: Shady El-Hamus Script: Jeroen Scholten van Aschat the actor as it was for the director Dwinger. “I love how form can Production: The Rogues (NL) Zara Dwinger herself. The film could have been be sweep you away on this dream a love story but Dwinger decided to journey. I like a bit of realism but take a more nuanced path. I think it is really nice when a film is larger than life, not really of this That said, throughout all phases of world but dreamier and more the production (from pre- through exaggerated.” to post- and editing) Dwinger was Shady El Hamus so immersed in managing logistics Dwinger has just received funding and fighting fires that she was for her next short, Julia and Juliet, Clermont Ferrand has selected Zara Dwinger’s Sirene may be a barely aware of how well the film a tragic love story set in a youth two Dutch shorts for its graduation film (2017) but it is an was turning out. She got an idea, detention centre. She will shoot the 30th International Competition, audacious one, and suggests that however, after it was selected for film in early Summer 2018 before its Zara Dwinger’s Sirene and hers is a talent which will transfer Student Competition at Utrecht premiere at the Netherlands Film Shady El-Hamus’ Nightshade. well to long-form filmmaking. 2017, and was made fully aware Festival in September. “I like stories Nick Cunningham talks to the What sets her film apart is how it after it won three prizes at the Keep about young people. It was the most film­makers. elevates the quotidian lives of two An Eye Graduation Film Festival formative, weird and beautiful adolescents by asking one to (best script as well as audience and period of my life. I was depressed a Shady El-Hamus’ Nightshade, made undergo radical physical change press awards). lot, and so it made a mark on whom with Film Fund Support, has already (no spoilers here). I am, but I also experienced some received a number of plaudits, not “I really like to let people have an lovely things too – those first least as Dutch submission to the It is a directorial choice that is both insight into the worlds of others, experiences when you are still new Academy in the Live Action Short clear and effective, and as daring for and I like beautiful images,” says to the world.” category. The director describes the film as a ‘dark coming-of-age’ tale, about an 11-year old boy helping his father to transport refugees across Europe in a van.

“What kicked it off was CCTV “Specifically we have a boy who 24-hour period and is “a much more footage of a minivan on a highway wants his father’s recognition and light-hearted whirlwind film, one in Europe – suddenly it flips 180 love – he wants to be seen by him, as that leaves you energised,” he says. degrees and then comes to a halt,” we all do,” continues the director. Indicating that he has as much a explains El-Hamus. “Then you see “So there is this tragedy in him head for business as for creative the driver get out and run away into trying to gain something without filmmaking, he adds: “I am looking the woods and from the back of the realising what road he is going for the middle ground between art van about thirty people come out. down. His loss of innocence is and commerce. I want to tell honest There seemed no end to them, kids something that really stands out at stories about people, but at the as well. That sparked something in the end.” same time I want people to see the me and I realised there was a story. film, so I am constantly thinking Sirene With the whole refugee crisis going El-Hamus is currently in Berlin about how to bulld a relationship Director: Zara Dwinger Script: Randy Oost there are so many stories, but co-writing his feature debut with with an audience, how to get them Production: The Netherlands we wanted to focus on the driver. Jeroen Scholten van Aschat. into the theatre and how to keep Film Academy What is going on there?” The film is set in Amsterdam over a them engaged.”

40 41 Clermont Ferrand Reruns Rosto Gospel of Rosto

Rosto Wreckers (themselves fabricated Home, Lonely Bones and Splintertime, versions of the band The Wreckers which are all satellites around that Rosto led years before). what Rosto calls the mothership The wildly beautiful graphic film is ‘Mind My Gap’, an online graphic also a study both of wish fulfilment novel of 26 episodes that illustrate (as we descend beneath the waves his unique and idiosyncratic towards Rosto’s dream subterranean universe. That series itself was city) and the skewed nature of dreams inspired by the songs that Rosto and memories that we often try to wrote when the band were together. make sense of by applying false Clermont Ferrand is rolling out narratives. Now the mothership is set to take the red carpet for Dutch artist/ flight in the form of a feature, also filmmaker/musician Rosto who “As soon as we wake up we start named Mind My Gap. “For the past is world-premiering Reruns, the cheating and turn our dream into two years I have been developing the final part of his Thee Wreckers some kind of linear thing that script with the Film Fund. Themes Tetralogy. He talks to Nick makes a little bit of sense, and then and certain characters will return Cunningham about his films, his we start modifying and revising it music, his upcoming feature even further. And memories work in – and his late birth. exactly the same way. Memories are “The film is not just not what happened, but they become about my past, it is also According to Rosto he was born at what happened.” about my future” the age of 17, not when he left his mother’s womb. This was, he says, In the city, various age iterations of the point at which his mind had Rosto visit his old school, ruled over and like in the New Testament, developed into the recognisable by a teacher who multiplies in form where there are four gospels, the entity it has remained ever since. as he mocks his former pupil. story is basically the same but told “At that age the clay is not soft any­ He visits his grandmother’s parlour from different perspectives. This more and you are not so susceptible where the motion trail created by feature version is another gospel to what is happening around you. his younger blond self [the images version of the same story I have The only thing that subsequently are culled from old Super 8 home always been working with.” happens is some chipping of the footage] creates dramatic comet-tail clay, but it is beyond remodelling. patterns in the frame. “We rebuilt Rosto is thrilled to be guest of I have more or less remained the my grandmother’s room using the honour at Clemont Ferrand, a same person since then, except for footage and modern technology and festival that has supported him more cracks – and losing bits and by mapping the textures of the throughout his career. “Being a pieces here and there.” Super 8 onto it. The little blond boy special guest and a having special is really me. Then we see my programme for the entire tetralogy Rosto’s observation on age is character growing up until he is so as well as an accompanying poignant given how his dynamic old that he is dead. So the film is not documentary about the films and and fantastical hybrid short Reruns just about my past, it is also about my the music and the band – that feels presents numerous versions of his future. I hope not my near future.” fantastic because Clermont is so fabricated self, from 5-year-old boy important and so cool. It is a huge through to his performance as a The previous parts of the Thee honour that they always keep a headless singer with his band Thee Wreckers Tetralogy are No Place like special spot for me.” Director & script: Rosto Production: Studio Rosto A.D Co-Production: Autour de Minuit (FR), A Private View (BE) Sales: Autour de Minuit

42 43 Centre Pompidou When Harry met Johan Retrospective Johan van der Keuken

“All the French newspapers have frequently,” Bos recalls. “He has been very enthusiastic about the always been for me a very impressive whole thing,” Bos says. personality. He was the kind of man who always sees through you. Although extensive, the Pompidou He was very kind but at the same Centre event won’t cover every part time extremely sharp.” As a young of its subject’s career. The director’s programmer, Bos was one of the fiction films from the early 1960s first viewers allowed to see Harry Bos have been left out, the focus being Amsterdam Global Village, the mainly documentary. However, Bos director’s four-hour homage to his Geoffrey Macnab talks to Harry promises that the retrospective, native city and its very colourful Bos, newly appointed doc which runs until the middle of March, inhabitants. programmer for the Pompidou will screen some unknown short Centre in Paris, who is staging films as well as the director’s best- Ask Bos about his favourite among a retrospective of the works of known works. Treats in store include the master’s films and he pauses. legendary Duch filmmaker such rarities as Young Pretty Girls That is not the type of question a Johan van der Keuken. (1959), which was recently film curator likes to answer. He has re-discovered in the television seen all the documentaries many If there is one Dutch filmmaker archives in Holland, and titles such times. Nonetheless, he can’t revered in France, it is Johan van der as the landmark Amsterdam Global disguise his awe at the sheer Keuken (1938-2001), The documentary Village (1996) and The Flat Jungle originality of films like Blind Kid I director and photographer tackled (1978). There are also films about and II (1964 and 1966) which gives many different subjects in his work. him made by other directors, for us a sense of the world as it is He made political films, essay example Ramon Gieling’s Living experienced by a boy who can’t see movies and also told deeply With Your Eyes (1997). but has an uncanny sense of sound. personal family stories. He loved “It’s a unique experience of how to Paris and it is fitting that his work is Prominent French directors have visualise reality for blind children.” being celebrated in an extensive been queuing up to introduce Van retrospective organised through der Keuken’s films. (Serge Daney Bos also enthuses about one of the Public Information Library (BPI) refers to him as “the hovering the director’s final films, The Long of the Pompidou Centre. Dutchman”). What they relish about Holiday (2000), which Van der him isn’t just his filmmaking but Keuken made after he was “He is the most French of Dutch his intellectualism – his ability to diagnosed with prostate cancer. documentary filmmakers. He has formulate ideas about his political “It’s a wonderful, wonderful and always been very widely acclaimed and aesthetic approach. very human film, so honest. It is at the BPI, the documentary festival about how to end your life… about “He is the most French Cinéma Du Réel and at other Bos himself has been based in Paris what is important when you know of Dutch documentary cinemas in France,” says Harry Bos, for 26 years now. When he first you are not going to live for long.” filmmakers” the Dutch cinephile programming arrived in the city and started the retrospective, and who knew working for the Dutch Cultural As for the many other documentaries, Van der Keuken well. Centre, he made immediate contact Bos struggles to choose between with Van der Keuken. As a film them. “It’s difficult. That’s one of The critical reaction from the French programmer, he always screened the reasons why I invited other press has been close to euphoric. the filmmaker’s works. “I met him people to speak about the films!” Director Johan van der Keuken

44 45 Dutch industry news Short Cuts

oppressive middle-class society, Frühlings Erwachen Richard Oswald Messi and The Tale Jennifer Fox Methusalem at finding ways to fight back and IFFR Live for discovering as individuals who they Maud Live Script Station truly are. The film was distributed in Binger alumnus The Netherlands by the Filmliga The Dutch drama Messi and Maud, Dutch filmmaker Floor van der Meulen between 1929 and 1933. The EYE Pin Cushion Deborah Haywood directed by Marleen Jonkman, is one will present the first Dutch project ever restoration was undertaken in 2008. of six selections for the 2018 IFFR selected for Berlinale Talents Script Live extravaganza that streams Station. In the tragic-comic Dutch/ The retrospective of the 68th Berlin simultaneously to dozens of cinemas Slovenian/German co-pro, produced International Film Festival will focus across Europe. The film world- by Derk-Jan Warrink of Kepler Film, on the great variety of cinema in the premiered at Toronto in 2017 and just as a woman is preparing to break Weimar era. A hundred years ago, at IFFR marks its European premiere. Binger to the happy news of her pregnancy to the end of World War I, one of the her family, she is trumped by her EYE on Weimar most productive and influential In the film, a chance encounter Sundance father who announces that he is done phases in German filmmaking began, between a Dutch woman and a Chilean with life and intends to end it all on EYE Film Museum will deliver the a creative era that went on to shape trucker’s young son turns into an epic Ground-breaking US director Jennifer his next birthday. How is one supposed restored version of German classic the international perception of the adventure across Chile’ s breath- Fox reflects on the role that the Binger to react to such news? Frühlings Erwachen (1929, Richard country’s film culture, even to the taking land­scapes, and down a road FilmLab played in helping her to Oswald) to Berlin in February for the present day. For the event, the festival of discovery. develop The Tale, selected for Sundance “For me, the quality of the script is in festival’s ‘Weimar Cinema Revisited’ will present a total of 28 programmes IFFR Live has selected Deborah US Dramatic Comp 2018. Starring the combination of a bold, somewhat retrospective. The tragedy concerns of narrative, documentary, and short Haywood’s Pin Cushion for Messi and Maud Marleen Jonkman Laura Dern, the film follows a success­ absurdist and urgent story set against two young adults growing up in films made between 1918 and 1933. simultaneous pan-Euro streaming ful journalist as she unravels the the backdrop of our observation of a treatment. Reflecting the all-female disturb­ing and coded truth within a contemporary society that is drifting,” vibe among the directors chosen for story she wrote as a child 40 years before. comments director Van der Meulen. the programme, Pin Cushion is an all- “We live in a 24/7 designed hyper- Slamdance goes Polaroid girl, gothic fairy tale set in the British “I absolutely loved my time at the Binger reality without realizing how surreal working-class suburbs. Single mother Director Lab [in 2012],” she says. and erratic life has become. It’s a story The Slamdance Film Festival has Instant Dreams Willem Baptist Lyn and her teenage daughter Iona are “My script was in a very early phase when about death, love, fathers and selected Dutch Willem Baptist’s debut excited about their new life in a new I went there and I felt so fortunate to be daughters... that might sound heavy, Instant Dreams for its Documentary town, but the transition doesn’t go as chosen. Coming from documentary, it but rather than it being melodramatic Feature Competition. The film, shot smoothly as planned. Both keep up a The screenplay was written by Daan gave me a chance to grow new fiction we created down to earth characters on cinemascope, investigates the pretence to protect each other from Gielis. “The journey of Messi and Maud storytelling skills and learn to work with a light tone, that makes room for strange and continuing allure of the the dangerous outside world… started at CineMart in 2013, so it’s a with actors, not just on set, but also as humour. Cinema as mirror.” Polaroid. “For me, this movie is a quest great honour to be back at IFFR and to a tool of script development. on the grand scale,” Baptist says of the The screenplay was developed during show the film on such an extraordinary Floor van der Meulen decision to shoot in the wide format. the 2011-12 Writer’s Lab at the Binger platform as IFFR Live,” she comments. “As part of the Lab, I ended up shooting “I wanted to do a great epic movie… in Amsterdam. Director Haywood had “It will not only be shown in 50 theatres a sample scene that I had rewritten but, of course, on a very modest budget.” to capture our dreams”, as well as with previously honed her talent at Judith simultaneously, but we can also present during the course with fantastic Dutch his subjects – the artists, scientists and Weston’s Directing Actors Lab (Binger the all-woman team that has delivered actors. The sample was so good, it The film, produced by veteran (and authors who were even more obsessed FilmLab, 2008). “Binger was a protect­ it to an international audience.” helped me to build the project and prolific) documentary producer Pieter by Polaroid than he was, such as ive bubble where I got to explore my bring on producers in the states. van Huystee, isn’t intended as a German artist Stefanie Schneider, who characters and my world, and then These are filmmaker Marleen Jonkman, The Binger Directing Lab was a price­ conventional history of the Polaroid uses her last remaining Polaroid stock some really smart experts and actress Rifka Lodeizen, screen writer less experience that completely camera. Baptist’s real fascination is to stage a shoot in the California collaborators took a look and helped Daan Gielis and producer Danielle contributed to me developing and with “our strange relationship with desert, and New York Magazine editor diagnose what my subconscious Guirguis of Smarthouse Films. finally realizing The Tale.” photographic images, and how we try Christopher Bonanos. wanted to write about,” she comments.

46 47 Berlinale Generation Kplus

Ceres by Janet van den Brand

In her feature-length documentary lambs and chicks. Sowing, planting run their parents’ farms one day? Van debut, world-premiering in Berlinale and harvesting and butchering. den Brand presents a realistic picture Generation Kplus, Dutch director Janet No matter what, the camera is close by, of life and work in agriculture – one van den Brand accompanies her four alongside Koen, Daan, Sven and Jeanine. without idealism, and yet full of poetry. young protagonists as they go about They help with the farm work from a The film is produced by Diplodokus their daily agricultural business. young age, learning to take responsibil­ (Belgium) and co-produced with Piglets are born, as well as calves, ity – and how to say farewell. Will they Rotterdam-based Tangerine Tree.