Halina Reijn’s Instinct: Locarno, Toronto, London and NFF opener Carice on Reijn, Thrones and Red Light Doreen Boonekamp on ten years at the Film Fund Eye on Tarkovsky Previews of Cinekid and Holland Film Meeting

Issue #36 September 2019 Locarno / Venice / TIFF / NFF issue Index COLOPHON 6-9 Instinctive director Halina Reijn’s 34-35 Trigger happy Joost van Hezik’s debut Instinct world-premiered at tragi-comic psycho-noir Boy Meets Gun See NL is published four times per Locarno, was selected for TIFF and world premieres at Busan year by Eye International and London, and now opens the Netherlands The Netherlands Film Fund and is distributed to international film Film Festival 36-37 Return of HFM Assessing the professionals. yearly interface between the Dutch 10-11 A piece of Carice Dutch icon production industry and the international Editors in chief: Marten Rabarts, Carice van Houten discusses Instinct, co-pro, sales and distribution sectors (Eye), Jonathan Mees (Netherlands Film Fund) Executive editor: Nick her friendship with Halina Reijn and their Cunningham Contributor: Geoffrey new production company Man Up 38-39 The kids are alright Previewing Macnab Concept & Design: Cinekid for Professionals 2019 Lava.nl Layout: def., Amsterdam 12-13 Girl talk Stefanie Kolk was back Printing: mediaLiaison Printed at Locarno with her latest short filmEyes 40-41 Kaboom time for toons on FSC paper © All rights reserved: on the Road, about three girls in a car The Netherlands has a new animation The Netherlands Film Fund and festival, based in Utrecht and Eye International 2019 14-15 Name of the father Isabel Amsterdam and kicking off November 9 Lamberti’s short documentary Father is CONTACT a touching account of a reunion between 42-43 Eye on a Russian icon The latest Sandra den Hamer CEO Eye th a man and his estranged son Eye exhibition focuses on a giant of 20 E [email protected] Century world cinema, Andrei Tarkovsky 16-17 Buried in the past Sergei Marten Rabarts Loznitsa explores the cult of personality 44 Back cover Rutger Hauer Head of Eye International E [email protected] in State Funeral, using archive of Stalin’s funeral Eye International PO BOX 74782 18-21 Closing the gap Five new 1070 BT Amsterdam projects with strong Dutch interest were The Netherlands T +31 20 758 2375 presented at the Venice Gap-Financing W www.eyefilm.nl Market in 2019 Doreen Boonekamp 22-25 A decade of change Outgoing CEO Netherlands Film Fund Film Fund chief Doreen Boonekamp E [email protected] reflects on her past ten years in charge Jonathan Mees Communications 26-27 Role reversal Human Nature, Netherlands Film Fund the latest animated short from Sverre E [email protected] Fredriksen world-premiered at TIFF 2019 Netherlands Film Fund Pijnackerstraat 5 28-29 Return of the king After the 1072 JS Amsterdam success of King of the Belgians The Netherlands Woodworth and Brosens are back with T +31 20 570 7676 W www.filmfund.nl the sequel The Barefoot Emperor ISSN: 2589-3521 30-31 Camera, lights, A’dam A significant part of TIFF selection The Goldfinch, based on the Donna Tartt novel, was shot in Amsterdam

32-33 So long, farewell… Marten Rabarts is leaving Eye International to head up the New Zealand International Film Festival Cover: Instinct Halina Reijn © Family Affair Films © Kris Dewitte See page 6 Human Nature Sverre Fredriksen page 26

2 3 State Funeral Sergei Loznitsa See page 16 The Barefoot Emperor Jessica Woodworth and Peter Brosens See page 28

4 5 Opening film: Netherlands Film Festival

Toronto International Instinctive director Instinct Halina Reijn Film Festival 2019

Halina Reijn Now, Reijn has made her feature The idea of a professional woman film directorial debut.Instinct choosing to having an affair with (which picked up the Variety Piazza a known rapist (“sex with a Grande Award at Locarno as well psychopath” as Reijn puts it) might as a Special Mention – Best First sound like something out of a Feature) is based on an idea that late night thriller, but Instinct is the director herself had. It is about based on true stories. Reijn had an experienced female prison the idea for the film after watching

© Amrita Panday psychologist (Carice van Houten) a documentary on love affairs who begins an affair with a patient/ conducted in prison. One of the Halina Reijn’s feature debut inmate (Marwan Kenzari) who is affairs involved a sexual offender Instinct world-premiered in locked up for crimes of sexual and his psychiatrist. “I was totally Locarno, screened in Toronto, is violence. A cosy chamber piece this intrigued by the question of how selected for London and will open certainly isn’t. you can fall for someone like that the 2019 Netherlands Film Festi­ when you know better than any val. Geoffrey Macnab reports. “I was annoyed by the fact that other person – because you’re trained I couldn’t make up everything to know – what the traps are and how It was always part of the plan. When myself,” Reijn recalls of herself as a manipulative these people are.” Halina Reijn was growing up, her kid who loved performing but also childhood ambition was to become wanted to call the shots. If some­ No, Reijn never considered playing an actress… and a director as well. body else was telling her what to do, the role of the psychologist herself. she adds, she would feel like a That would have been biting off far Reijn has had a glittering career on “circus animal.” too much given that she hadn’t stage and screen in the Netherlands, directed a feature before. Instead, winning numerous awards in the Yet as her career progressed, Reijn she cast her close friend Carice van process. She starred in films made could see more clearly how her Houten, whom she has known since by the great and the good of Dutch considerable talents were an the start of her professional acting filmmaking talent, such as Paul essential component within artistic career and with whom she runs the Verhoeven’s Black Book, Alex van collaborations. She worked often production company Man Up, Warmerdam’s Grimm and Tamar with directors like Van Hove dedicated to creating female stories van den Dop’s Blind. She has written (with whom she has collaborated for from a female perspective. books and screenplays. She is 20 years and to whom she gives known as the muse of the renowned complete control). If she believed in Intriguingly, Reijn suggests that Belgian theatre director, Ivo van them, she found it would be there is a lot of her own personality Hove, touring the world in plays that exhilarating to help them realise in the self-destructive prison he has staged. She starred opposite their visions. “I am very good at psychiatrist who embarks so Jude Law in his adaptation of totally surrendering to a director recklessly on the affair. “Almost all Luchino Visconti’s seamy, noirish and really becoming clay in his the parts I did with Ivo are themed “Directing is about Obsession (1943), itself inspired by hands. I don’t ask questions. I just… around this masochism, self- your soul but at the James M. Cain’s The Postman Always feel. I go into his heart or brain or destruction, sexuality and power,” same time it is about Rings Twice, and she gave grand­ whatever and I completely mould she says. managing a team” stand performances in Van Hove’s to his being.” Nonetheless, Reijn productions of Jean Cocteau’s La Voix always had the hankering to “create In directing Instinct, Reijn drew

Humaine and The Fountainhead. something myself.” closely on her experiences © Kris Dewitte Instinct Director: Halina Reijn Scriptwriters: Esther Gerritsen, Halina Reijn Production: Topkapi Films (NL) - Frans van Gestel, Arnold Heslenfeld, Laurette Schillings Co-production: Man Up (NL), BNN-VARA (NL) Sales: Films Boutique

6 7

Instinct Halina Reijn Instinctive director Continued from page 7

working with Van Hove. “He was you don’t feel good or you don’t look Instinct was greenlit. When it there all the time, on my shoulder as right, it will affect you – and you are became apparent this was going to “Halina is a creator. it were. He doesn’t know this but irreplaceable. Everybody is looking be her debut feature as director, the She is a storyteller” he was so close to me while I was at you.” Topkapi boss was determined to directing it. Carice has never provide her with the most secure worked with him but knows him so Reijn was meticulous in her pre­ environment in which to make the well through my connection with paration for Instinct. After all, she movie. “She was a team player. him. We both felt he was there was very conscious that her two leads, By the time we were in financing, constantly, like a ghost, watching us Van Houten and Kenzari, are both I had to find her the best possible and being with us. Also, the themes major movie stars. One had been in crew. She trusted me… it worked of this film – power and sexuality – Game of Thrones, the other in Disney’s out perfectly well. We had a great are so close to him.” Aladdin. They knew as much about team. She is into the creative filmmaking as she did and she process of building stories and Yes, Reijn acknowledges, directing wanted to “really be on their level, building characters. On top of is stressful – but it isn’t nearly as and then on a higher level to help and that, she is really smart. She learns demanding as acting. She likens the guide them through this process.” fast.” pressure of acting to the scrutiny her boyfriend Daniël de Ridder, a Early in the rehearsal period, “Halina didn’t feel to me at all like former professional footballer, following the example of Ivo van an actress who, in a very forced faced every time he played. She Hove, she gathered all the actors way, wanted to be a director,” faced a similar level of expectation. and crew members into a room Van Gestel continues. “She is a When her producer Frans van together and told them why she was creator. She is a storyteller. And she Gestel of Topkapi Films warned her making the film and why it mattered is extremely aware of development that she would find directing so much to her. This engendered a and of the whole process of exhausting, she told him it was sense of collective responsibility filmmaking.” “nothing like being on stage!” and involvement. Having just completed Instinct, “If you have a sports career or are a Producer Frans van Gestel of Reijn and Van Houten are already ballerina, there comes a time when Topkapi Films pays tribute to working on a TV series together, you have to stop because of age,” Reijn’s professionalism. He made through their Man Up she says. “There are, of course, deliberately made the film, production company. Red Light is actors who continue until they die supported by the Netherlands Film about prostitution and human and I am, of course, jealous of them, Fund, as 100% Dutch, not a trafficking. Van Houten plays a but for me acting is too heavy.” co-production. That meant it was prostitute trying to escape her easier and quicker to finance and pimp. Reijn is a wealthy, pampered “It is such a burden, so intense, so that there was less pressure on the opera singer, obsessed with having emotional… Directing is about your director. She consequently a baby. The third character is a soul but at the same time, it is about describes the 23 days of shooting in police detective played by Belgian managing a team. It is much more Bijlmer Bajes (a famous Amsterdam actress Maaike Neuville. The three technical. You can stand there with prison now closed down) as “the women’s lives overlap in many your big coat on and your boots, happiest days of my life.” intriguing ways. “Basically, it’s your hair looks horrible, you have about three women trapped in a pimples everywhere and you can Topkapi had been working with situation they want to get out of,”

© Kris Dewitte still be directing. As an actress, if Reijn on various projects before Reijn concludes. Instinct Director: Halina Reijn Scriptwriters: Esther Gerritsen, Halina Reijn Production: Topkapi Films (NL) - Frans van Gestel, Arnold Heslenfeld, Laurette Schillings Co-production: Man Up (NL), BNN-VARA (NL) Sales: Films Boutique

8 9 A piece of Carice

Carice van Houten still Thanks to Game of Thrones, Van somebody is a therapist, it means remembers vividly her first Houten is a full blown star. Not that yes, they’ve been tested and they meetings with fellow thesp- she always welcomes the attention are supposed to be quite sane but, turned-filmmaker Halina Reijn that comes with her celebrity. She as we all know, that is not always the who directs her in new film calls herself a “house mouse” and case. We are also telling a story Instinct, writes Geoffrey says she relishes her family (she has about a woman at a particular time Macnab. in her life… this is the moment when she is vulnerable to this They were both auditioning for “We couldn’t always see situation.” drama schools and “kept seeing the difference between each other along the way.” Reijn the psychiatrists and Van Houten continues to be fearless made a throwaway remark to the the criminal clients,” in her choice of roles, willing and future Game of Thrones star. ready to play characters with dark “She said that she liked my boots.” Van Houten recalls sides, both uncompromising and It was a compliment that marked fragile. Nonetheless, she points out the beginning of a beautiful that there is more to her repertoire friendship which has lasted ever a young child with Australian star than the troubled, tragic figures she since. Guy Pearce whom she met on the set has portrayed in films like Black of Martin Koolhoven’s Brimstone) Book, Brimstone, Instinct and her Both actresses felt like “outsiders” and privacy. “Yes, people do current series Red Light, made by at their drama schools because they recognise me but, at the same time, Man Up in which she and Reijn play were being hired professionally Holland is quite a sober country, two very different women who, while still studying. Van Houten even though we have paparazzi. It’s connected by the Red Light world, illustrates the strength of their not as bad as England.” develop an unexpected alliance. friendship (which would eventually “I love drama, I really do, but at the evolve into a sound business Is it a relief that Game of Thrones is same time I love light material. A lot partnership) by pointing to parallels over? “You can’t let things drag on of my work here in the Netherlands in “what we were going through, our forever,” she replies. “It was a huge has been quite comedic… people backgrounds and even the core of success, a phenomenon and I was [abroad] don’t associate that sort of our beings.” grateful I was part of it… but all lightness with me.” good things come to an end.” Since then, the pair have had So, Man Up as a company name? illustrious careers. Van Houten In Instinct, Van Houten plays a Isn’t that a touch ironic? “It’s a bit starred in Paul Verhoeven’s Black prison psychiatrist who has an affair of a joke in fact. We thought it was a Book (in which Reijn also played a with an inmate (Marwan Kenzari) fun name. Before the whole MeToo significant role) and achieved huge with a history of sexual violence movement, we started it. Man Up international fame (as well as an against women. While co-developing came from us feeling like circus Emmy nomination) as Melisandre the film with Reijn, Van Houten did bears in our profession. We were a the Red Priestess in HBO’s Game the research, visiting prisons and bit fed up being told what to do. of Thrones. Reijn is one of the observing psychiatrists and We felt that we were too insecure Netherlands’ best known stage inmates. “We couldn’t always see about ourselves and that we were actresses. They now have a pro­ the difference between the avoiding conflict in order to keep duction company together, Man Up, psychiatrists and the criminal the harmony. So we said, OK, we

through which Instinct was made. clients,” she recalls. “The fact that have to Man Up!” © Janey van Ierland

10 11 Leopards of Tomorrow Competition Eyes on the Road Stefanie Kolk Girl talk

in a small boat. You can only go pared to overlook each other’s forward and never go back,” Kolk short-term inadequacies. The “lame comments. “Once something has joke” may be used to drive the been said it cannot be taken back. narrative in another film but in Eyes Then people react to what is said on the Road it is swatted away and and that takes you down a new soon forgotten. There is fallout but branch of the river. And then some­ it is mild and manageable. body else reacts on that, and so

Stefanie Kolk © Angelique van Woerkom I had this idea of this whole “The car is a confined space. Maybe conversation between friends you say something stupid, but you Locarno favourite Stefanie Kolk eventually being like a river delta. are forgiven for it. In public we presented her latest short Eyes What is interesting is the inter­ would kill each other, but inside the on the Road, about three girls in change between moments. There is car there is a kind of safety that a car returning from a festival, at I find interesting,” underlines Kolk. Switzerland’s leading lakeside event. The director speaks with “I feel it is essential to “The car also provides unity. I feel Nick Cunningham. trust your audience that short films are stronger when to use their imagination there is some form of unity. For As three young Dutch women drive to expand the story feature films I prefer bigger stories back from a festival along an with different settings and spatial unspecified length of road, the beyond its confines” freedom. Either way I feel it is conversation ebbs and flows essential to trust your audience to between matters both serious and a serious and empathetic moment, use their imagination to expand the mundane. Like her previous film and then suddenly they are fighting story beyond its confines.” Harbour, also selected for Locarno over a bag of crisps.” and in which two workers must Even though all three roles are decide what to do when they see a She adds: “This interchange is played flawlessly, it is the character dead body in the North Sea, much exemplary for me, how people are of Alex, who sits in the back, who of the film’s fascination lies in how pulled between superficiality and is the most captivating. Played by the characters on screen are forced depth, between empathy and newcomer Frida Bernhard, she to react to profound events off- narcissism. I find this oddly moving. continually radiates both intelligence screen. But chat along a six-hour car Making a lame joke about some­ and an innate sense of scepticism. journey will invariably drift to cover thing dark, or after an empathetic (Resembling a young Rifka a panoply of verbal banalities, moment, is not something you Lodeizen, she was drafted in to expressed with varying degrees of often see in films, but this inter­ portray Rifka’s younger self in the articulacy, in the process allowing change is really part of what makes Dutch TV series Judas.) director Stefanie Kolk to explore the us human… Maybe empathy can human condition, warts and all. only exist because we’re all so “I like characters who have a little The film is supported through the superficial.” bit of sarcasm in the way they relate Film Fund shorts scheme. to things, who look at things with The women in the car continually a sense of detached amusement. “When I was writing the film the bicker and disagree, but it is I like these characters because they image crept into my mind of a obvious that they are close friends are also a little lonely. Their lone­ conversation as going down a river who love each other and are pre­ liness moves me,” ends Kolk. Eyes on the Road Director & script: Stefanie Kolk Production: New Amsterdam Film Company - Miel van Welzen, Sander Verdonk, Julius Ponten Sales: Varicoloured

12 13 Leopards of Tomorrow Competition Father (Vader) Isabel Lamberti Name of the father

Isabel Lamberti about feelings and emotions. “Like his son, he was brought up in The father and son depicted in this a foster home, in Germany,” she film don’t talk with each other continues. “Being black in post-War about their past, or dwell on their Germany, and later on in Amster­ feelings. They have their own ways dam, was difficult and he had to to come closer to one another.” learn how to fight and survive at a very young age. His ability to be Lamberti met Jacinto on a river vulnerable and self-reflective in cruise through Amsterdam. He was combination with his impressive working the boats and was very tough appearance made me want to Isabel Lamberti’s short doc friendly and approachable. When learn more about him. When he Father, is a touching account of she heard about his past and the told me he had a son in foster care, a reunion between a man and existence of a son in care she sensed one he hadn’t been in touch with for his estranged son. several years, I knew I had to make a film about him.” Jacinto has the bald head and …the bald head and impressive musculature of a circus impressive musculature The action on screen, as Jacinto strongman. His work is physical of a circus strongman and Shakur share a pizza, play – he spray-paints enormous pieces numerous games of chess or go of machinery which are suspended shopping for sports clothing, is metres above his head – and he the reunion would be excellent punctuated by split-screen telephone returns from work every day to be material for a short documentary. conversations between Jacinto and massaged and comforted by his While Jacinto was keen to co-operate Alia. What’s more, each shot of the sensitive and caring girlfriend, Alia. from the start, as was Alia, the father/son sojourn to the coast is He has obviously had a difficult past people that needed convincing beautifully crafted, and delicious that he would prefer to forget, one were the social services. “He was a colour grading makes for a lustrous which is not specifically described minor and under child protection, and cinematic finish. by the filmmaker. But he also has a so we had to work a lot to persuade 16-year old son (Shakur) whom he them that this was not going to be “When I make a documentary I like has not seen in years and with ‘reportage, ugly, sensational’. to have a fiction film approach, whom he decides to go away for a That was never the film this was when making a fiction film I like to few days by the sea-side. While going to be.” have a documentary approach,” away, all they do is pretty much she says. “My fictional approach nothing. Both are happy simply to Lamberti stresses how she was consists of a focus on form and hang out and to allow time together fascinated by the sense of “duality” choosing very carefully almost every to heal whatever caused their initial evident within the father. “On the shot. I’m often inspired by films estrangement. The film was realized one hand, when you first see him, I’ve seen. In the case of Father it was through the Teledoc Campus he is an impressive guy and maybe Stranger than Paradise (1984, Jim scheme with Film Fund support. even intimidating. His appearence Jarmusch) for the strict camera suggests somebody you don’t want positions and ‘blocky’ chapter by “I really like that the film is about a to mess with. On the other hand, he chapter editing, and Buffalo 66 father and a son. Maybe because, was very open and vulnerable to me. (1998, Vincent Gallo) for its colour and I’m generalizing now, men are It became clear really fast that he and playful style.” thought to be more reluctant to talk carries a lot of pain with him.” Nick Cunningham Father (Vader) Director & script: Isabel Lamberti Production: IJswater Films (NL) Co-production: KRO-NCRV (NL) Sales: IJswater Films

14 15 Venice Out of Competition, TIFF Wavelengths

Toronto International Buried in the past State Funeral Sergei Loznitsa Venice Film Festival Film Festival 2019

proposed to my grandmother and Krasnogorsk Archive (which was offered her support and protection. attending IDFA to present the My mother grew up, thinking that reconstruction of Dziga Vertov’s he was her real father, and I have first film The Anniversary of the the fondest memories of this Revolution) she told him that they wonderful man, whom I also had 300 reels of footage of Stalin’s considered to be my real grand- funeral. Loznitsa’s ear pricked up. dad,” Loznitsa recalls. He was fascinated and asked his Sergei Loznitsa assistant in Moscow to focus only The true story was only revealed by on these reels. “We ended up with Sergei Loznitsa’s latest feature the grandmother days before her fantastic, very well preserved documentary State Funeral death. “The fear was so strong that (because nobody ever used it) explores the cult of personality until her dying day my grandmother material, mostly in colour, which is that surrounded Joseph Stalin was afraid to mention the name of very rare for the Soviet documentary by concentrating on the death of her first, dearly beloved husband, of the 50s.” the great dictator in 1953, writes and the father of her eldest Geoffrey Macnab. daughter.” What makes the story all State Funeral is a companion the more chilling is Loznitsa’s piece to The Trial. The director The Ukrainian filmmaker has observation that this was just describes the films as the first two drawn on footage, much of it never “a rather typical saga of an ordinary parts of what may eventually turn seen before, of Stalin’s funeral in Soviet family.” It wasn’t much into a trilogy. His aim, he says, is 1953. He shows extraordinary different from what so many others “to conduct a fundamental study of scenes of mass grief in the Soviet had in Russia also experienced the Soviet regime – and these two Union prompted by the leader’s under Stalin. films touch upon the foundations passing – scenes which seem all the of Stalinism.” more incongruous given the The footage used in State Funeral devastation Stalin wrought on his comes from the Russian State Film To Loznitsa’s dismay, the cult of own people. and Photo Archive in Krasnogorsk, Stalin lives on. As he points out, near Moscow. Loznitsa had already “the contemporary Russian regime This is material with a very personal successfully co-operated with the sees Stalinism as its ideal model, resonance for Loznitsa. “My family archive while making last year’s so it’s hardly surprising that the suffered during Stalin’s rule. The Trial, which likewise screened authorities encourage this revival. My mother’s family, a large Cossack in Venice. His initial idea was to They’ve started putting up monu­ family from the south of Russia, present the history of Soviet state ments to Stalin and they praise him was almost entirely wiped out,” he funerals – from Lenin to Stalin, as an “efficient manager” and the recalls of how Stalin blighted his including the footage of the funerals winner of the Second World War. own life. of the Bolshevik elite – Kirov, Nobody seems to mention that Dzerzhinsky etc, some of whom before he won it, he actually started “We ended up with He tells an extraordinary story about were murdered by Stalin, as he saw it – together with Hitler.” fantastic, very well his mother and her father. As he them as potential threat to his rule. preserved material, discovered, the father (his grand­ Statistically, Loznitsa continues, mostly in colour” father) had been arrested and killed However, when Loznitsa was “Stalin killed more people than when his grandmother was discussing this idea during IDFA Hitler. And he certainly killed many pregnant. “His best friend [then] 2018 with the deputy head of the more Russians than Hitler did.” State Funeral Director & script: Sergei Loznitsa Production: ATOMS & VOID (NL) Co-production: Studio Uljana Kim (LT)

16 17 Dutch projects at Closing the gap Venice Gap-Financing Market 2019 The Hunter’s Son Director & script: Ricky Rijneke Production: Rotterdam Films (NL) Co-production: Vintage Pictures (IS), Five new projects with strong Dutch interest were presented at the Balapolis (PL), De Wereldvrede (BE) Venice Gap-Financing Market in 2019. Nick Cunningham reports.

The Miracle of Almerìa Director: Moon Blaisse Scriptwriters: Moon Blaisse and Thomas Bellinck Production: Cassette for Timescapes (BE) Co-production: Baldr Film (NL)

Moon Blaisse Close to full finance prior to Venice, in the editing room, adding a very with €80,000 left to find of the experienced editing consultant €840,000 budget, the film is a from France, Germany or Italy. Belgian-Dutch co-production We are also looking for distributors, between Cassette for Timescapes especially in Spain and Italy (Belgium) and Baldr Film (NL). where “illegalised” people work in slave-like conditions on

Dutch elements within the the vegetable fields, but also in Ricky Rijneke guard and his 14-year old son to “I like to use cinematographic production include the work of the rest of Europe as we all face a crossroads in their lives. elements to make immersive composer Jens Bouttery and the consume the vegetables produced cinema; cinema as an experience,” Brussels-based Dutch filmmaker sound design of Evelien van der in Almería.” “I think the film is really about the she adds. Moon Blaisse’s documentary The Molen and Michel Schöpping. human psyche, like my previous Miracle of Almería looks set to lift Dutch DOP Emo Weemhoff has also “I am determined to use film to film Silent Ones (2013, IFFR Tiger Produced by Rotterdam Films, the lid on the tomato production been drafted in, together with show things that otherwise stay Award nominee), and that is Rijneke is in pre-production industry operating in the southern historian Leonor Alvarez Francès, invisible,” explains director Blaisse. something that really fascinates right now ahead of a February/ Spanish province of the title, an who teaches at the University of “A lot of the problems that we face me, the inner world of characters,” March 2020 shoot and is heavily area that is suffering the dire Leiden. today are very hard to describe comments Rijneke. “With this film involved in casting and location ecological consequences of plastics in an anecdote, and film can be Ricky Rijneke’s thriller/drama I want to explore the [notion] of finding. “I am looking for visually and pesticide (over)use. The logline Producer Emmy Oost points out something that gives a deeper The Hunter’s Son is a Dutch/ being a stranger and what it is like strong landscapes, which is reads how the legal and ‘illegalised’ that she is also in search of an insight into these problems. Belgium/Poland/Iceland co-pro­ to become estranged. The setting of why Iceland is prominent, which inhabitants of Almería, the largest international co-producer that These can also be migration, duction (plus Eurimages) budgeted the film is not a concrete place but also reflect the inner world of vegetable patch of Europe, collabor­ can help with post-production oppression, climate change, at €2.6m with €2.4m already in somewhere along the European the characters in the film. Raw ate to reveal the system of violence funding. “And we would love to [problems] which are all very much place. In the film, a terrible and border, but it is also set within a locations, but at the same time behind the tomatoes we eat. work with an international team intertwined.” unexpected act forces a border state of mind.” poetic.”

18 19 Closing the gap Continued from page 9

“Perhaps he/she is just you don’t, the Orator is continuing an AI gone rampant” with his oration and the characters in that world are doing their thing. A person in China will be hearing exactly what you are hearing if you log in at the same time.”

He further points out how he and The Great Orator Director: Daniel Ernst Submarine Channel are working Production: Submarine Channel with Leiden University in trying to incorporate AI and texted speech

Daniel Ernst how, within this story world, elements, with the result that the “a hysterical dictator madly spews generated oration will be based on his uninterrupted flow of current affairs every time you log in. absurdities to crowds of people that “It is a perpetual world that goes on have been vaporized from their even if you are not there,” he physical existence into the staged underlines. screen presence of enthusiastic followers.” And who is the orator? “It is like a Wizard of Oz story where you don’t Ernst explains a little more. know who the wizard is but you The Last Ride of the Wolves Director: Alberto de Michele Submarine Channel brought the “The Great Orator is not a linear know there is this big presence, but Scriptwriters: Alberto de Michele and Daniel Ernst AI-driven VR project story, nor is it a story with a perhaps he or she doesn’t even exist Simone de Rita Production: Halal (NL) The Great Orator to Venice to raise beginning or an end. It is a place and perhaps he/she is just an AI Co-production: Jolefilm (IT) both its finance and its inter­ that exists somewhere in the virtual gone rampant. It’s a nice metaphor national profile. The concept is ether, and you can go there for AI and VR in general… you have The Italian-spoken film is produced does a lot, they go out and steal,” intriguing, with the log-line reading whenever you please. But even if to believe to make them real.” by Amsterdam-based Halal with the explains director De Michele. support of the Film Fund. In Venice producer Gijs Kerbosch was looking “My father will play my father, I will to raise the remaining €270,000 of play myself and the Wolves are a €700,000 budget. His other reason going to be the real Wolves. We will Jasmila Zbanic’s Quo Vadis Aida Comments director Zbanic: for attendance was to secure Italian get access to this world which is is a Bosnia and Herzegovina “Our film is an intense and and international distribution impossible to penetrate but which production that currently boasts emotional one done from a Alberto De Michele partners. is bound to disappear. At the same seven co-producers, the Dutch feminist perspective. Its emotional time this film will give me a chance element being leading production intensity is a challenge: to give an The Last Ride of the Wolves is an “The film is set in Veneto, the to give an account of where I am house N279 Entertainment. Set in account of a human tragedy, audacious hybrid feature docu­ region where the Wolves have from and this crazy upbringing that Srebrenica during the Bosnian War, truthfully but without falling into ment­ary in which artist/filmmaker operated for three generations. my father gave me and which had the €4.3m production (€3.95m in a trap of sentimentality. Our aim Alberto De Michele follows his They are the last of the craftsman a huge impact on my development place) tells of teacher Aida who, is to draw those who refuse to criminal father Pasquale and the thieves that exist in that part of as a person and also as an artist. when forced to leave the UN safe deal with ‘difficult’ topics into the eponymous Wolves on a final heist Italy. The fun fair attractions is At the end it is also a personal zone, must selflessly plead with the story which is European, but designed to secure their retirement their cover and when the fog comes tribute to the favourite antihero of Serbian army to guarantee the lives was seen as the story of others. pensions. down, and during these months it my life, my father.” of her children. Until now.” Quo Vadis Aida (working title) Director & script: Jasmila Žbanic´ Production: Deblokada (BA) Dutch co-producer: N279 Entertainment

20 21 Outgoing Film Fund CEO A decade of change Doreen Boonekamp

Doreen Boonekamp will be of, the audiovisual landscape in the Warmerdam’s Borgman competing leaving the Netherlands Film future, a change of both mindset for the Palme d’Or in Cannes Fund in October 2019 after and modus operandi was necessary. 2013 (the first Dutch film to do so ten years at the helm. She in 38 years) and the audacious reflects on a decade of profound “We needed to find new solutions ‘Dutch western’ Brimstone change across the Dutch and immediately, so we shifted focus to (Martin Koolhoven) selected for international industry with Nick greater international collaboration competition in Venice 2016, the Cunningham. and to seek new partners both in the first Dutch film to do so in 10 years. international industry, but also in 2019 itself is proving a bumper It wasn’t the easiest of starts. the Netherlands, to support new year with significant firsts from and established talents,” distinctive female voices. Sacha Just as Doreen Boonekamp was Boonekamp explains. “We forged Polak’s Dirty God was selected for taking over from Toine Berbers as new partnerships with labs such as Sundance Competition while head of the Film Fund in Autumn Torino and ACE, we devised several Halina Reijn’s Instinct won the 2009 (she had previously headed co-production treaties, such as with Variety Piazza Grande award in up the Netherlands Film Festival South Africa and China, the French- Locarno. In addition Ena for eight years), the world was speaking Belgian Community and Sendijarevic’s Take me Somewhere experiencing financial meltdown. Germany, and we designed new Nice won Best Film in Sarajevo. The crisis had a huge impact on schemes for talent development the audiovisual industries as it within the Film Fund both with Boonekamp also points out how triggered a steep decline both in local and international partners. selective funding in local films was core cultural financing and also By doing so, new possibilities were counterpointed over this period within the media budgets of the created for both established and with minority investment in a slew public broadcasters. Prestigious emerging professionals not only of successful international titles Dutch talent institutes like the to hone and improve their talent on that included The Lobster (Yorgos Binger and Niaf were closed down, the job but also through expert Lanthimos, Greece), Zama as was the Rotterdam Media Fund training.” (Lucrecia Martel, Argentina) and and later on the national Media Girl (Lukas Dhont, Belgium). “The Production Fund. The Netherlands Film Fund Encouraging results were not long “In order to increase skills levels Incentive and the new itself faced both a significant coming. Yes, Dutch shorts, among Dutch creatives and Film Commission had decrease in budget and an extension documentaries and youth films business professionals, as well as a very transformative of its remit. were already established brands stimulate more releases across and continued to thrive inter­ borders, we funded more Dutch effect on the Dutch At the same time the global film nationally, with A Single Life majority productions while gaining industry” industry saw the emergence of the nominated for an Academy Award, a greater position as a minority enormous online services, which and ongoing successes such as the partner,” Boonekamp underlines. began to dominate the way content documentaries Miss Kiet’s Children, was made, distributed and viewed, Strike a Pose and A Family Affair and 2014 was a true watershed year for in the process effecting huge shifts the fiction features Prince, Romy’s the Dutch industry as two major in the industry infrastructure. Salon, Fight Girl, Cobain and My initiatives were launched under Extraordinary Summer with Tess. the umbrella of the Film Fund. It was obvious therefore that if there The Netherlands Film Production was to be ongoing meaningful But then Dutch arthouse came into Incentive (in 2017 widened to

investment within, and stimulation its own with the likes of Alex van embrace high-end TV productions) © Bram Belloni

22 23 A decade of change Doreen Boonekamp Continued from page 23

Dirty God Sacha Polak A Single Life Job, Joris & Marieke

additional policy steps were taken animators, designers, DOPs, by the Fund in 2017 to allocate editors, composers, cast and crew. substantially more budget for I am very grateful for their development (the figure in 2019 commitment, the collaboration was three times that of 2013) and with all those distributing, selling also to increase the amount of grant and exploiting films and the per project to counter continuing continuous support of the festivals, decreases in contributions from markets, talent labs, archives, our private sources. colleagues in the EFADs, Cine Regio and BPX, and not least the whole Boonekamp is delighted that the team of the Netherlands Film government recently set aside Fund.” funding to build a network of film demands a new framework at a education hubs, and to further national level which includes a “The work of a fund is never done,” invest in talent development, sophisticated and integrated film Boonekamp concludes. “I knew this innovation and inter­national­ and media policy as well as the when I started off and I am very isation. “To invest in both future enforcement of circularity within happy that Bero Beyer is taking over audiences and in talents is highly the value chain through levies and important – and this all starts with investment obligations (including film education which was sustainable regulation on piracy “You have to invest offered cash rebates of up to 35% stimulation of, and investment in, Undone made with Amazon, something very much lacking in the and the fair remuneration of in future audiences production spend in the Nether­ the Dutch animation industry. produced by Submarine and Netherlands. The film community authors).” and talents – and this lands. The Netherlands Film Ten years ago, Dutch cartoons were directed by Hisko Hulsing, using should also aim for a Creative all starts with film Commission meanwhile, under something of an afterthought, strong Dutch talent. The Incentive Talent & Skills Lab that would play “With the upcoming Audiovisual the stewardship of Bas van der Ree, despite an admirable tradition in also enabled the industry to an important role in guaranteeing Media Service Directive in mind education” was created to show the world the short form (three Academy construct additional animation top quality output in the future, (whereby on demand services how beneficial shooting in the Awards for Best Animated short studios because there are a lot more which could be developed through provide at least 30% of European Netherlands could be. since 1977). But feature production international productions on the close collaboration between the content in their catalogues) there this position, and confident that seemed dead and buried. That is no way. This specific part of the existing Fund-supported festival is a challenge to make sure this tool together with the team he will guide “Both these instruments had a very more the case, as evidenced by the industry sees a lot of international talent labs and training is implemented in Dutch law in the Dutch film industry through transformative effect on the Dutch boom in feature production over the talents collaborating on series and programmes such as ACE, as well such a way that it helps to boost the the coming years with all the new industry and boosted international past decade and Cartoon Movie’s features. It is great that the Dutch, as with leading associations and quality of Dutch content and its and as yet unknown challenges that collaboration, raised ambition celebration of the Dutch animation in such a short period of time, trade bodies.” prominence within this 30%,” she will have to be faced. One of the levels within the sector and enabled industry in Bordeaux in March at have quickly become part of the adds. characteristics of the film industry Dutch professionals to team up which nine feature projects in international animation Looking to the future, Boonekamp is that it is always changing. It is not only with smaller productions development were presented from community.” calls for the development of Looking back, Boonekamp pays over a hundred years old but it is but also with bigger, major pro­ the likes of Submarine, BosBros and “a new eco system” to enable the tribute to the film community both still a young art form and in a state ductions coming to shoot in the Lemming Film. While the Netherlands continues independent screen industries in home and abroad, “It has been a of flux. This is what funds and Netherlands such as Dunkirk (2017) to strengthen its international the Netherlands and across borders tremendously fascinating and governments must always keep and The Goldfinch which world- “The Incentive gave this part of the position there is the perennial to grow, to shine and to connect to inspiring period of time. For sure foremost in mind, to remain clearly premiered at Toronto 2019. industry an additional boost, even problem of retaining local cinema audiences across all platforms. “It is nothing could have been achieved, focussed on domestic and inter­ more so when we opened up the audiences for locally produced of upmost importance that cinema nor will we be in future, without the national concerns, but at the same Boonekamp also highlights the scheme for high-end series,” claims content, in the face of online remains prioritised as an art form. energy, dreams and creative vision time to offer both continuity and enormous strides taken in the Boonekamp. “One example is domination. Which is why The fast changing landscape of our writers, directors, producers, long term sustainable policies.”

24 25 Short Cuts Competition

Toronto International Role reversal Human Nature Sverre Fredriksen Film Festival 2019

It was amazing. Since then, I couldn’t couldn’t accomplish on his own. stop. I just kept doing it.” It took six months to complete and the puppets were all hand sewn. When he couldn’t get into his The filmmaker recruited Britt Snel college of choice in Norway, to collaborate on the screenplay Fredriksen headed down under to as well as Zaou Vaughan who had study animation at the University of had assisted him in the past on South Australia instead. While his commercial projects. Sverre Fredriksen fellow students were experimenting with the brand new digital cameras, In spite of its scenes of humans at Imagine a world in which Fredriksen was tinkering with the their most bestial, the allegory humans are the pampered pets, remnants of old film stock and is understated. “I didn’t want to mollycoddled and being taken to Bolex cameras in the school’s point any fingers. I just wanted the vet by their animal owners. possession as a result of its deal with (audiences) to look in the mirror This is the premise behind Kodak. “Of course, for animation, Human Nature, the latest that is perfect. I was just happy to be animated short from Sverre able to play with analogue film.” “I wanted audiences Fredriksen and co-creator Zaou to look in the mirror Vaughan, which world-premiered After he finished studying, and reverse roles” at TIFF 2019. Fredriksen stopped off in the Netherlands on his way back home Human Nature is a funny, lyrical to Norway. He didn’t intend to stay and reverse roles. People can take and sometimes grotesque affair in but when he was given the whatever they want from it.” Instead which we see babies lapping up opportunity to work at Submarine, of a person having an apartment food from beneath the bin in the the innovative production company full of cats, the film shows cats with kitchen, naked old men licking run by Bruno Felix and Femke apartments full of humans. their genitals in the living room and Wolting, as an animator on a series, hand-made puppets of women with he changed his mind. Ten years on, The director acknowledges British huge, drooping breasts. he is still in Amsterdam. “I have a animator Nick Park (Wallace and permanent visa so I can stay and Gromit) as one of his inspirations. Director Fredriksen, the moving right now, I have an apartment and The film is intended to be humorous force behind the project, is one of I have a Dutch girlfriend and we just and whimsical. It is made with a the most adventurous young talents got a child together,” he explains “cute and fluffy” technique even if in Dutch animation, even if he how he has put roots down in the some of the resulting content is happens to be Norwegian – he grew Netherlands. disturbing. “The puppets are all up in the countryside an hour or so made of wool and soft fabric… outside Oslo. “I just had nature Human Nature was Fredriksen’s but then the images are quite around me and so I was free to idea. The film, supported through grotesque. That is very appealing, explore,” he remembers. He further Film Fund’s annual Ultrakort to play with this contradiction recalls how, as an 8-year-old, “I was Scheme for animated shorts visually,” he reflects on a film able to animate my toys and that programmed theatrically before which will enrapture viewers one just blew my mind. My dinosaurs blockbusters, may be only two moment and make them squirm could eat the lego… Bottles of minutes long but this was still a very the next.

ketchup could be squirting blood. ambitious endeavour that he Geoffrey Macnab © Family Affair Films Human Nature Director: Sverre Fredriksen Scriptwriter: Britt Snel Production: Family Affair Films - Floor Onrust, Noortje Wilschut, Chris Stenger Sales: SND Films

26 27 Contemporary World Cinema The Barefoot Emperor

Toronto International Film Festival 2019 Jessica Woodworth and Peter Brosens Return of the king

sniper in chaotic circumstances fantastic way,” Woodworth recalls. similar to the assassination of She and Brosens began to think it Archduke Franz Ferdinand in might be worth making a second Sarajevo in 1914 – the event that film about the Belgian king – one “Everything was sparked The First World War. In the set in a sanatorium on Tito’s island completely strange but end, the scene, the most complex where the fragile monarch is recover­ in a fantastic way” moment in the movie, didn’t make ing from a gunshot to the ear. it into the final edit. Nevertheless, it Peter Brosens & Jessica Woodworth helped inspire The Barefoot Empire When they told the lead actors back (a Flemish/Dutch co-pro supported in 2016 of their plans to resurrect Jessica Woodworth and Peter by the Netherlands Film Fund). the king, the actors reacted with Brosens had no intention of dismay, telling them it was a following up on their 2016 feature A few days before the filmmakers terrible idea. Nonetheless, King of King of the Belgians. But they headed off to Venice for the world the Belgians received such an did, and now The Barefoot premiere of King of the Belgians, the enthusiastic response in Venice Emperor is selected for TIFF 2019. directors went for an impromptu and on the festival circuit that they holiday to Istria, in Croatia. They soon changed their minds. Marvel and Disney may turn out were staying in the industrial port sequels by the barrowload, but in town of Rijeka where they noticed The new film is about more than the world of “delicate art house” a big, rusty ship. They asked the just the king. It touches on the rise cinema they are rare. “A sequel – it is waiter if they were allowed to go of nationalism (reflecting the recent dangerous territory because the aboard this vessel. No, they were gains of the far right Vlaams Belang singularity of each film has to be told. This was the old Yugoslavian in the Belgian elections) and the honoured and sequels tend to try dictator Tito’s ship and access was social and political fissures in to capitalise on something and to forbidden. However, the waiter modern day Europe. If King of the profit. That is very far from our suggested they visit Tito’s island Belgians was about a road trip, palette of intentions… It didn’t instead. The idea immediately its successor (says Woodworth) is occur to us” says Woodworth. appealed. “We are both obsessed “a trippy thing without a road.” with dictators of all types,” Back in 2016 King of the Belgians, Woodworth says. “They write King of the Belgians received huge a satirical comedy/road movie, history, and we are surrounded by enthusiasm on the festival circuit. imagined the Belgian king so many pompous fools right now.” Bizarrely, no Belgian distributor travelling abroad when Wallonia would release it. Brosens and (the French part of Belgium) declares The duo set off to the Brijuni Woodworth therefore did the job independence. With a dogged islands. This was where President themselves. Thankfully, local British journalist in tow, the fictional Tito spent his summers and it was distributors seem far keener on Nicolas III (Peter Van den Begin) full of eerie, often bizarre reminders The Barefoot Emperor, which will be tries to make his way home – but it of when he ruled the Balkans, for released by Lumiere in February 2020. proves a very fraught journey. example an elephant that was The next 6 months will be spent pre­ presented to Tito by Indian Prime paring the local launch. “We really Woodworth and Brosens had shot a Minister Indira Gandhi in the early want to bring it outside the cinephile scene in Bulgaria during the making 1970s – and is still just about alive at circuit and into institutions and of King of the Belgians in which the the venerable age of 53. “Everything schools. We want to nourish king was shot down by a Belgian was completely strange but in a dialogue. That’s the whole point!” The Barefoot Emperor Director: Jessica Woodworth & Peter Brosens Production: Bo Films (BE) Co-production: Topkapi Films (NL) - Frans van Gestel, Arnold Heslenfeld, Laurette Schillings. Wajnbrosse (BE), Propeler Film (HR), Art Fest (BU) Sales: Be for Films

28 29 Shooting The Goldfinch

Toronto International Camera, lights, A’dam in Amsterdam Film Festival 2019

Hot on the heels of Christopher trailers and trucks. However, Godschalk provided The Goldfinch Nolan’s Dunkirk (2017), the new once they became used to working with local technicians, among $40 million Warner Bros/Amazon on a smaller scale, they rose to the them art department staff and set Studios drama The Goldfinch, challenge. decorators to work under revered starring Ansel Elgort and Nicole art director K.K. Barrett (Marie Kidman, is the second major Production Incentive support on the Antoinette, Her). One difference he Hollywood film to shoot in the film amounted to €435,013. What’s noticed was that the Americans Netherlands in recent years. more, both Winkler and Swart are tended to be very specialised in their jobs whereas the Dutch would Whereas Dunkirk used the huge generally expect to take on many fresh water lake the IJsselmeer, Winkler and Swart more tasks. Nonetheless, the Dutch The Goldfinch, by contrast, was shot are full of praise for and their American counterparts in the heart of Amsterdam, where the ‘pragmatism’ and worked well together. the production spent a week. ‘flexibility’ of Film Furthermore, Godschalk made “Amsterdam is an incredibly Commissioner sure to consult City Hall and to cinematic city,” Mari Jo Winkler, Bas van der Ree make sure that the production executive producer of the film, says didn’t antagonise the residents of of the decision to come to Holland. Amsterdam, who sometimes “We very quickly got a grasp of the full of praise for the Netherlands become frustrated at the huge rebate system. Bas van der Ree Film Commission and for the amount of tourists clogging up the (Netherlands Film Commissioner) “pragmatism” and “flexibility” of city. When they were shooting a helped walk us through that and our the indefatigable commissioner scene with fake snow early in the local line producer Erwin Godschalk Van der Ree. morning on the Reguliersgracht, is a seasoned professional.” one of Amster­dam’s most beautiful “Bas is always doing a terrific job canals, some locals made mild “They were happy with the work bringing people into Holland and grumbles – but an advantage of a we did on Dunkirk and so they (then) once they are there, giving big production like The Goldfinch is approach­ed us again,” adds them extra attention,” Swart agrees. that the filmmakers could afford to Maarten Swart, MD Kaap Holland address their complaints directly “Amsterdam is Film, the Dutch co-producer on The Goldfinch is shot by legendary rather than let a dispute develop. an incredibly both projects, on Warner Bros cinematographer, Roger Deakins, cinematic city” decision to return to Holland. an Oscar winner for Blade Runner After Dunkirk and The Goldfinch, it 2049 and whose other credits is expected that the Americans will Picturesque it may be but Amster­ include No Country for Old Men soon be back again. “What I saw dam has narrow streets, listed and Barton Fink. As his Dutch is that they really enjoyed working buildings and lots of canals, and its collaborators quickly discovered, here. They now see Holland and lay-out could have presented a Deakins is an arch-perfectionist. Amsterdam as an opportunity to daunting challenge to the film­ At his request, all the low wattage shoot… I think they experienced makers. “America is built for cars bulbs on a bridge over one of the that it will work out here. If there and when Amsterdam was built canals where The Goldfinch was is some­thing that can be done in there were no cars,” Godschalk shooting were replaced so that the Holland, they will absolutely sums up the situation in a nutshell. light would be brighter and more consider it,” Godschalk concludes.

The Americans couldn’t have big dramatic. Geoffrey Macnab Bros. Ent. All Rights Reserved. © 2019 Warner The Goldfinch Director: John Crowley Scriptwriters: Peter Straughan, Donna Tartt (based on the novel by) Producer: Color Force (US), Warner Bros (US), Amazon Studios (US) Co-producer: Kaap Holland Film (NL) Sales: Warner Bros Pictures

30 31 Eye International So long, farewell… Marten Rabarts departs to head up NZ Int’l Film Fest

In October 2019 Marten Rabarts led by Piet Mondriaan and Theo van In terms of a strong flow of great new stories that our filmmakers are will be leaving Eye, where he Doesburg. Likewise in 2019, to Dutch talents, Rabarts cites Ena telling and start tracking new talent has run the International acknowledge 350 years since the Sendijarevic´ (Take Me Somewhere from their short films onwards.” department for the past four passing of Rembrandt, Dutch Nice, Cannes ACID 2019), Aboozar years, to become Artistic professionals could meet and greet Amini (Kabul City in the Wind, IDFA So how will Rabarts be looking to Director of the New Zealand beneath splendid reproductions 2018) Sam de Jong (Prince & Goldie, dovetail the Dutch and New Zealand International Film Festival. of the Dutch master’s works. Berlin Generation 2015/2019), film communities when he takes He talks to Nick Cunningham. “We made some really big steps, Morgan Knibbe (Those Who Feel the up his new role? “I expect to see a made possible by the collaboration Fire Burning, IDFA 2014), Steven stronger industry presence at When Marten Rabarts took over the of the Film Fund, but also support Wouterlood (My Extraordinary the film festival in the coming running of Eye International in from Rotterdam’s Het Nieuwe Summer with Tess, Berlin Generation years, and being such brilliant 2015 the Dutch film industry had Instituut - Architecture, Design & 2019) and most recently Halina co-producers I’d hope to soon see returned to (welcome) good health. Digital Culture, and further afield Reijn whose debut Instinct won the Dutch producers in New Zealand The previous year had seen the we enlisted our Dutch embassies Variety Grande Piazza award at exploring the opportunities to make successful and popular introduction and consulates as key partners for Locarno 2019. “I was proud to help films there just as they do in Brazil, of both the Production Incentive and these new ventures.” position a film like Instinct with Argentina or South Africa.” the Netherlands Film Commission, the kind of festival roll-out it and two years prior to that a Dutch Rabarts worked closely with both deserves; Locarno, Toronto and “And of course every year I will film was selected for Cannes established and emerging talent London, with still more to come; be looking very closely at new films competition for the first time in during his 4-year tenure. taking content which is challenging from the Dutch film community almost 40 years (Borgman). What’s “Continuing to throw the spotlight and controversial and placing it in which I will be looking to more, judicious selective funding on established Dutch talent such a high-profile, serious artistic programme – without question.” and wise co-production investments as Alex van Warmerdam, Heddy framework.” meant that Dutch productions were Honigmann, David Verbeek, well represented at A-festivals in both Nanouk Leopold, Esther Rots, and A core desire of Rabarts was to majority and minority capacities. Sacha Polak among others. Dealing deliver increasing numbers of with them individually and tailoring global cinema’s most important But in terms of promotion, there platforms for their new works was a programmers to The Netherlands. was a lot to do to keep up with pleasure and an honour to be part Festival Directors and programmers developments in finance and of,” he stresses. He reserves special from Sundance, Cannes, Locarno, production. Rabarts decided comment for the Dutch Academy San Sebastian, London, Toronto, therefore to up the ante in terms of Award submission Layla M by Mijke Shanghai, Mumbai and MoMA have branding and to place Dutch de Jong (2016). “That particular film all added The Netherlands to their cinema within the country’s wider fed right into an urgent and current travel calendar. “It is more than just artistic tradition in key markets like discourse on radicalisation. I was screening a thoughtful curation of Cannes and Berlin. For example In very proud to present it to the films for them in a comfortable 2017 the Dutch pavilion in Cannes Academy as our Dutch Oscar sub­ cinema, but having them spend (renamed the See NL pavilion in mission that year but then it was time with Dutch filmmakers within order to ensure brand continuity also screened for members of the their communities and getting to across all promotion) was trans­ UN Security Council in Washington know this country. It is essential formed by rising design star Sabine DC who were deeply interested in that the works are not presented in Marcelis into a 3D homage to the the content, and gained a unique isolation just as a piece of cinema, 100th anniversary of the birth of insight into how and why kids can but that international programmers

© Yvonne Witte De Stijl, the radical art movement be radicalised.” understand the context for the Layla M. Mijke de Jong

32 33 Busan International Film Festival Trigger happy Boy Meets Gun Joost van Hezik

alternative husband for her and Sorrentino, specifically citing Il Divo father for them, to whom each and The Consequences of Love. responds warmly. “The camera work of Luca Bigazzi, I adore it.” One day Maarten walks into a supermarket where he is held up at Music plays a vital role in the film gunpoint. The ‘mischief’ that as well, with Christiaan Verbeek’s Donny and Richard were planning string-laden score (oppress­ ive,­ Joost van Hezik turns out to be a murderous heist. jarring, discomforting) providing During the resulting shoot-out a auditory counterpoint to the action Joost van Hezik’s tragi-comic heavyweight .44 pistol ends up at playing out on screen. Puccini’s psycho-noir Boy Meets Gun Maarten’s feet, but he decides to Nessun Dorma underscores world-premieres at Busan 2019. keep it instead of handing it over to Maarten’s transformation to hero the police. Slowly but surely the gun at the beginning of the film and Take one Darwinian biologist exerts control over him. Instead of accompanies his drive towards a suffering a midlife crisis, two being cowardly, dull and pedestrian final showdown. feckless wannabe hoodlums, he is now brave, interesting and an oppressive father looking for an sexy, and he assumes an aura Just as important to proceedings Oedipal comeuppance, a deluge of of impregnability. But the gun also is evolutionary scientist Richard animal metaphor and a steely renders him reckless, and Dawkins (whose self-replicating narrator whose identity is unclear eventually its owners decide they meme theory, as expounded in right to the end, then throw in a want it back, with tragic results… The Selfish Gene, is referenced in the heap of sex and violence, and as film), and evolutionary theory in many plot twists as your nerves can Van Hezik worked closely on the general. The film abounds with bear, and you get Boy Meets Gun, very complex screenplay with animals living within unnatural a brilliantly crafted psychological screenwriter/director Willem Bosch, habitats, whether large insects, roller-coaster that offers thrills, honing and ordering it over a period iguanas, rare parrots in sub­ spills and myriad surprises of four months. “It is a crime genre terranean captivity or lab mice under throughout its 85-minute duration. movie so you need to get all the plot the care of Maarten’s wife. On the points where they need to be,” the other hand, a key recurring meta­ After a short prologue that introduces director underlines. “Also when phor in the film is a wild butterfly, us to small-town teenage wastrels directing, it’s about getting the facts itself a creature that undergoes Donny and Richard, who are straight and deciding who knows profound transformation. (Early in obviously planning some kind of what, and when should we convey the film Maarten explains how he mischief, we meet Maarten Moreau, what knowledge to the viewer? That believes he inhabits the dream of a a biologist bored of his own was a hard job.” butterfly). existence and, for all intents and Slowly but surely purposes, invisible to the world. The Coen Bros were an inspiration “I really like symbols and metaphors the gun exerts control His wife, a research scientist who in the film’s realisation, Van Hezik and I always have a philosophical over him breeds mutant pet mice with points out, “as their films are on the or thematic approach to a story,” human ears on their backs, is calm one hand entertaining but also Van Hezik insists. “I always need to but disdainful, while his children complex on a philosophical level.” know what the story is about on a barely acknowledge his existence. From a design perspective, the team metaphysical level.” He continually imagines an looked to the work of Paolo Nick Cunningham Boy Meets Gun Director: Joost van Hezik Scriptwriter: Willem Bosch Production: Pupkin (NL) - Pieter Kuijpers, Sander van Meurs, Iris Otten Co-production: VPRO (NL) Sales: Media Luna

34 35 28 September - 1 October 2019 Holland Film Meeting Return of HFM!

Geoffrey Macnab previews the This year, Dutch producers are Rotterdam (IFFR) in January. yearly Netherlands Film Festival trying to reach the international These projects will secure finance interface between the Dutch buyers and financiers in another through the festivals and then, if production industry and the novel way, through their… stomachs. they are lucky, screen as part of their international co-pro, sales and The producers will serve up a programmes. For example, Isabel distribution sectors. smorgasbord of delicious cuisine for Lamberti’s latest project El azul bajo 100 of their guests in a restaurant sus pies, produced through IJswater The Holland Film Meeting is back adjacent to the canal. “It’s right in Films, was in BoostNL last year, and – and it means business. Called line with the festival’s overall will follow up this year at HFM with “a four day whirlwind” by its theme this year of Homo Ludens, a preview for inter­national sales and organisers, the revamped event reminding us that film­making is not distribution professionals. includes one of the most important just a business, but a tremendous international exchange markets in opportunity for creativity, Poodt and her team have put Europe (the event where Sacha experimentation, and play.” together a strong programme of Polak’s Sundance entry Dirty God masterclasses. These include Fiona was first hatched) as well as One measure of the attraction of the Crombie, the production designer meetings, networking events, Holland Film Meeting is the for The Favourite; Andy Hill, the debates and trail-blazing master­ number of leading sales agents and music supervisor on The Lion King, classes. distributors from Europe and the US and Michael Engler, the director of who attend. This year, TrustNordisk, new British costume picture As Rianne Poodt, Head of NFF XYZ Films, ARRI, Anonymous Downton Abbey. Also, as part of a Professionals & Talent & Education, Content, Film4 and Universal long-standing collaboration with points out, Utrecht is one of the few International are all on the guest the Netherlands Society of Cinema events on the industry calendar list. They will eagerly explore what Editors (NCE), HFM will host the where you can do business on a their Dutch colleagues have to offer annual NCE Masterclass with Lee barge. The HFM “Boat Sessions” in terms of feature fiction and Smith, the Oscar-winning editor of Dutch producers will allow delegates to discuss sales and documentary films and, for the first Christopher Nolan’s Dunkirk. distribution strategy while also time, interactive and VR projects. reach the international being given a guided tour by water There will also be a talk during the buyers in a novel of one of the most beautiful cities in The industry event Be Dramatic! will conference day on VOD platforms way, through their the Netherlands. present international delegates with which will see heated discussions of stomachs… a sneak-preview of Undone, the new such issues as the digital single “During an experience like this, adult animated “dramedy” from market. Janneke Sloetjes, Netflix people are more open to innovative Amsterdam-based pro­ director for European Public

Rianne Poodt communication,” Poodt says of the duction outfit Submarine, and Heirs Policy, is among the confirmed combination of business, net­ of the Night, Diederik van Rooijen’s speakers for this as well as EUROVOD working and sightseeing. “It’s an ghoulish new vampire drama delegate Silva Cibien and example of what makes the HFM produced through Lemming Films. LACINETEK’s Jean-Baptiste Viaud. stand out from other international film markets: intimate and down-to- Thanks to the BoostNL programme Next year marks the 40th anniversary earth, it makes for an excellent launched in Utrecht in 2016, Dutch of the Netherlands Film Festival, platform to forge new bonds for filmmakers can develop their and it’s a fair bet that the Holland future collaborations, without the projects at HFM and then take them Film Meeting will be at the right at hullabaloo of a global competition.” on to International Film Festival the centre of birthday celebrations.

36 37 21 - 25 October 2019 The kids are alright Cinekid for professionals

Nienke Poelsma a city mouse who ventures into the Among the executives who’ll be The Industry Forum will ponder the wilds aboard her pirate’s nest. contributing to the discussion are way kids communicate with adults and Meanwhile, Marleen Slot’s Viking Meredith Halpern-Ranzer of Wow how adults should interact with kids Film (the outfit behind Sundance in the World (one of the biggest selection Dirty God) is partnering podcasts for kids in the US), Joel again with Swedish outfit Snowcloud Silverman from Kids Know Best in on Mini-Zlatan and Uncle Darling, the UK, marketing guru Lily Yan a live action kids’ film looking at from Nelvana/Corus Ent (Canada) same sex marriage. and Shabnam Rezaei of Big Bad Boo Productions, Canada. Cinekid is among the world’s From further afield, Quebec-based biggest and buzziest film, TV 10th Avenue Productions is Unlike some other festivals which and media events for kids presenting its latest animated insist on nothing but premieres, – and has also become a key project Beluga Blues, scripted by Cinekid will invite films that have destination for executives Andrée Lambert. Belgian animation played elsewhere if there is a producing and commissioning outfit Lunamine has a new worthwhile reason for doing so. content for young audiences. animated project, The Only Child, For example, Geneviève Dulude- Nienke Poelsma, Head of Cinekid an adaptation of a bestselling book De Celles’ A Colony, winner of the for Professionals, is well placed which it is making as a Crystal Bear in Berlin’s Generation to comment on shifting trends co-production with China. programme is screening and the within children media in the director will be in town to discuss Netherlands and beyond. For the first time, Cinekid is its themes, which include violence, hosting a works in progress section, bullying and discrimination among Among changes Poelsma has open to producers who have at least young teens. noticed is a new emphasis on eight minutes of footage to show. animation and a move away from Through the new section, For years, Dutch cinema audiences the big screen. The Junior Co-Pro­ Submarine is presenting its modern have loved their family films. duction Market, the two day Cinekid day fairy tale Coppelia, which mixes However, admissions for children’s event at which new projects are animation and live action. Directed movies are currently dipping, not pitched, bought and sold, is by Jeff Tudor, Steven de Beul and just in the Netherlands but across receiving more and more animated Ben Tesseur, the project was Europe. Delegates will discuss new films and series. previously in the Cinekid co-pro­ research looking at box office trends. duction market. Another work in Some of the Netherlands’ top pro­ progress which also started life in “I think Dutch children’s films are duction companies are presenting the co-production market is struggling. We had the glory days new projects. For example ambitious Norwegian pre-school with Bos Bros and their beautiful Submarine, the Amsterdam and film Ella Bella Bingo, produced by productions,” Poelsma says. LA-based company run by Bruno Frank Mosvold of Kool Produktion Filmmakers, she suggests, don’t Felix and Femke Wolting, is and sold by Studio 100 Film. always take the children’s audience unveiling its new TV pre-school seriously. Cinekid will remind project Pol The Pirate Mouse. Cinekid’s Industry Forum will them that it is crucial that they do, Scripted by Tingue Dongelmans, ponder the way that kids and that they neglect the audience this is an animated yarn based on a communicate with adults and how of the future at their peril.

graphic novel about Pol the pirate, adults should interact with kids. Geoffrey Macnab © Melanie Lemahieu

38 39 B 9 - 17 November 2019, Utrecht & Amsterdam KA OOM ANIMATION Kaboom time for toons Kaboom Animation Festival FESTIVAL

The inaugural Kaboom masterclass from the company’s individual countries with strong Animation Festival kicks off co-founder David Sproxton), and an animation sectors and inviting November 9 in Utrecht before overview of the South Korean them to network with Dutch relocating to Amsterdam 5 days animation industry. Of enormous producers and to invest in mutual “You can see the scale later. Artistic director Aneta interest to local audiences and collaboration.” of ambition among Ozorek gets animated with Nick industry will be the festival’s Dutch animation Cunningham. presentation of 100 years of Dutch This will start with the Benelux, animation and a networking event which she sees as a viable trading producers right now” It seems everything comes in pairs. that will enable all Dutch animation block whose animation sectors Two cities and two very specific students to meet Dutch producers share similar creative and commer­ focuses. Utrecht will present anima­ and funders. (For the record, HKU is cial goals. In future editions she will tions for kids and family audiences one of Europe’s leading academies turn the spotlight on the animation while the Amsterdam offer is adult for animators and is housed in industries of Canada, Ireland and and industry-oriented. Kaboom itself Utrecht, a city that has transformed the Czech Republic and to examine is the fusion of two former festivals, itself over the past ten years into an the potential for collaboration with the KLIK Animation Festival and the essential European animation hub.) their Dutch counterparts. Holland Animation Film festival, or the “love child” of the two, as the Episodes so far completed on Hisko “When you look at the Dutch website puts it, adding how “we Hulsing’s eagerly awaited Amazon industry ten years ago and then decided to join hands and work on series Undone, co-produced by assess the catalogue of last year’s our shared, progressive goal of a powerhouse Submarine, will be Cartoon Forum you see this brand new animation festival that screened in Amsterdam. Likewise, incredible jump. This is unique. has it all… all the while celebrating the company’s Where is Anne Frank?, With so many features currently in the Dutch animation industry.” directed by Ari Folman, will be development, you can see the presented as a work in progress. scale of ambition among Dutch That said, it has just one artistic animation producers right now.” director. And Aneta Ozorek Ozorek stresses the next generation describes the “one-stop shop” event of burgeoning Dutch animation Hailing originally from Poland, as “the place to be for the latest and citing young talent such as Nienke Ozorek has been very active for over greatest in all thinks animated.” Deutz, Wiep Teeuwisse, Jelle van 15 years in the Eastern Europe What’s more it has piqued the Meerendonk, Jasper Kuipers, Aisha animation scene both as curator singular interest of Dutch and Madu and Iris Verhoeven. and promoter. She joined KLIK in international professionals alike, February 2018 as Artistic Director. especially as Dutch animators are “The festival believes that we have

Aneta Ozorek enjoying a purple patch, as to invest strongly in the Dutch One thing she bemoans is the evidenced by the acclaim for anima­tion industry. We will present, Autumn silly season for Dutch Netherlands output and talent during we will promote, we will organise all festivals whereby Kaboom 2019 is Cartoon Movie in March 2019. kinds of events to support them squeezed between the Netherlands (Dutch producers and filmmakers), Film Fest in late September, The line-up is impressive and to facilitate collaborations, to create Cinekid in late October and IDFA includes two shorts competition network events where new relation­ commencing in mid-November. programmes (one for kids films, the ships can be built,” she underlines. She confirms therefore that future other for adult-themed content), a “But also we have long term a Kaboom fests will take place in focus on Aardman (that includes a perspective of focussing on Spring, commencing 2021. Undone (TV series) Director: Hisko Hulsing Production: The Tornante Company (US) Co-production: Submarine (NL)

40 41 14 September - 6 December 2019 Eye Exhibition Eye on a Russian icon Andrei Tarkovsky

Andrei Tarkovsky (1932-1986) work on his film Nostalgia, very clear they are not pleased with is a towering figure in world Tarkovsky Jr is a documentary maker the work he has been doing. cinema history, a director who himself and the ‘gatekeeper’ of the worked within the Soviet system Andrei Tarkovsky archive. He is For Guldemond, the genius of and yet turned out films that fiercely protective of his father’s Tarkovsky lay in his ability to create were mystical, mysterious and legacy. It took Guldemond several “poetic associations” between lyrical. Eye is celebrating his years to track him down and win his images. The Russian wasn’t much career this autumn with an confidence. However, with the interested in narrative. His films exhibition which will highlight son supporting the exhibition, the were about feelings, not stories. aspects of the Russian’s life and Eye curator has been able to access “It’s all about the meaning of life career that have never been some extraordinary artefacts, and the absence in our culture of properly explored before. among them Tarkovsky’s letters, room for a spiritual existence,” scripts, his most intimate “scribbles” stresses the Chief Curator. Putting together the exhibition has and drawings, and his collection of The exhibition will seek to recapture been a labour of love for Jaap Gulde­ Polaroid photos. These aren’t just the spiritual force of his best work. mond, Director of Exhibitions/Chief casual snaps. They are lyrical, Guldemond has put up screens with Curator at Eye. For him, Tarkovsky haunting images which you can tell, very precisely selected fragments is the perfect example of an auteur the moment you see them, couldn’t from Tarkovsky masterworks who exists in the field between have been taken by any­body else which will give viewers the feeling cinema and visual art. other than the Russian master. that they are walking through “the landscape” of his films. “Tarkovsky is one of the few figures Tarkovsy Jr lives in his father’s old who really tries to use the rules of apartment in Florence. Guldemond Alongside Tarkovsky’s own work, cinema in his own way. For me, a lot has visited him there. “It’s quite nice which will be shown in restored of filmmakers use standard ways because when you step inside, it’s versions, the film programme of making a film. Tarkovsky is the like you are (back) in Russia. Every­ also includes movies from many opposite. He really tries to use the thing is Russian. The furniture is directors inspired by Tarkovsky means of making a film, the editing, Russian. There are Russian icons on – or who inspired him. They the sound, the way he moves the the wall. There are presents from include everything from Andrei camera according to his own rules,” Sergei Parajanov,” he says of the flat Zvyagintsev’s The Return to Kenji Guldemond says of the director of which itself is like a mini museum. Mizoguchi’s Ugetsu Monogatari, such classics as Stalker and Solaris. from Lars Von Trier’s Melancholia In the 30 or so years since Tarkovsky to Luis Bunuel’s Nazarin. The work For years, Guldemond searched died, he has been the subject of many of Tarkovsky’s father, the brilliant long and hard for the director’s retrospectives but never before has poet Arseny Tarkovsky, is likewise heirs. There were several descend­ an exhibition as extensive as the one acknowledged. ants and colleagues of Tarkovsky at Eye been mounted. This will be still alive, among them an ex-wife, the first time that the early drafts Eye has already been receiving a sister and two sons. In the end, of the scripts for Stalker and Andrei inquiries from other museums he discovered the person he was Rublev have been seen in public. about being able to host the looking for, Andrey Tarkovsky Jr. exhibition once its run in Amster­ Visitors will also be able to see dam is over. This is one Eye show Based in Florence, Italy, where his letters from the Soviet authorities to which looks bound to travel. father had come late in his life to the director in which they make it Geoffrey Macnab Stalker Director & script: Andrei Tarkovsky

42 43 Rutger Hauer 1944 - 2019

© Rutger Hauer Starfish Association. Photographer: Joost van den Broek