interviews

Revolting Rhymes Room 123 Journal Rintje No. 4 | 2017 ECFA Seminar report

December

Photo: Revolting Rhymes www.ecfaweb.org INDEX EDITORIAL

3-5 Revolting Rhymes Interview Always worth taking a spective. Through visual practice we can take part in 6-7 ECFA Award 2018 each other’s perspectives and experiences. In a de- mocratic society we must be able to make visible a 8-9 Room 123 different perspective diversity of perspectives, to make the image of our Interview society complex and nuanced.” 10 Joe Boots Can Cinderella’s Prince be an obnoxious guy? Is a na- Doxspot ive type of animation a suitable format for discus- Therefore enjoy taking a different perspective – it sing a troublesome domestic situation? Are horror broadens our minds and brings us closer to our tar- 11 The Shelter films suitable for children? get audience. Interview Well, read the journal and you’ll see that you can 12-13 Screening for Children answer all these questions with ‘Yes’! – Seminar Report Margret Albers REVOLTING RHYMES, THE SHELTER and ROOM 213 ECFA President 13-14 Linda Sternö: The Truth and take different turns on supposedly known stories, The Camera subjects and genres. In a very interesting, as well as Seminar Report entertaining way, they convey that it’s always worth 15 The Incredible Story of Giant Pear taking a different perspective. Work in Progress This was also the core of the ECFA Seminar 16-17 Films on the Horizon ‘Screening for Children’ on September 20th in Stockholm: the approximately 80 participants from 18 12 Dares Work in Progress now on will never get the same perception again re- garding balloons, kites and bicycles on screen. They 19 Night Girl were inspired by best practice from Italy, Slovenia, Short Film France and The Netherlands, reminded how crucial perspective is for telling a story and that children 20-21 Rintje Interview should be enabled to find and express their view on the world. I’d like to quote from Linda Sternö’s 22-23 Children’s film in Russia presentation on ‘The Truth and The Camera’ (of Interview which you’ll find a complete summary in this ECFA Journal): “We see different things; we value diffe- 24 Wendy rent things. Every individual has a unique, personal Interview perspective on the world. Nevertheless, some people 25 KIDS Regio 2018: Immersive media tools want us to unite and gather around one shared per- Guest Page

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Jakob Schuh & Bin-Han To about REVOLTING RHYMES “What to do with a chopped off head?”

Snow White and Little Red Riding probably goes to Disney.” Even if those Hood are BFF’s. Do hungry wolves versions slightly differ from what RE- prefer pigs, grandmothers or chil- VOLTING RHYMES is offering… dren? Jack is in love with Cindy but she’s ogling the Prince. And where Bin-Han To: With Roald Dahl’s book, does this giant beanstalk in Jack‘s we had more than enough cruelty on garden suddenly come from? The ad- our plate: two decapitations, and Dahl she’s forced into a pair of metal shoes Little Red Riding Hood just showing aptation of Roald Dahl’s REVOLTING writing in detail about the sounds of that have been heated in the fire, and up and shooting people without any RHYMES sets in motion a colourful the heads when they roll… Such de- while the crowd stands watching, she clear reason. We had to invent motiva- parade of fairy-tale characters, scriptions have a clear layer of attrac- has to dance until she dies. tions for all characters. But in general through an ingenious story addres- tion, but when translating them into I like book adaptations. It’s like going sing all ages. Hilarious, poetic and full film, you have to measure how omni- In the book six fairy-tales are inclu- on a sailing trip: you’re pushed for- of unpredictable twists and subplots, present that violence should be. ded, the film has only five. ward by a really strong wind, with nu- this story was originally conceived in a Jakob Schuh: We only realised this Schuh: We only had 60 minutes to merous elements to hold on to. Espe- TV-format, yet equally appeals to ci- the minute we started drawing story- cram in as much of the story as we cially with an artist like Roald Dahl. nema audiences (as is currently being boards. What to do with the image of could, so we cut Goldilocks and the Bin-Han: Dahl has such an awful lot proven in Belgium and France). a head rolling? We tried to keep all the story of the Three Little Pigs, we com- of admirers who all expect nothing cruelty as funny as possible. But all pressed into one scene. less than a genius movie. Especial- On the occasion of the ‘JEF launching this seems like nothing, when compa- ly with this book, that is part of the weekend’ in Antwerp, two out of the red to the original fairy-tale versions, What was the biggest challenge in school curriculum in France and Bri- three directors Jakob Schuh and Bin- dating from centuries ago. The things adapting this particular book? tain. Children know it by heart. I didn’t Han To (Jan Lachauer is the third) tire- happening to Little Red Riding Hood Schuh: In the book all stories are told fully grasp this book’s status until I lessly work their way through nume- and Cinderella are horrifying, pure separately without any interconnecti- was approached by random people rous Q&A’s. “Today’s youth still knows torture. In Snow White the evil queen on, the character arcs are mostly fun- in the streets of London, asking me their fairy-tale classics. That credit is invited to the wedding ball. There ny, without much panning out. Like questions like ‘what is your favourite

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rhyme?’ That’s when we realised: this act on their computers. We talked might somehow get us in trouble… all scenes through with them. After Schuh: In Britain they have a Roald receiving the rough versions, we cor- Dahl Day, during the Roald Dahl Year rected some facial expressions and (celebrating his 100th anniversary) gestures. That’s how we slowly pro- there were mass events going on ceeded through 1017 shots. every month, they had a Roald Dahl Bin-Han: Even with three directors celebration in a football stadium! We REVOLTING RHYMES was very deman- love Roald Dahl, but Brits seem to ding: so many scenes, so many loca- have a semi-religious adoration for we started working on the visual gags. tions, so many story elements. During ning against a wall. But when painted him. Compared to your earlier work, THE the first months of the project, we in a 3-dimensional way, they obtain a GRUFFALO and STICK MAN were sat together, discussing the vision certain thickness with little holes and Imagine soon your film might be like small diamonds, while this one and style. We developed the creative irregularities on the surface. screened in a football stadium, is a much bigger diamond, with a foundation together, and when we fi- Bin-Han: Even in a constructed world, watched by 60.000 delirious peop- much broader spectre. nally went into production with a big the incoming light should convey that le, with a quick game of football in Schuh: Those earlier films had a rather team, we split up the work among us. wood looks like real wood, and fabric between the two chapters... From simple storyline and little dialogue. In Our visions were so synced, that each looks like real fabric. The tactile quali- which phase did you get involved in THE GRUFFALO, compared to the ori- of us could individually take care of ty should feel real. the project? ginal book, some narrative elements every single scène. Schuh: We had worked with the Magic had to be added to stretch the story. How did you fit so many different, Light production company in London REVOLTING RHYMES was completely The textures are amazing, with a beautiful locations together in one before, and there was a certain level the opposite. The first animatic was very tactile look in all the materials. coherent universe? of trust. They sent us the book as a 96 minutes long, and from there on Schuh: Jan (Lachauer) and I visited a Schuh: We worked with two worlds: completely open offer: this is a book we had to constantly narrow things, puppet museum with a collection of the frame story and the main story, we’d like to do but we don’t know how make the story tighter. THE GRUFFA- beautiful old marionettes. We obser- both having a different look. For the – what would you suggest? We deci- LO had five main characters, in RE- ved the chipped, painted faces, the fairy-tale world two animators de- ded on the spot all stories should take VOLTING RHYMES we had overall 42 hair sculpted out of wood, and cloth signed quite bold designs. Look at the place simultaneously in one location, characters. for the costumes. The marionette sta- town square: the composition of the and we should interconnect them all. ges were quite lush but all flat, with roofs is decisive and far from natura- We started writing the script, but the How did the animation procedure cut out objects in 2D. We too decided listic. There is a layer of texture and final shape was only revealed in the work? to keep our stages simple (and che- light washing over it, as a strong sty- second phase: the storyboarding. Schuh: We had two animation teams, ap): flat objects, with a very tactile listic unifier. Little Red Riding Hood That’s when relationships between one in Berlin and one in South Africa. I feel. All the stuff standing around in and Snow White appear in both wor- characters were conveyed and when consider them actors – animators who Jack’s garden is just flat objects lea- lds. In the fairy-tale world they have

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sculpted hair, while in the other world The wolf is an ambiguous creature they have the same haircut but with in the film. real hair. Schuh: In narrative terms he’s a great help. His ambiguity ties all storylines The bar where most of the frame together. He is sinister but caring and story takes place has a kind of Hop- he is a great storyteller. In the book per-atmosphere. there is a narrator, whom you assume Schuh: The minute the first rendered is Roald Dahl. Searching a placeholder images came in from our South Afri- for him, we saw the wolf on the cover can team, we realised: this is so reali- of the book, grabbed him by the fur stic, this team is just bloody good. We and turned him into something much had to adapt to this level, even if we more complex. didn’t plan it that way. The wolf for instance wasn’t initially supposed to Is he the character with whom you have fur, but considering this newly identified most? designed realism, he needed fur to fit Schuh & Bin-Han (simultaneous): That in. Our inspiration for this Hopper-ish was the huntsman! cafeteria we found in ‘Cafs’, a sort of Bin-Han: An innocent guy who slowly greasy working class café that you can gets pushed into a shady situation. find everywhere in London. It’s up to you to decide how much Jakob Schuh & Bin-Han To : The Brits seem to have a semi-religious adoration for Roald Dahl What was for you the most difficult of the mystery you want to reveal scene to make? about the sensual attraction bet- Bin-Han: The bus stop sequence was Contact info: Magic Light Pictures, Schuh: The ending. There wasn’t much ween Snow White and Little Red Ri- crucial and defines how people mea- Muriel Thomas (muriel@magiclight- going on… although a lot of things ding Hood, expressed in small gazes sure that relationship. 50% of the pictures.com) & Sarah Roberts (sa- are happening under the surface. and gestures, and in a beautiful sce- audience sees a love story in it, the [email protected]). Bin-Han: Cinderella’s ball, with all the ne at the bus stop. other 50% doesn’t. We’ve worked on different lighting and ballroom dres- Schuh: We worked hard to achieve that scene meticulously: how they ses and so many people dancing in a that emotional closeness between stay behind as the bus leaves – “Hi watch TV trailer complex choreography. Together with them. But if people expect a ‘racy Red” – and how they make eye cont- the animator I scrolled through nume- take on fairy-tales’… there is nothing act, how they embrace each other… rous pictures of dancing people on there! It’s all very ambiguous. the internet. – Gert Hermans

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NOMINATED FOR THE THE RED TURTLE MOUNTAIN MIRACLE ECFA AWARD 2018 (Michael Dudok de Wit, France) – AN UNEXPECTED FRIENDSHIP Nominated by: Ciné Jeune de l’Aisne (Tobias Wiemann, Germany) Festival (L’Aisne region, France) Nominated by: Cinema in Sneakers Festival (Warsaw, Poland), Schlingel Nine titles on one ECFA shortlist, HEARTSTRINGS Film Festival for Children & Young Au- showcasing the best European pro- (Michel Boujenah, France) dience (Chemnitz, Germany) ductions for children in 2017. Nominated by: BUFF Children & Youth Film Festival (Malmö, Sweden) In consultation with a number of chil- dren’s film festivals, ECFA compiles a list of the best recent young audi- ence films. From this list, more than 100 ECFA members select the overall UP IN THE SKY winner. Last year, the honour went to (Petter Lennstrand, Sweden) MY LIFE AS A ZUCCHINI by Claude Bar- Nominated by: Film Festival for Chil- ras. This year there are 9 nominees, dren & Youth (Zlin, Czech Republic), among one title collected no less than KINOdiseea Children‘s Film Festival THE GIRL DOWN LOCH ÄNZI 4 nominations. An overview: (Bucharest, Romania), Children‘s & (Alice Schmid, Switzerland) CLOUDBOY Youth Film Festival (Oulu, Finland), Nominated by: Lucas Festival for THE DAY MY FATHER BECAME A (Meikeminne Clinckspoor, Belgium / Just Film Children & Youth Film Festi- Young Filmlovers (Frankfurt, Germa- BUSH Sweden,…) val (Tallinn, Estonia) ny) (Nicole van Kilsdonk, Netherlands) Nominated by: Kristiansand Children’s Nominated by: JEF Festival (Antwerp, Film Festival (Norway) Bruges, Belgium)

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NEXT DOOR SPY LITTLE HARBOUR (Karla von Bengtson, Denmark) (Iveta Grófová, Slovakia & Czech ECFA members can cast their votes for the ECFA Award 2018 Nominated by: Ale Kino! Young Audi- Republic) for ‘Best Young Audience Film of the Year’ and ‘Best Young Au- ence Film Festival (Poznan, Poland) Nominated by: Olympia Children‘s dience Documentary of the Year’. Film Festival (Pyrgos, Greece) Screeners of the nominated films are free available (ECFA members only).

The winners will be announced on 17 February at the Treffen der Kinderfilmszene in Berlin.

NOMINATED FOR THE ECFA THE GIRL DOWN LOCH ÄNZI THE SHELTER KAYAYO – THE LIVING SHOPPING DOC AWARD 2018 (Alice Schmid, Switzerland) (Robin Jensen, Norway) BASKETS Nominated by: Filem’on Children’s Nominated by: Doxs! - Documentaries (Mari Bakke Riise, Norway) This year will be a real competition Film Festival (Brussels, Belgium) for Children & Young People (Duis- Nominated by: Olympia Children‘s between three films nominated in burg, Germany) Film Festival (Pyrgos, Greece) festivals in Germany, Belgium and Greece. One of them also has a no- mination for the ECFA feature film Award.

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Emil Larsson & Martin Jern about ROOM 213 “We did it for the girls”

When twelve year old Elvira arrives at how we wrote our first teenage movie summer camp it turns out her room called FOURTEEN SUCKS, that premie- has been flooded and together with red at the Berlinale in 2004. This time her roommates Meja and Bea she has we copied most of the dialogues stra- to move to room 213, where no one ight from the book. Ingelin Angerborn’s has stayed for sixty years. As strange work is so tremendously popular that Larsson: Like the camera angle that gi- about balancing, both in sounds and things start to happen, like distorted we didn’t want to change the tone too ves you the idea somebody is watching in visuals. A 9 year old child should be photographs, dizzy spells and bewil- much. She wrote a series of three books or the doors opening and closing. But able to survive the film, but meanwhile dered dreams, the girls grow suspici- about these girls, and many more ghost we had to make the ghost more visible. a 12 year old should find it at least a bit ous of one another. But what about stories for 9 to 12 year olds. Until about halfway through the film scary. Choosing this particular target the rumours of a ghost haunting the Emil Larsson: Traditionally a producer is you’re not sure what that ghost-thing audience didn’t make things easy for us. camp grounds? mainly a sales person. But at the Dansk is actually about, you only get a sense Jern: It was hard to find reference Skalle production company we’re invol- of it. We understood it had to be shown points. I saw films like POLTERGEIST ROOM 213, directed by Emelie Lind- ved differently: we come up with ideas more clearly. when I was 13 and our movie is much blom, is based on a popular novel by and scripts, we find the director and we milder – that audience will find ROOM Ingelin Angerborn. Emil Larsson and discuss the visual style. And of course A lot of it is also in the soundtrack. 213 far from scary. But on the other Martin Jern produced the film and wro- we take care of the financing. Jern: Hans Lundgren‘s traditional horror hand we didn’t want to end up in the te the script. “I got the book from the score adds to the atmosphere, but the THE ADDAMS FAMILY or CASPER THE daughter of a friend who told me it was There’s a lot of conventional horror typical jump scare sound we only used FRIENDLY GHOST universe. It was dif- great material for a film,” says Larsson. techniques used in the film. That was once in the film, on a rather harmless ficult for Emelie Lindblom to attract “For a long time it was just laying around a scriptwriters’ decision? moment. Emil and I were like ‘let’s have everyone without excluding substantial the house, until I started reading and re- Jern: I’m a horror fan. Wes Craven is my it all over the movie’ but the sound mi- parts of our target group. alised: yes, this is it!” favourite horror director and THE RING xer talked some sense into us. is one of the scariest movies I’ve ever We constantly had to balance to make The frights are not just caused by the Martin Jern: We write together: talking, seen. So I’m familiar with those tricks things not too scary. ghost. playing and acting dialogues. That’s and insisted on using them. Larsson: The editing process was all Larsson: There is also the element of

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being locked out by your friends. Every there’s no playing around, this is serious movie needs a bit of a hero’s journey. stuff! Elvira is afraid of being alone, afraid to go on a summer camp without a friend, What about the location? Is there a afraid she won’t make any new friends. story behind it? And when she does, once again she’s Jern: We hoped to be able to film the pushed away and she has to win them interiors and exteriors in the same back. She has to face her true fears. location. We’d been driving around the country, visiting the craziest castles and There is a strong dynamic between mansions. But none of them we could those girls: one is cool and extraver- afford, or they didn’t want a film crew ted, one is shy and one is more to mess up the place for a whole month. dreamy. Larsson: Finally we found the right spot: Larsson: In the film we made that more one house for the exteriors and one for outspoken. Emelie Lindblom totally un- the interiors only two kilometres away derstood the story and knows what it is from each other and we were allowed like to be a young girl. The actresses did to ‘rebuild’ the whole house (as it was to when the tension got too strong, but watch trailer great. Ella Fogelström (playing Meja) be renovated soon). We used that free- they always came back to see the en- had been in a few films before, but all dom to the fullest, but we had to make ding. the others were making their debut. We it look bigger, therefore using every Jern: That’s why it was important to end catastrophe. Which didn’t happen: 1/3 found them one year before the shoo- single room. with a positive scene. You can’t send a of all Swedish 9-12 year olds, girls and ting and made a pilot with them. 10 year old back home with the idea boys, have seen the film. Now it opened The film is intensively touring the fes- that an evil ghost might keep on haun- in no less than 70 Norwegian cinemas. It What I appreciated about them: tivals, as if everybody has been wai- ting your dreams for ever. feels like we’ve achieved our goal. they’re never outrageous. Even when ting for it. – the going gets tough, their acting Larsson: We didn’t have any expecta- What gives you most satisfaction Gert Hermans stays in control. tions but the response has been gre- about the film? Larsson: Just like Emily, most direc- at. In Giffoni, Emily attended a crazy Larsson: We’ve made ROOM 213 espe- Contact info: Dansk Skalle tors coming from the Gothenburg Film screening with more than 1000 people, cially for young girls, because it felt www.danskskalle.se School are known for keeping a naturali- screaming constantly. In Haugesund like no one had made a movie like this [email protected]. stic, rather restricted tone in the acting. they were queuing up to and fighting for them before. The distributor called Keeping the girls’ acting a bit held back, over the last available seats and the us crazy when we decided to focus the helps to make it a more mature film. audience went nuts. In many screenings promotion campaign entirely on 12 year We didn’t want to sound patronising, a few people would leave for a while old girls. He was ready to face a financial

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The way the alienation was translated JOE BOOTS onto the screen impressed the youth jury at the doxs! festival in Duisburg Director: Florian Baron, 30’, (Germany) who awarded the film the Germany, 2017 GROSSE KLAPPE prize. They were con- vinced by “the aesthetically demanding “I have been lying in a hospital wishing images, which are convincingly tied to I got my legs blown off. Because then, the content.” Furthermore, they criti- when people look at me, they would cally acclaimed the “presentation of know that I am disabled, and that I am different perspectives on war, among in pain.” Florian Baron’s documentary them the glorification of military in- JOE BOOTS tells the story of a war ve- terventions, criticism of patriotism, teran trying to find his way back into or society’s treatment of those who society. return” in their statement. “This very aesthetical display gives JOE BOOTS a Although the protagonist of the same special kind of documentary force that Joe Boots name was injured at war, his injuries touched us and was altogether convin- are invisible, making it hard for him cing.” two prizes were presented at the Ci- The Doxspot column is publis- to claim compensation. He tells his nema Filmforum, the GROSSE KLAPPE hed with the help of the doxs! story without embellishments: why Director Florian Baron is no stranger and ECFA Doc Award. JOE BOOTS was festival for children & youth do- he joined the military, his experiences to the festival. As a 2016 doku.klasse chosen by a youth jury as the winner cumentaries (Duisburg, Germa- abroad, and how his life was impac- fellow he presented his exposé for of the GROSSE KLAPPE. ny), www.do-xs.de. ted by Post Traumatic Stress Disorder JOE BOOTS and discussed his early (PTSD). By using slow motion, Baron ideas with adolescents during the A more detailed statement, visual allows the audience to take part in workshop. materials of the award-winning films, Joe Boots’ life. The explosion of a and pictures of the ceremony are avai- bomb, for example, is represented by doxs!-festival 2017 lable here. leaves being tossed around by a leaf blower. Time seems to stand still and This year, the 16th doxs! festival, took Directed & produced by Florian Baron the audience feels detached from place from November 6-12 in Duis- on behalf of ZDF/3sat. what is shown on screen – very much burg and six other cities of the Ruhr in the same way that Joe feels deta- area: Bochum, Dinslaken, Dortmund, Contact info: ched from the lives of people around Essen, Gelsenkirchen and Moers. In [email protected]. him. What seemed familiar suddenly the context of an award ceremony becomes surreal.

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place, they understand there are kids Robin Jensen about THE SHELTER out there that have problems and need to hide, and that’s pretty much “Kids out there have problems and need to hide” the point we wanted to make.

There’s some interesting details in “I feel a lot safer here”, says Mikael the animation catching the child- (16). He is one of the children intervie- ren’s attention like fishes, birds and wed, who ran from a violent home and a cat, seemingly ‘glueing’ the film Robin Jensen facing the ECFA Doc Jury (Marc- settled in at a women‘s shelter. Their together. André Schmachtel, Remke Oosterhuis & Elise Van story is elegantly told in the animated Jensen: They make the story bigger Beurden) at the doxs festival achtel, Remke Ooster- documentary THE SHELTER by Robin and create space to reflect. I didn’t huis & Elise Van Beurden) at the doxs festival Jensen, that won the ECFA Doc Award want to frighten our target audience. at this year’s doxs! festival. A delicate animation it’s not a sad film. We show Although kids in shelters aren’t frigh- children. The raindrops were added short film, touching, like a little finger terror and fear in a rather poetic way, tened by anything, since they’ve seen as a smooth, melancholic element of tapping your shoulder for attention. as the animation makes them more so much evil already. That house is transition. abstract. where people have lived terrible situ- Robin Jensen: We all know about wo- ations, I wanted it to look like a warm What do you learn from Q&A’s like men’s shelters, but also the children Even with this naïve style of anima- and cosy place. People were confused the one here at doxs!? living there are victims, and they don’t tion, you were able to create real by the amount of animals in the film, Jensen: Kids see things different from have a voice. The shelters’ staff mem- characters of flesh and blood. while actually pets are not allowed in grown-ups. They relate to children in bers and directors really wanted this Jensen: It’s all in the voices, that real- shelters. But animals are important to other ways. Because some of the cha- film to be made, it seems the need ly fit to the drawings. They sound just these kids, they often had pets and racters in THE SHELTER have a darker was really strong: it’s now being dis- lovely. Because we only taped them now they’re worried: what happened skin, grown-ups ask questions like: are tributed to all shelter homes in Nor- (no cameras involved) the children to my cat since we ran off? all these kids really Norwegian? Child- way, probably Sweden and Iceland were extremely honest. It didn’t take ren simply don’t think that way. will follow and it was dubbed in Farsi, long before they opened up. There’s one particular scene in – Afghan… which a girl’s tears turn into rain- Gert Hermans You needed somehow to explain in drops. It’s an animated documentary. very few words what is the concept Jensen: How to deal with a person Contact info: Lise Fearnley, Mikrofilm Jensen: Because the characters had of a shelter home. bursting into tears while she’s tel- AS, +47 21 38 54 80, post@mikrofilm. to remain anonymous. Still, you can Jensen: While working on THE SHEL- ling you her story? You just want to no or [email protected], www.mikro- relate to them. These kids even look TER for one year, we assumed that go and hug her, which finally we did. film.no. like their animated alter-egos. And al- kids are smarter than generally be- Until that moment, we never realised though the subject is sad, due to the lieved. They realise it’s about a hiding how much pain there is inside those

11 | Journal 04 | 2017 SHORTCUTECFA ANNOUNCEMENTS

have been used widely across Europe: in WADJDA children easily identify Sreening For Children with a young girl and her dream of in- dependence. Discussions with SONG September 2017 OF THE SEA were less drenched with socio-political issues, but often refer- Seminar report red to elements of storytelling and imagination.

The ECFA seminar on ‘Screening for Study guides were presented by Heta Unknown Soldier children’ (20 September, Stockholm) Mulari (Finnish Youth Research So- focused on a question pertinent for ciety) as documents embedded in a that: many people working with children’s historical, political and social context. - all stories (also the ones that make De Taartrovers film: what to do after the screening, Therefore it’s useful to ask yourself: claims on the truth) are told from a when you start processing the film Kites often refer to relationships bet- Which are key themes in study guides particular perspective. with the young audience? Various ween children and fathers, for instan- and what subjects on the other hand - all stories (also the ones that make experts, including several ECFA mem- ce LIKE FATHER, LIKE SON and MARRY are silenced? claims on the truth) are told with the bers, shared their experiences on how POPPINS make kite flying the symbol aim to effect an audience. to screen and discuss cinema for and of a father-son bonding process. Bal- It’s Koloukino’s goal to integrate film with children so as to engage them loons can be seen as travelling compa- language in every school subject (on MAKING MORE OF THE FILM EXPE- with the medium. nions for a child. But balloons can also www.kouloukino.fi you’ll find study RIENCE be a bomb, a bad omen (M, THE SIXTH guides even in English). Marjo Kova- Presentations on three cinema initia- It might have seemed like Karen Lury, SENSE) because… “balloons go bang” nen left the audience with a puzzling tives illustrated how screenings for a in her keynote speech, simply offered (IT). While bikes carry within them the dilemma: the Finnish film UNKNOWN young audience can be upgraded into a bundle of memories on unforgetta- combination of attachment and loss SOLDIER has an outspoken nationa- a unique experience. ble movie scenes featuring kites, bal- – what can a bicycle do for a boy and listic tone. Trying to create a critical loons or bikes. But this pleasant stroll what does it say about his sense of understanding among youngsters th- - Elisa Giovanelli (Cineteca di Bolog- through film history was driven by being in the world? rough a patriotic film is a big responsi- na): “Film history is not a list of dates, three main questions: bility on Koloukino’s shoulders. authors and periods, but is in a cons- - Why do these objects feature so pro- WORKING WITH FILMS IN THE tant and lively dialogue with society.” minently in films about children? CLASSROOM Miriam von Schantz (Örebro Universi- - Petra Slatinsek (Kinodvor, Ljubljana): - How can we use these objects as de- ty) made a statement: you can’t teach “We want to make children feel they’re vices? Anna Söderberg (Zita Cinema) illustra- people to be critical, you can only special by providing them special - What do they say about children’s ted the options for film discussions offer tools to develop a critical mind- events. We want to do more than just mobility? with children through two titles that set, by helping young people realise ‘entertain’, we want to inspire!”

12 | Journal 04 | 2017 SHORTCUTECFA ANNOUNCEMENTS THE TRUTH AND THE CAMERA Linda Sternö (Göteborg Uni- versity) behind and beyond the moving image When talking about film pedagogy and cinema literacy, it’s important to preci- Linda Sternö’s presentation at the sely define the element ‘film’.Through “ ECFA seminar in Stockholm was an these years of working with and learning eye-opener for many: what if we take from children, I have come to the conclu- it one step further and look behind the Mary Poppins sion that film pedagogy and cinema liter- image? Studying the image is all about acy should be about finding an attitude - Florian Deleporte (Studio des Ur- - Exploring: kids come up with ideas, studying the perspective. Linda Sternö towards the camera and the image, both sulines, Paris): “We want the cinema the inspiration is mutual. took the audience on a trip beyond the moving and still. I think cinema literacy to feel like a ‘home’ for young people - Creating: by using all your senses eyes and ears of cinema, and shared her and film pedagogy should not be about from the neighbourhood, a place of and your entire body. insights with the ECFA Journal. film as a product, but as a method, a way their own.” to understand (or attack) the world.” BEYOND THE IMAGE In the Valand Academy at the Gothen- FOSTERING CREATIVITY burg University, students and teachers Film critic Malena Janson sees two started a film school for children and Film is a limiting word The artistic collective De Taartrovers colliding visions on childhood: developed a set of exercises. Linda Living in a digital era adds a troubleso- (The Cake Robbers, Amsterdam) tra- - Children as competent creatures Sternö: “Children were learning how to me aspect to the word ‘film’. Film al- vels around with approximately 10 with a capacity to take part in the de- handle a camera, but there is no alpha- ways was an analogue technique. With installations providing one big ‘play- cision-making process. bet for the camera. So we decided to in- the coming of the digital technique, ground for the imagination’. Remke - Children as vulnerable creatures that vent one.” This ‘alphabet of the camera’ new processes have developed in ma- Oosterhuis: “Playing is the main part need our protection. is a work in progress, a set of exercises king and screening films. If we continue of our film literacy.” When bringing up the topic of ‘sexua- that make you aware of the influence using the word film in an analogue sen- Three elements are at the basis of De lity’, kids nowadays are considered to of images and raises awareness about se, while actually talking about a digital Taartrovers’ work: need more protection than in the 70s. your way of seeing them. Those pages technique, we risk carrying on old as- - Wondering: shaping a place of won- have recently been translated and are sumptions and methods which might der and discovery. You’ll find a complete summary of the now available online. For the use of not be relevant today. seminar here. everyone: www.kameransabc.com.

13 | Journal 04 | 2017 SHORTCUTECFA ANNOUNCEMENTS

ilets, free of charge, allow me to go out either invisible and absent or disrespec- and take part in city life”), or a young ted? And what images should we pro- refugee showing a picture of a bed “in duce today, not to end up in a similar which I can sleep without fear tonight”. situation? And on the other hand: what Such pictures show fragments of truth, is it like for children growing up today, different elements in life, that strongly being so frequently photographed? differ from the ones you usually see in How does that influence the image the media. Being surrounded by a mas- they have about themselves? sive flow of images, every day, where- ver you go, still sometimes it feels like The diversity of perspectives we’re seeing the same images over and over again. We see different things; we value- dif ferent things. Every individual has a unique, personal perspective on the world. Nevertheless some people want us to unite and gather around one shared perspective. Through vi- sual practice, we can take part in each Cameras are there for young children an image, there are things you exclude. other’s perspectives and experiences. whenever they want them, and can be That is the essence of cinema: being In a democratic society we must be able used however they want to. They do able to imagine what is outside the fra- to make visible a diversity of perspecti- not work with film - they work with a ca- me, what is left out. ves, to make the image of our society mera. The word ‘film’ would feel as limi- complex and nuanced. Linda Sternö ting them. Do teachers and film peda- Happiness is a public toilet gogues really see the full possibilities in To read and write a text is a democratic the tools that we are using? Do we see The best way to train critical thinking One of the questions dominating our right today. To read and produce the full potential of the camera today? regarding cinema, is through practice: work with children is: what images are images should be equally considered using the camera, not to tell a story, lacking? In this massive flood of images a democratic right. Everybody should There is one thing about the camera: it but as a method to understand things. in which we live today, what images be able to understand how images are never lies. It captures what is in front of Like understanding ‘what makes people and perspectives do not come through? produced in order to become a critical it. It tells the truth of a certain moment, happy’. Answering that question, peop- The American analyst Bell Hooks writes consumer. (Linda Sternö) from a certain distance. But even if an le often use an image. Like a young girl about the representation of black peo- image is ‘true’, it never tells the whole showing a picture taken while horse-ri- ple in photographic history. How to live Check out the ABC of the Camera! truth. The aesthetics of the camera also ding, or an old lady showing pictures with the visual heritage of images we define the ethics. Every time you frame of a public toilet (“at my age, clean to- have today, in which black people are

14 | Journal 04 | 2017 IN PRODUCTION

inside the houses and vehicles. And Work in progress Jakob Martin Strid has this obsession that whatever mechanical thing you THE INCREDIBLE STORY OF THE GIANT PEAR show in a movie, it should actually be possible to make it work – so there runs Mitcho and Sebastian out of was a lot of mechanical details to fi- Adapting a book into a film, you will town. Ending up at sea in their giant gure out. The animation is in 3D – of often wonder if the author is plea- pear, they might as well sail out and course Jakob hated that as well! He sed with the result. “Pleasing Jakob find the Mayor. On their great journey would rather have Miyazaki doing it. Martin Strid is impossible”, states they meet pirates, travel the empire We got him involved in modelling the co-director Philip Einstein Lipski with of ghost sailors, end up in the belly characters, until he almost got sick of a smile on his face. Which was more of a giant sea dragon and finally find it. He saw the pilot we made, and of or less the main message of his pre- the Mayor’s mysterious hide-out. Sai- course hated it too, but as all his fri- sentation at the Kristiansand Work in “The book has zero educational value, ling back home together, the clock is ends liked it so much, he had no other Progress session. it has no moral and it’s totally surrea- ticking! They have to get back before choice than liking it as well. But I can list. All events seem to happen by ac- they’ll all be declared officially ‘dead understand… It’s such a job to do it Philip Einstein Lipski: “In 4 years time cident. The book was actually written by missing at sea’. all by yourself and then hand it over, ‘The Incredible Story of the Giant for adults, which is partly the reason knowing it will never be as good as it Pear’ became a classic on the Nordic for its success: parents love to read it should be. As much as I love him, I for- book market. It is written and illus- to their children. That’s why we kept THE INCREDIBLE STORY OF THE give him.” trated by Jakob Martin Strid, who is the tone not too classical.” GIANT PEAR is locally financed by the insanely talented, but also an anar- Danish Film Institute, NFTVF and DR. More info about THE INCREDIBLE chist and purist. He works on his own, Sebastian the elephant and Mitcho Nordisk Film; Einstein Film and A Film STORY OF THE GIANT PEAR: here or doesn’t trust anybody, has a very per- the cat are best friends. One is a co- are producing with Philip Einstein http://www.nordiskfilm.dk/. sonal style, does everything by hand wardly quitter, the other one is all Lipski (RONAL THE BARBARIAN), and is 100% sure that all will turn into guts. They live in a house on top of Jørgen Lerdam (NIKO & THE WAY TO Sales: Tine Klint, [email protected]; shit as soon as somebody else might the hill by the idyllic village of Solby, THE STARS) and Amalie Naesby Fick Derek Lui, [email protected] touch it. He wasn’t very happy when where one day the Mayor disappears. as directors and LevelK as world sales Festivals: Andrea Frovin, andrea@le- we suggested to make a film based His deputy starts rebuilding the en- agent. Meanwhile the film has been velk.dk; Niklas Teng, [email protected] on his book. If we can make the result tire city, destroying the scenery with domestically released in October. suck a little bit less than he thinks it modern buildings. Until a message in will suck that would already feel like a bottle arrives from the Mayor, with Philip Lipski: “We had to search for victory. Even being good friends with a gift of a seed that once planted ways to make the movie stand out. Jakob, I’m rather pessimistic about turns into a giant pear. The deputy For instance by showing locations in that.” isn’t pleased by this eccentricity and a cut-through version so you can see

15 | Journal 04 | 2017 FILMS ON THE HORIZON

New European films for children or The Golden Ball tions A/S pelan young people which are ready to be Feature Film, Spain, 2017 Phone: ++45 7020 3080 Prod.: Filmkompaniet Alpha, Animoon discovered for your programmes. Director: Aitor Aspe [email protected] World Sales: Global Genesis Group More information and more films Prod.: Canal Extremadura TV / Extra Phone: ++1 702 514 32 19 can be found at www.ecfaweb.org/ Producciones [email protected] european-childrens-film-network/ World Sales: Barton Films www.globalgenesisgroup.com feature-films. Producers, distributors Phone: ++34 94 424 05 59 and sales agents are kindly invited to [email protected] Next Door Spy inform us of their new releases. www.bartonfilms.com

100% Coco Harvie and the Magic Feature Film, The Netherlands, 2017 Museum Hodja Director: Tessa Schram Prod. & World Sales: Tom de Mol Prod. Hotel True Love Phone: ++31 20 672 7707 Feature Film, The Netherlands, 2017 [email protected] Director: Ineke Houtman www.tdmp.nl Prod. & World Sales: Kaap Holland Animation, Denmark, 2017 Film Director: Karla von Bengtson Bigfoot Junior Phone: ++31 20 346 3700 Prod.: Copenhagen Bombay, ApS, CB Animation, Belgium, 2017 [email protected] Sweden AB Director: Ben Stassen & Jérémie Animation, Czech Republic / Russia / www.kaaphollandfilm.nl World Sales: Copenhagen Bombay Degruson Belgium, 2017 Phone: ++ 45 72 42 08 00 Prod.: nWave Pictures SA Director: Inna Evlannikova & Martin I Kill Giants [email protected] World Sales: StudioCanal Kotik Feature Film, UK, 2017 www.copenhagenbombay.com Phone: ++33 1 71 35 35 35 Prod.: Rolling Pictures, KinoAtis, Gorki Director: Anders Walter [email protected] Filmstudio, Grid Animation Prod.: Umedia, Having Me Films Promises World Sales: Rolling Pictures World Sales: XYZ Films Feature Film, Iceland / Denmark, 2017 The Family Jumble Phone: ++420 281 914 984 Phone: ++1 31 09 561 550 Director: Bragi Thor Hinriksson Feature Film, Italy, 2017 [email protected] [email protected] Prod.: MPFactory Hreyfimyndasmidjan Director: Max Nardari www.rollingpictures.cz www.xyzfilms.com World Sales: Icelandic Film Centre Prod.: Reset Production Phone: ++354 562 35 80 World Sales: Media Luna Hodja Moomins and the Winter [email protected] Phone: ++49 221 51 09 18 91 Animation, Denmark, 2017 Wonderland www.icelandicfilmcentre.is [email protected] Director: Karsten Kiilerich Animation, Finland & Poland, 2017 www.medialuna.biz Prod. & World Sales: M&M Produc- Directors: Jacub Wroński & Ira Car-

16 | Journal 04 | 2017 FILMS ON THE HORIZON

The Incredible Story of the Partners, Česká Televize The Swan Luis and the Aliens Giant Pear World Sales: Studio Zvon Animation, Germany / Luxembourg / Animation, Denmark, 2017 [email protected] Denmark, 2017 Director: Philip Einstein Lipski, Jørgen www.lajka.eu Directors: Wolfgang Lauenstein, Chris- Lerdam & Amalie Næsby Fick toph Lauenstein Prod.: Nordisk Film Prod., A-Film Prod.: Ulysses Films, Fabrique World Sales: LevelK d’Images, A.Film Prod. Phone: ++45 48 44 30 72 Feature Film, Iceland, Germany & World Sales: Global Screen [email protected], Estonia, 2017 Phone: ++49 89 24 41 295 500 festivals: [email protected] Director: Ása Helga Hjörleifsdóttir [email protected] www.levelk.dk Prod.: Vintage Pictures, Junafilm, www.globalscreen.de Kopli Kinokompanii Kidbusters World Sales: M-Appeal Unexpected Journey Laïka phone: ++49 30 61 50 75 05 [email protected] The Little Vampire 3D www.m-appeal.com Animation, The Netherlands / Germa- ny, 2017 Tales From the Lakeside Directors: Richard Claus & Karsten Kiilerich Feature Film, Finland, 2017 Prod.: Cool Beans, Comet Film, Tele- Director: Samuli Valkama screen Prod. & World Sales: Solar Films World Sales: Cinema Management Phone: ++358 29 370 03 90 Feature Film, Denmark, 2017 Group [email protected] Director: Frederik Meldal Nørgaard Phone: ++1 310 300 99 59 www.solarfilms.com Production: Regner Grasten [email protected] World Sales: Attraction Distribution www.cinemamanagementgroup.com Feature Film, Hungary, 2017 More information on all these films Phone: ++1 514 846 12 22 Director: Zolt Pálfi you will find on our website: [email protected] Miss Sing Song Surinam Prod. & World Sales: Cinemon Enter- www.ecfaweb.org/european-child- www.attractiondistribution.ca Feature Film, The Netherlands, 2017 tainment rens-film-network/feature-films Director: Mischa Kamp Phone: ++36 1 78 07 751 Laika Prod. & World Sales: Submarine Film [email protected] Animation, Czech Republic, 2017 Phone: ++31 20 820 49 40 www.cinemon.hu Director: Aurel Klimt [email protected] Prod.: Studio Zvon, Universal Prod. www.submarine.nl

17 | Journal 04 | 2017 SHORTCUT

12+ audience. Lenken: That was the age when I star- SHORT FILM ted thinking a lot about sex, asking myself questions and trying to find Sanna Lenken about answers in books. The book NATT- BARN was very popular among young NIGHT GIRL adults, libraries started promoting it towards teenagers. I would have loved to read a book like that when I One day 14-year-old Iggy stands face was 14. to face with the young school photo- having sex. At first we thought about grapher. No more than a casual cont- doing it as a live action scene, but How was it for Mimmi Cyon to play act, it feels as if he truly understands starting the film with such raw images the role of Iggy? Gustafsson’s book IGGY FOR EVER. her. Iggy tries to contact him again, would scare off the audience. Now Lenken: Difficult. Iggy stands very far And together with Emma Broström thus treading on dangerous ground. the animation adds a humorous tone. from Mimmi’s own extroverted cha- (FLOCKEN), I’m writing a story about Made for Swedish television by Sanna The script follows Iggy in all her inte- racter. In training, we gave her tasks, a girl that is sent to a foster home. As Lenken, NIGHT GIRL (based on a gra- rests, like how she is curious about pe- like trying to behave as if she had a a child I already loved reading emo- phic novel by Hanna Gustafsson) is a nises. From Swedish TV there was no secret to hide. I find it very import- tional stories. Sometimes producers daring short film that breathes down pressure whatsoever to censor that. ant to make actors feel secure with send me scripts about young detec- the neck of a young teenager and me. But there is this fantasy scene tives, but those simply do not appeal reads the despair in her eyes. What about the audience’s reaction? in which she kisses a girl, and I told to me. Lenken: It was broadcasted on Swe- Mimmi: I want it to be a real kiss. As During the ECFA seminar in Stock- dish late night television, not exac- she was already 16 and very mature, NIGHT GIRL (aka NATTBARN), by San- holm, Sanna Lenken (MY SKINNY tly a moment when youngsters are I thought she knew… Afterwards she na Lenken, Sweden, 2017, 38’. SISTER) was interviewed on stage by watching. But now that Filmcentrum was shocked: “I didn’t know tongues Contact info: Malena Janson. “Iggy fantasizes about will distribute the film, reaching out were involved!” I felt embarrassed as Festivals: Swedish Film Institute, Jing sex, not yet knowing how things would towards a young audience, I hope the- apparently we agreed on something Haase, [email protected]; be like in reality.” re will be chances to discuss it with she didn’t understand, which was a Production: Tangy Film Production, them. At the cinema premiere, some tough lesson for me to learn. Annika Rogell, [email protected]. Today, films about sexuality of- 14-year-olds seemed a bit embar- ten seem rather restricted. Did rassed about watching it with their What are you working on at the mo- you force any self-censorship upon mums and dads. ment? yourself? Lenken: I’m writing two films. One Lenken: The film starts with an anima- Most of the experts in the seminar is again about Iggy and how she lo- ted pornographic scene of two men today would screen the film for a ses her virginity, based on Hanna

18 | Journal 04 | 2017 IN PRODUCTION

Work in progress nal approach. His feature film debut HUNTING FLIES was shot (with a small 12 DARES crew, on a low budget) in Macedonia. 12 DARES is Swedish and his next film SONG OF SCABS (telling the story of Norwegian director Izer Aliu and Sto- 1500 miners on strike in 1907) will be ryline Pictures producer Khalid Mai- Norwegian, following more or less mouni premiered in 2016 with HUN- the trail of Aliu’s personal odyssey. TING FLIES. Now they have teamed up again for a new Swedish-Norwegian Maimouni: “The story of 12 DARES coproduction, 12 DARES, presented reads like a combination of Greek my- at the Kristiansand Work in Progress thology and a dark gangster drama, session. yet Izer can make even the darkest of stories appear light-hearted, adding a Khalid Maimouni: “Storyline Pictures personal touch”. is the production arm of a Norwegian post-production and rental compa- The main character is called Food, the fastest thief in town… When Food rally regarded as sad or dangerous, he ny Storyline Studios. HUNTING FLIES he lives in Ryd, a small, run-down, takes on his challenges they steer him shows the buoyant aspects of youth was our first film. As all dialogues housing project in a Göteborg suburb. down a dark path alienating the things culture. All actors were amateurs, in 12 DARES are Swedish spoken we Few people escape it and local role that matter most to him; family, true their performance was the result of a needed partners, so we got Swedish models are hard to find. Food’s story friends and the girl he loves. group process. Izer is good at that: he company Zentropa on board as main is about belonging, specifically to a lo- makes the best of what he gets and producer. In Norway we were lucky to yal group of friends, a gang often get- Maimouni: “It’s all about making the can turn small things into something find Mer Film. If you want your film to ting involved in fights caused by futile right choices. Belonging to a gang is very big.” be made in our region today you need events. But Food isn’t much of a figh- so important during adolescence, but to partner up.” ter, he likes to hide in the shadows. is it the only option? Is it all worth it? The film, made on a €1,5 million bud- When Food breaks their trust, and Despite his young age, Alia has a lot of get, financed by Storyline Produc- Izer Aliu is quite a phenomenon: born therefore gets shunned, he’ll go to experience. I suppose he had friends tions, Film I Väst, and the Norwegian in Macedonia with Albanian roots, his extremes to regain their trust. Inspi- like Food, he might even have taken Film Institute will premier early 2018. family moved to Sweden when he was red by what they’ve learned in class up similar challenges. 12 DARES is his only 2, eventually he grew up in Nor- the gang suggests Food to “do some most personal film yet; I see a lot of Distribution: Mer Filmdistribusjon, way. He is the “hot shot” among the Hercules shit” to prove his loyalty. Izer in every character. The film is set http://semerfilm.no/. new generation of Norwegian direc- There are 12 dares, varying from bur- in a lower-income, multicultural com- tors, a promising talent with a perso- glary and stealing cars to outrunning munity. From a location that is gene-

19 | Journal 04 | 2017 INTERVIEW

Steven De Beul & Ben Tesseur about RINTJE – THE MOVIE “They might pee doggy-style, but they don’t bite”

From the Flemish-Dutch animated se- ago, but quietly disappeared from our ries RINTJE, nine episodes were selec- radar. Until we suddenly got a phone ted by distributor JEF and brought call from Dutch producer Lemming together in a compilation film for the Film, saying: “RINTJE did not die!” very youngest audience. Based on the They got Belgian co-producer A Pri- work of Dutch illustrator Sieb Posthu- vate View on board and talked to us ma, and animated in stop motion with about the stage management. scarce: pen drawings done with eco- every frame, keep time and budget in artisanal charm by the Beast Anima- line on paper… That’s all. In all the mind and are consequent in our use of tion studio, run by Steven De Beul & Through newspaper columns and books we found no more than two ex- stages, movement and sound. Ben Tesseur. books Rintje became a print pheno- terior drawings, just a few corners of menon. How did you add a personal Rintje’s home and sketches of other How does that influence the dyna- The naughty puppy Rintje discovers phlegm to the existing material? houses didn’t even exist. Discussing mics, the atmosphere? the world together with his friends Ben Tesseur: Sieb drew the props for a every element with Ton, we created De Beul: The stages were kept limited Tobias and Henriette. He goes out teaser made by the Dutch studio Ped- the entire street, a village in which for budgetary reasons: if an episode playing in stormy weather, he handles ri. We were looking forward to work dogs could run free. We made sure actually took place in a barn, an attic the hairdresser’s scissors and orga- closely with him. However, around the to incorporate Sieb’s typical wobbly and a basement we centralised the nises a circus show. Rintje’s adven- time the contract was signed, Sieb asymmetric style, lacking every stra- story in one place. Those ‘budgetary tures are as recognisable as they are took his own life. We had an intense ight line. cuts’ had a positive effect on the inventive. The compilation was put meeting with Ton Meijer, Sieb’s life rhythm. together with great care, with hand- partner, who truly wanted the film Why did they choose Beast Anima- Tesseur: In the studio a word cloud made settings and a cosy atmosphere to be made as a tribute. He remained tion? hung on the wall with all keywords as its best assets. involved as art-director, keeping close Tesseur: Our baseline is: ”handmade for this series. Like “create a world watch. The Rintje character is actually quality”. Our style might seem a bit in which you’d like to live”. That in- Steven De Beul: The project RINTJE based on their dog. “rock ‘n roll” but our final product is fluenced all our executive decisions: was first brought up about ten years De Beul: Rintje’s universe was totally solid and high quality. We reflect on the choice of materials (i.e. the grass

20 | Journal 04 | 2017 INTERVIEW

looks like something you would lie has to have spirit. It can’t just move Contact info: Lemming Film, Sara Ju- in), the lighting, the voice casting, the around achromatically. I still love all ričić, [email protected]. decoupage. For our animators we sti- the little details the animators and pulated every single detail for every cast added. (GH) single movement of every single cha- – watch the teaser here racter, in every situation: How does Rintje walk when he is sad or happy? To answer all questions we create a sort of “animation bible” with out- Animators about… some useful stuff for us every now and lines everybody has to stick to. je breaks an eggshell with a spoon… then.” and then devours it without any cut- Some elements in the film raise lery. When the cake falls off the table, * Designing props & stages questions. Like the choice to always the children slobber it right off the ”For props we scanned every object * Puppets & characters show the mother in an apron in the ground. in Siebs’ books; a bed, a table… Sieb “The puppets were developed by the kitchen, in a world without fathers. De Beul: Where are the teenagers? drew it differently every time. We also Dutch studio Pedri Animation; they’re Tesseur: We discussed this in depth Puppies walk on all fours, grown-up created a reference binder on design amazing on a technical level. Inside with Ton. It was part of Sieb’s work; dogs walk upright, is there any tran- in the fifties. It is never specified when there is a complex system of hinges only one adult male occurs in the enti- sitional phase? We don’t know. And the stories take place, but the retro that replaces the joints. To make the re series. The mother was at first enti- what about races? Some dogs have a feel from the teapots and the oven puppets more manageable we left out rely one-dimensional, way too sweet. brown coat, a white one, a black one… etc. seemed fitting. one joint in the paws of the dogs. Every We did tweak that a little, just like we This added a multicultural dimension After that we made a model of every character comes with his own challen- gave Henriette’s character a positive to the film without using words. touch. stage, conducted colour tests and de- ge, Rintje’s white fur has to be treated The dogs’ facial expressions are li- veloped props in their full scale, in pro- with utmost caution and Henriette’s Was it a difficult exercise to keep mited. portion to the stages and characters. furry coat was a nightmare. Everyone the ‘dogness’ in balance with all tho- Tesseur: Those were hard to do with Beast Animation’s trademark “hand- hated working with her… except one se human traits? mouths that only open and close. All made quality” can be found in the use animator who had this connection with Tesseur: All was clearly stipulated the acting is in the movement of the of materials; baskets are woven from the animal, like Henriette only wanted in our animation bible, as far as the eyebrows, the ears, the body langua- actual reed, flowerpots are little pots to listen to her. The easiest episode tempo of the tail-wagging according ge. We really got the most out of the we grinded slightly, it makes this uni- with Henriette was when there was a to their mood. The puppies might brows, so one look can really convey a verse look charming, cosy and cuddly. storm raging and her fur was allowed pee doggy-style, but they don’t bark - lot of emotion. The charity shop right next door comes to be tangled.” they yell, like kids do. Adults eat with De Beul: Body language is one of a knife and fork, the kids don’t: Rint- our cruxes: even the simplest object in handy. They know us there and keep

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dancers performing on a pulsating Ekaterina Bordacheva brings disco beat, an endless red carpet pa- rade, Lou – Mambo #5 – Vega enter- children’s cinema to Planet Russia taining the crowd, Miss Russia wea- ring her biggest smile and a dazzling “People will always try” amount of cocktail dress splits posing for selfies with local ‘stars’. Through this Bridge of Arts Festival, Ekaterina Bordacheva is trying hard to bring the This is how she sees it: this is a vast children’s film genre back to a nation country full of opportunities. But where it once flourished. ECFA delegation in Rostov: Marketa Pasmova, when it comes to children’s film, it’s Ekaterina Bordacheva, Michael Harbauer & Gert Hermans a bare wasteland, and none of the Typical oligopoly stakeholders in the film industry are willing to take the risk. But Ekaterina 30 years ago, children’s films were a dent projects, but small studio’s don’t Bordacheva has the ambition to make Russian trademark. Then what hap- stand a chance in Russia. There is a change by pulling the right strings, pened? Bordacheva: “In Soviet times, simply no room for independent chil- by bringing the right people together, children’s films were made, funded dren’s cinema and niche movies for by taking the lead in a new movement by substantial governmental invest- teenagers. Only few companies like that should bring children’s film back ments. But after 1989 things changed. Gorky Film Studio –already founded to Russia. That’s why she invited an Nowadays all the money handed out in Soviet times– every now and then ECFA delegation to convince stakehol- by the Ministry of Culture, goes to the invest in a children’s film production. ders that children’s film could be the biggest, most powerful producers. A And from time to time one interesting right investment. typical example of an oligopoly: a limi- title is put out on the international ted amount of companies controlling market, like the sweet teenager mo- Rostov-on-Don is a relatively green an entire market. In the national fun- vie 14+ (by Andrey Zaytsev) or GOOD city with a pleasant atmosphere, ding regulations a special budget is BOY (by Oxana Karas) that was scree- along the boards of the river. A city youngsters into active sporting, mo- foreseen for children’s cinema, but ned in this year’s Schlingel Festival.” under reconstruction, preparing the tivating the cultural industry to close major companies like Melnitsa, Karo coming of the World Championship the gap between the occidental and Production or Central Partnership Words on paper Football, that should put it more pro- oriental world, of which the borders took a claim on the best part of that minently on the map. Here, Bridge are set by the river Don. The attempt budget and use it to produce family “There are two main funding sources of Arts carries with pride its suffix at the opening night to make Rostov’s cinema blockbusters and animation. It in Russia: Fond Kino (Cinema Founda- ‘Motivational Film Festival’: motiva- citizens feel more involved in the would sound fair to split up most of tion of Russia) invests in projects for ting people to see films, motivating festival was distinctly Russian: sabre the money among several indepen- the commercial market while the Mi-

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tal investments), she’s Programme ECFA membership document. “There Director and Promotion Producer of is a whole bunch of events for child- the biggest industry forums on the ren in the Bridge of Arts Festival, but Russian Film Markets in Moscow and strangely enough hardly any include Sochi, and she campaigns for ECFA to cinema. Now the festival is willing to become a crucial networking platform invest, but only if we can also launch in Russia. an educational programme, based on an interactive exchange with children, “When it comes to film education, thus setting an example for other fes- nothing much has been centralised. tivals. After a few masterclasses this There is a bunch of small, isolated in- year and the round table with ECFA, itiatives out there, film clubs, school Bridge of Arts is considering a more film programmes,… But they seldom ambitious children’s programme next share experiences nor funding sour- year. Everything in this country is cen- ces. Luckily people will always try, tralized in Moscow and Sochi, but this Good Boy even if there is no structure or plat- initiative could spread all over Russia. nistry of Culture focuses on arthouse than 20%) of Russian titles, which form provided. That’s why we invited Maybe with Rostov as a national mee- cinema, young directors, etc. But mainly appears to be animated fea- an ECFA delegation to Rostov to re- ting point for children’s cinema, who that’s mainly ‘words on paper’. Fond tures and blockbusters. Thus, films vive the ambitions of Russian stake- knows…” Kino yearly has a budget of 4 milli- for children and teenagers (digging holders and to prove that everybody – ard Roubles to spend, a relatively deeper into their reality and revea- can benefit from communication and Gert Hermans small amount for such a big market. ling their passions, problems and so- exchange.” But what we really lack are structu- lutions) have to make room for com- Contact info: Ekaterina Bordacheva, res and frameworks. No wonder pro- mercial family comedies.” Have your ambition tickled by ECFA [email protected]. duction numbers have declined. Five years ago we still made approx. ten Small isolated initiatives In the Bridge of Arts Industry sessi- children’s films per year, then it beca- on, ECFA was represented by festival me five, and now there’s only two or Ekaterina Bordacheva fights her managers Marketa Pasmova (Zlin), three. Those few films we had for a fights simultaneously on more than Michael Harbauer (Schlingel) and dis- 5-7 audience last year were released one battlefield. Besides her work tributor Gert Hermans, addressing on 100 copies for more than 4000 in the Bridge of Arts Festival, she’s professionals with a message; that available screens in Russia.” spreading children’s film culture th- there’s a future in children’s film rough her festival in Khanty-Man- for those who are willing to invest. “There are governmental quota in siysk, she’s a member of the Fond Afterwards festival Executive Direc- Russia: cinemas are recommended to Kino expert board (advising the Fond tor Inina Kozljakova and Ekaterina Signing the contract with ECFA: Inina Kosljakova & screen a certain percentage (not less about priority targets for governmen- Bordacheva ceremoniously signed the Marketa Pasmova

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open heart for everyone. All actors Dagmar Seume about WENDY were fantastic, but Jule is a very di- scerning girl. She was well prepared “Values, freedom and endless possibilities” and she acts genuinely. Still we had to be cautious. At a certain moment, Wendy lays down next to Dixie in the The 12-year-old Wendy isn’t happy stable. And even if Dixie is a magni- about spending the entire summer ficent animal, it’s a huge, heavy horse with her parents at Rosenborg, her and one should always be careful. grandmother’s riding stables. After a awarded ‘Best Feature Film’ in the Ro- horseback riding accident, Wendy ne- You are a former gymnastics trainer. lan Bykov International Film Festival ver got in the saddle again. But in her How did you end up on a film set? for Children & Youth in Armenia. And holiday resort Dixie crosses her path, a Seume: I came to West Germany a now WENDY will go to Tokyo! Even if wounded horse that escaped from the have to be bright, multi-coloured and year before the unification, and star- I don’t have time to attend all these butcher and now seems to yearn for loud, but calm, warm and slow. ted a new life. My new job was making festivals, only the idea stimulates me her company. Their friendship might coffee at a film set. Through the pro- and I’m happy that so many children put more than just Wendy’s life in mo- The film is based on a successful co- duction management, I became script of different nationalities can enjoy tion. Since 2006 Dagmar Seume direc- mic-series in ‘Wendy’, a periodical girl and then finally director. Going this story about friendship. What ted documentaries and crime stories for horse-loving teenagers. Has this from assistant to director was the more can a director wish for? I make alongside films for a young audience. restricted or on the contrary libera- most difficult part, but it was worth films for the audience! With WENDY she wanted to make a ted your imagination? it. I love this job. – true ‘family film’ and more than just Seume: There was a first version of Uta Beth another teenage-girl-and-horse story. the script that didn’t follow the co- You were in the top regions of the mic too strictly. That’s the script we list of ‘most successful German Festival contact: Renate Zylla, Dagmar Seume: The story appealed to further expanded freely, especially films’ and your film already played [email protected] me because of the idea that the ani- emphasising the relation between at 16 international festivals. Still mal notices who is good for him and mankind, nature and animals. you will not be the one producing who isn’t. The friendship that grows the sequel WENDY 2 – FRIENDSHIP between Wendy and Dixie allured Sometimes it feels like leading ac- IN DANGER? me. I wanted to communicate values tress Jule Hermann and the horse Seume: I think one should stop at its and a feeling of freedom and endless (that has already played in OST- peak. But it’s amazing that this film possibilities. I wanted to make child- WIND 2) are very much alike. is travelling the world. This summer ren laugh, sympathise, think and make Seume: They are both very much in I was at the film festival in Giffoni, them curious. This film should stimu- their character. They both had an un- Italy, it was unbelievable how chil- late their imagination. WENDY didn’t believable pleasure in acting and an dren admired the film. We just were

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KIDS Regio 2018 Focus on immersive media tools

Digital technology developments are The two cornerstone business events reshaping our industry and influen- of KIDS Regio Berlinale Meeting Point cing the audience. After Augmented and The Opening Industry Day in col- Reality, Virtual Reality is another laboration with The Financing Forum technological hype within the busi- for Kids Content will help to analyse ness world that has a potential at- whether the creative media profes- traction also for young users. KIDS sionals are assessing the impact that Regio understood that all too well, virtual realities have on the audience. and made it the subject of their most important business events in 2018. The KIDS Regio Berlinale Meeting Point New Realities – VR Experiences Virtual Reality retails a new reality, a for children’s film content on Febru- multidimensional view into a virtual ary 17th 2018 will discuss: world that has the potential to enga- - What impact has virtual reality in ge the audience emotionally through film? their user experiences. Museums and - How does virtual reality work in film cinemas are embracing innovative and how does it affect the art of sto- forms of creating virtual worlds in rytelling and experiences? Partners: KIDS Regio (Viola Gabrielli) & The Financing Forum (Annette Brejner) order to attract visitors. Some pro- - How the young audience actually ducers have taken up this new techni- responds to virtual experiences and rum for Kids Content will continue Stay tuned about both initiatives on cal possibility and have created 360 how do they interact? with a deeper dive into inspirational www.kids-regio.org. degree developed story experiences - How would a writer need to tell a cases on VR and Immersion. A spe- – seen, for example, at Google Spot- story for children within virtual reali- cial VR lab will provide hands-on ex- light Stories. Children’s media profes- ties? periences for creative media profes- sionals are also exploring new possi- sionals and will try to map out how bilities to reach their audience with The Opening Industry Day on March future young audiences will look at innovative ideas of storytelling. 13th 2018 during The Financing Fo- immersive media tools.

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ECFA Journal ECFA Journal No. 4- 2017 Published by ECFA European Children’s Film Association Contributors to this issue: Rue du Pavillon 3, B-1030 Bruxelles Gert Hermans (Editor) Phone: +32 (0)2 242 54 09 Reinhold Schöffel Fax: +32 (0)2 242 74 27 Felix Vanginderhuysen E-mail: [email protected]; [email protected] Elise van Beurden Website: www.ecfaweb.org Gudrun Sommer Viola Gabrielli Please send press releases, advertisements, questions & information to: Julia Niessen Gert Hermans, [email protected] Margret Albers Lisa Rölleke ECFA’s goal is to support cinema for children and youth in its cultural, economical, Uta Beth aesthetic, social, political and educational aspects. Since 1988 ECFA brings to- Michelle Fonteyne gether a wide range of European film professionals and associations, producers, Audrey Van Aken directors, distributors. ECFA aims to set up a working structure in every European Per Eriksson country for films for children and young people, a structure adapted to Europe’s Nils-Thomas Andersson multicultural interests. Kathy Loizou Linda Sternö For more information and memberships (€ 200 per year): Andrea Frovin ECFA Malena Janson European Children’s Film Association Phone: +32 (0)2 242 54 09 Alice Goezu E-mail: [email protected] Ekaterina Bordacheva www.ecfaweb.org Renate Zylla

The European Children’s Film Distribution Network: Proofreading: Adam Graham, Michelle Fonteyne www.ecfaweb.org/european-childrens-film-network/network Design: Sam Geuens Databases on children’s film festivals, sales agents, distributors and ECFA website: Udo Lange & Sam Geuens TV-programmers interested in European films for children.

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