Peijnenburg’s Paradise Drifters in Berlinale Generation 14plus Lemming’s Berlin Alexanderplatz selected for Berlin Competition Drama Girl and Kala Azar in Tiger Competition Vanja Kaludjercic: new IFFR director Eye on Akerman in upcoming exhibition Dutch shorts at Clermont-Ferrand

Issue #38 February 2020 IFFR, Berlin and Clermont-Ferrand issue Index COLOPHON 4-5 Road to Paradise Mees Peijnenburg’s 20-21 Journey into the past Sonja debut feature Paradise Drifters is Wyss’ Farewell Paradise is a tale half a SEE NL, a collaboration between selected for Berlin Generation 14plus century in the telling, of a woman’s Eye and the Netherlands Film decision to remove herself and her four Fund, is the umbrella body for the international promotion of Dutch 6-7 Repurposing a classic Lemming daughters from a warm paradise island films and film culture. Film’s Leontine Petit, Dutch co-producer to a cold and hostile Switzerland SEE NL Magazine is published four of Berlin Alexanderplatz selected for times per year and is distributed to Berlinale competition, discusses their 22-23 Going for Gold It may be set in international film professionals. update of Alfred Döblin’s classic the world of competitive gymnastics but Editors in chief: Ido Abram. modernist novel from the Weimar era Rogier Hesp’s Gold could be about any Nathalie Mierop (Eye), Jonathan sport in which children are pushed too Mees (Netherlands Film Fund) 8-9 For co-pro, see Holland See NL hard toward success by their parents Executive editor: Nick checks out the Dutch angle on some of Cunningham Contributors: Geoffrey Macnab Berlin 2020’s notable titles 24-25 Dual perspectives Two Dutch Concept & Design: Lava.nl films selected for IFFR Perspectives tell Layout: def., Amsterdam 10-11 Dutch shorts to Berlin Two Dutch the lives of two extraordinary characters, Printing: mediaLiaison shorts, including Student Oscar winner the French caver Michel Siffre and the Printed on FSC paper Marit Weerheijm’s En Route, are actress-turned-spy Leonie Brandt © All rights reserved: selected for Berlin Generation Kplus, The Netherlands Film Fund and plus a minority co-pro in Berlinale Shorts 26-27 Decaying from within In Jenneke Eye Filmmuseum 2020 section Boeijink’s modern, dark fairytale Porcelain, cracks in the facade of the CONTACT Ido Abram 12-13 D for dazzling (and Dutch) Five perfect family life slowly but surely begin Director of SEE NL new and diverse talents from The to appear E [email protected] Netherlands talk about their selection for the prestigious Berlinale Talents 28-29 Beer at IFFR/CineMart goes Eye Filmmuseum programme 2020 Dutch In Beer, Erik van Lieshout very PO BOX 37767 1030 BJ T Amsterdam amusingly bites the benefactor’s hand The Netherlands 14-15 Drama out of a crisis In IFFR that feeds him, while two new dynamic T +31 20 758 2375 Tiger Competition selection Drama Girl, Dutch projects were presented at W www.eyefilm.nl Dutch director Vincent Boy Kars rewrites CineMart 2020 the life story of a young woman, and Jonathan Mees Communications Manager then asks the same woman to play 30-31 Vanja at the vanguard See NL Netherlands Film Fund herself in its retelling on screen talks to Vanja Kaludjercic, new director E [email protected] of IFFR Rotterdam 16-17 Creature comforts In Janis Rafa’s Netherlands Film Fund Pijnackerstraat 5 surrealist debut feature Kala Azar (in 32-33 Short and sweet Dutch 1072 JS Amsterdam IFFR Tiger Competition) a couple drive filmmakers were once again in the frame The Netherlands around collecting roadkill, as well at Clermont-Ferrand, the world’s leading T +31 20 570 7676 deceased pets to deliver to the short film festival W www.filmfund.nl crematorium ISSN: 2589-3521 34-35 Eye on Akerman The next Eye 18-19 Piece of the Tiger Two of the exhibition is about radical Belgian films in IFFR Tiger Competition had filmmaker Chantal Akerman Dutch minority support, self-taught Arun Karthick’s award-winning Nasir (Rinkel 36 Shooting Star Bilal Wahib, star of Film) and La Fortaleza (co-produced by Mees Peijnenburg’s Paradise Drifters, Viking Film) selected for Berlin Generation 14plus

Cover: Paradise Drifters Mees Peijnenburg See page 4 Farewell Paradise Sonja Wyss page 20

2 3 Berlin Generation 14plus and IFFR Limelight Road to Paradise Paradise Drifters Mees Peijnenburg

Mees Peijnenburg Waning was discovered in less and Salvation Army hostels where straightforward circumstances. young adults between 18 and 25 Peijnenburg hadn’t been able to find “can still find a bed at night when anyone to play Chloe when his they don’t have some other place to girlfriend tipped him off about an fall back on.” actress she had seen on a Dutch NTR TV programme, Dream School, about The film (due to be released in The youngsters from troubled Netherlands in April by Gusto) backgrounds who are given the develops into a road movie. It was chance to go back to school. shot all over Europe, in Marseilles Paradise Drifters is writer-director and Barcelona as well as in The Mees Peijnenburg’s debut feature, “She was super pure, honest, open, Netherlands. Peijnenburg sees it as writes Geoffrey Macnab, fragile,” Peijnenburg says of the following on from his Golden Calf following on from the young audition that Van Waring gave him. winning short film We Will Never Be Dutch director’s acclaimed “She was a powerhouse of interest Royals, about a brother and sister shorts Even Cowboys Get To Cry for me.” The fact that she didn’t look living in youth care, moving from (2013), A Hole In My Heart (2015) anything like the Chloe he had foster homes to youth prison and and We Will Never Be Royals originally envisaged didn’t put him looking desperately for a place in (2015). off in the slightest. “The energy she society. gave was spot on.” In Paradise Drifters, supported by De “Even though all the ingredients for Oversteek scheme and Production Bilal Wahib had had a minor part in a horrible life were present, these Incentive, three young people from one of the director’s shorts. “In real kids had a glance in their eyes, had a different but equally tough life, he has an extraordinary energy,” fighting spirit in their way of talking backgrounds are thrown together. Peijnenburg says of the actor whose and behaving,” the director says of Lorenzo (Jonas Smulders), Yousef role calls for him to be withdrawn the defiance he saw continually (Bilal Wahib) and Chloe (Tamar van and introspective. “In our film, he during his extensive research into Waning) are outsiders on the margins has to play an introverted, suicidal alienated youth. “Whereas my of society, all “searching for character which I was really previous film was still set in connections, searching for love,” but interested to see… all the energy institutions and under the flag of are continually confronted with went into his eyes, his mind, and he society, this film starts off where that violence and rejection. was really good.” stops, when you are 18 and being dropped on the streets literally.” Peijnenburg chose his actors very The director gave the three leads carefully. “I think the casting of each time to get to know each other and As an adolescent himself, film is almost the most crucial part to develop their characters. “I let Peijnenburg came from a more of the process. I like to take time to them write letters to me with their comfortable background. “I was a “I think the casting of find the right people.” thoughts.” skateboarder, I did a lot of each film is almost the filmmaking already back then, I did most crucial part of the Jonas Smulders had appeared in Peijnenburg did extensive research pictures. I was very much on the process” Peijnenburg’s graduation short and for Paradise Drifters. “I’ve been creative spectrum.” No, he wasn’t a is described by the director as “a working on this film for several rebel himself but he has always natural fit” for his role as the years,” he says. He visited been drawn to characters like Chloe charismatic Lorenzo. Tamar van numerous child protection homes in his film who have theenergy to fight back, even when everything seems pitched against them. Paradise Drifters Director & script: Mees Peijnenburg Production: Pupkin Film Sales: Orange Studio

4 5 Berlin Competition Berlin Alexanderplatz Burhan Qurbani Repurposing a classic

Leontine Petit boarded after its pitch at CineMart Eurimages award in 2016) reflects 2016. “We really get into the head of on her huge range of different “We really get into the an illegal refugee and experience projects over the last two decades. head of an illegal what it is like to arrive in Europe and “But if we can co-produce with these refugee and experience how to survive.” really outstanding directors (like what it is like to arrive Burhan Qurbani), I feel almost Lemming had been following the honoured that we can be part of in Europe and how to project from the outset. The film such projects.”

survive” © Elsbeth Struijk van Bergen had a relatively high budget, around €5 million. Although considerable The Lemming boss adds that it is Geoffrey Macnab talks to Leontine support was available in Germany rare for projects on the scale of Petit, Dutch co-producer of Berlin itself, Sommerhaus eventually Berlin Alexanderplatz to be made in Alexanderplatz. decided to make it as a co-pro and to The Netherlands. The advantages of use support from Eurimages, with being involved are self-evident: Alfred Döblin’s ‘Berlin Lemming as a minority co-producer. Dutch technicians get to show their Alexanderplatz’ (1929) is a classic talent and work on bigger European modernist novel from the Weimar “I agreed that this is definitely a films while Petit and her team get to era, telling the story of an ordinary Eurimages kind of project, both extend their network. man, Franz Biberkopf, trying to stay from the type of director and the afloat in a society riven by subject matter. It is about Europe “For us to be part of these projects corruption, violence and political also means to be on the radar of the prejudice. The hero, Francis, wants sales agents,” Petit highlights one to be a good man and to live “Honoured that we can obvious benefit for Lemming when honestly but circumstances keep on be part of such projects” it comes to selling their own projects getting in the way. in the international marketplace. Because of the high profile films It was made into a mini-series by and about the way we deal with which the company has co-produced, Rainer Werner Fassbinder in 1980. migrants.” she has excellent relations with Now, a contemporary version, Berlin Petit and her team weren’t just leading companies like Beta Cinema Alexanderplatz, directed by Afghan- aboard as financial partners. They and Match Factory, who can advise German auteur Burhan Qurbani, made a strong creative contribution Lemming and even handle their produced by Sommerhaus too. One of the main actors, Nils films in the marketplace. Filmproduktion and Lemming Film, Verkooijen, is Dutch. “I think he did and sold by Beta Cinema, is an amazing job in a very important Thanks to the Production Incentive, screening in Berlinale competition. part,” Petit says of Verkooijen, who Lemming can offer serious financial It is supported by the Film Fund and plays a transgender character. Dutch and creative support and will provide Production Incentive. technicians were involved in between 10 and 20% of the overall everything from the sound on set to budgets. That is why top “It’s a different approach on Alfred the grading, sound design and the international filmmakers like Döblin’s novel, told in the present mix. Yorgos Lanthimos, Burhan Qurbani, day from the perspective of a Franka Potente and Lucrecia Martel refugee,” Leontine Petit (Lemming “They’re always different,” is how are so keen to work with them. Film) says of Qurbani’s 3-hour Petit (who won the European re-imagining of the story, which she Co-production Award – Prix “It is incredibly important that we have the Incentive,” Petit says of the Berlin Alexanderplatz Director: Burhan Qurbani soft money scheme which has helped Script: Burhan Qurbani, Martin Behnke Production: Sommerhaus put the Dutch at the heart of (DE) Co-production: Lemming Film (NL) Sales: Beta Cinema European and international

6 7 filmmaking. Minority co-productions in Berlin Days of Cannibalism Teboho Edkins Pari Siamak Etemadi Window Boy Would Also Like to Have a Submarine Alex Piperno For co-pro, see Holland Apiyemiyekî? Ana Vaz

shadow of a new global economic Apiyemiyekî? is screening in Berlin

© Samuel Lahu reality.” Its director “takes us deep fresh from its appearance in the into the lives and souls of these Tiger Short Film Competition at Chinese and African characters.” International Film Festival Rotterdam. For Dutch producers De The Post-production Award, given by Productie, this is a chance to work The Netherlands Film Fund, the with a highly regarded artist and Hubert Bals Fund, and The filmmaker on a short film that looks Netherlands Post Production bound to get wide festival exposure. Alliance, enabled Keplerfilm to come Window Boy Would Also Like to Have a Submarine on board. Sound and colour grading Vaz makes use of an archive of were completed in The Netherlands. adrift in a western culture entirely sales company Square Eyes picked drawings from the Waimiri-Atroari, alien to them. “That’s a good idea for up the film just before Berlin. an indigenous people from the Dutch outfit Topkapi was introduced a film,” the Topkapi boss says of the Brazilian Amazon who use their to Siamak Etemadi’s Pari by its premise. The fact that there was an “Director Alex Piperno and I were pictures to make sense of their own Days Of Cannibalism Greek producer, Konstantinos established producer like actually introduced by Laurette devastation and suffering during the Kontovrakis, who together with Kontovrakis behind it persuaded the Schillings from Topkapi Films,” says time of the military dictatorship “We Geoffrey Macnab checks out the “Days of Cannibalism is produced by Giorgos Karnavas runs leading Dutch company to board the project, Baldr’s Frank Hoeve of the film didn’t know anything about the Dutch angle of some of Berlin a dear producer friend, so when the Greek production and sales outfit which had a strong script and an which had Netherlands Film Fund genocide and napalm situation in 2020’s notable titles. project won the Dutch Post- Heretic (behind such films as obviously talented director. and Hubert Bals Fund Co-production Brazil. was really touched by this Production Award, there was Wasted Youth and The Harvesters). Scheme (NFF+HBF) support. “She Underlining The Netherlands’ rising suddenly this wonderful opportunity As on Berlin Alexanderplatz, the was not able to co-produce the film status as a co-production partner, to jump in and join on the ride,” Dutch provided much of the sound and suggested to him to contact me. the Berlinale this year has a number Derk-Jan Warrink of Keplerfilm says expertise (this is a field in which the I immediately saw the original of films in its programme which of the project. He first became aware country currently excels) while also approach by Alex. It is a very unique were made with Dutch backing. of the film when it was selected for working extensively on the post- film about human movement and the L’Atelier in Cannes. He has production. “We really built a strong solitude, moving through distinct Berlin-bound titles with an orange worked several times before with the relation with Siamak, the director. physical and geographical spaces as tint include Afghan-German director French co-producer KinoElektron, We spoke about the sound, we spoke seen through the eyes of a young Burhan Qurbani’s Berlin and relished the chance to do so about the music and also about the sailor.” Piperno was writing, Alexanderplatz in main competition again. editing. It is more than just a service directing, producing and editing. (see page 6), Teboho Edkins’ Pari or helping with the financial part. It Hoeve praises the filmmaker as “very Apiyemiyekî? Lesotho-set Days of Cannibalism and “It’s an exploration of the barriers is a sincere co-production,” Van professional and very open to his Iranian-born Siamak Etemadi’s Pari, that Chinese face in Africa, and The film is supported by the Film Gestel says. various co-producers.” subject,” says De Productie’s both in Panorama; Uruguyan director Africans in China,” Warrink explains Fund and Production Incentive. Annemiek van Gorp. She came on Alex Piperno’s magical realist story what drew him to the project. He was Writer-director Piperno’s Window Boy On Window Boy, the VFX was done in board as co-producer late on, in the Window Boy Would Also Like To Have intrigued by the “genre bending” “I was intrigued by the fact that the Would Also Like To Have A Submarine The Netherlands while the mix was post-production phase, and talks A Submarine in Berlinale Forum and way director Teboho Edkins used origin of the story is Iranian,” has one of the most distinctive (and handled by Vincent Sinceretti at Posta about the “beautiful and cinematic Brazilian director Ana Vaz’s fictional elements in a documentary Topkapi’s Frans van Gestel longest) titles of any film in Berlin Amsterdam. Hoeve describes features way” in which Vaz tackled the Apiyemiyekî? in Forum Expanded. and by the sharpness of his insights remembers of what drew him to the this year. It also has one of the more like Window Boy as “a great delicate subject matter. Now, De about the experiences of those living subject. In the film, an Iranian intriguing storylines: on board a opportunity for us as producers and Productie hope to work with their In some cases, the Dutch producers in both Lesotho and Guangzhou. student in Greece goes missing. The cruise ship, a sailor discovers a Dutch talent to work on unique Brazilian partners again, on one of have been involved in these projects student’s parents, devout Muslims, hallway that leads into an apartment projects.” their own films which they hope to for many years. Days Of Cannibalism, he says, has search for their son but they are far away in Montevideo. New Dutch Brazilian director Ana Vaz’s shoot in Brazil. “very universal insights about Days of Cannibalism Director & cultural clashes worldwide. It’s Pari Director & script: Siamak Etemadi Window Boy Would Also Like to Have a Submarine (Chico ventana también Apiyemiyekî? Director & script: Ana Vaz script: Teboho Edkins Production: about normal people living in the Production: Heretic (GR) Co-production: Topkapi quisiera tener un submarino) Director & script: Alex Piperno Production: Production: Spectre Productions (FR), Stenar Kinoelektron (FR) Co-production: Films (NL), Le Bureau (FR), The Chouchkov La Pobladora Cine (UY) Co-production: BALDR Film (NL), Pelícano (AR), Projects (PT), Ana Vaz Co-production: De Keplerfilm (NL), Day Zero Films (SA) Brothers (BU) Sales: Heretic Outreach Desvia (BR), Cinematográfica (PH) Sales: Square Eyes Productie (NL) Sales: La Fabrique Phantom 8 9 En Route Marit Weertheijm Under the Skin Emma Branderhorst Dutch shorts to Berlin A Demonstration Sasha Litvintseva & Beny Wagner

Two Dutch shorts are selected awarded a €50,000 Wild Card grant for Berlin Generation Kplus, and from the Netherlands Film Fund a Dutch minority co-production that she can use to make a film for Berlinale Shorts section. about anything she chooses. She will therefore partner up with

Marit Weerheijm Family Affair Films to make another youth-oriented short, this time about “teenage lying, creating a different version of reality and seeing how far they can go with it.”

The UK/Dutch/German co-pro

© Miriam Guttman Under the Skin documentary short A Demonstration, world-premiering in Berlinale En Route Marit Weerheijm’s En Route is a film Emma Branderhorst pushing each other down, there was Shorts is described as a “monster made from a child’s perspective a lot of competition. I always thought film with no monsters” and inspired dealing with a major social never know what you’re going to get, really well with the kids.” I was being bullied, I always thought by “the existence of taxonomies of problem. Without giving away any but when it happens, when they And what next for Weerheim? “After these are my friends. What is this? monsters at the heart of Early of the plot, poverty and hunger lie at deliver, it can be the truest thing writing En Route I realized that I Is it normal? Where does it come Modern European science, the root of this very moving tale of a you’ve seen in a long time.” had written that script from my gut from?” exploring and reinterpreting our family’s journey through a city. The feeling. I really loved writing it, but I way of seeing the natural world that film is supported by KORT! (Film Weerheijm came to prominence in also felt like I didn’t have all the Branderhorst later revisited her is almost impossible to imagine Fund, CoBO fund, NTR and NPO 2016 with her brilliant short When knowledge and the tools to yet write friends to interview them about that from today’s vantage point.” Fund). Grey is a Colour, produced by a feature film,” she comments. period in their lives. “All the girls partners Loes Koomen and Eva Emma Branderhorst’s Under the agreed that was a very tough time The film is directed by Sasha “When you approach such difficult Verweij for their joint company “These past six months I’ve been Skin is her graduation film from for them, instead of looking back Litvintseva and Beny Wagner, and is subjects and themes from the point Room for Film, which won a thinking a lot about how I want to University of the Arts in Utrecht, with nice memories I thought I was co-produced by Daan Milius of of view of a young child, we might Student Oscar in 2017. Has her style keep learning as a director. I did an and tells the story of Keesje, a the only one… We were all having a Dutch production outfit Video see things differently. It definitely evolved since then? “I don’t know if internship at the International 15-year old introvert. She and her laugh but on the other side we were Power. adds some lightness to the stories,” it has changed much [but] I do Theatre Amsterdam to see how friends, Lize and Dunja, swim really sad and we couldn’t be comments director Weerheijm. “I think it evolved because of more directors in theatre have weeks to together in a synchronized ourselves in the group. It’s called “Rather than narrate a distant think it’s beautiful that children experience. En route has a few work through a script with the swimming team. From the outside girl venom.” history, we have tried to create a don’t know everything about this similarities with When Grey is a actors. That is something that I it all looks like the perfect journey for our viewers to feel with world, but they do want to know Colour. They both tell the story of a sometimes miss in making films, friendship, but beneath the surface The director believes that their entire sensory apparatus,” everything about it. That is the same young girl, a child’s perspective, and time to rehearse, time to get to hide continuous tensions between synchronised swimming is the comments Wagner. “We designed curiosity that makes a filmmaker. they both tell stories about difficult know the actors and for them to get the girls… perfect metaphor to express this the film as a series of rhythmic subjects, taboos even. What was to know their characters. Right notion of girl venom. “The thing is, intensities, to be experienced through “For me, this makes children the new for me was writing the script all now, I am planning to learn more “I am fascinated by youth problems,” above the water it is beautiful but the whole body. We hope that our best main characters because they by myself. The result was that I had about writing. Meanwhile, I’m comments Branderhorst. “When I when you look under the surface viewers approach the film without can translate all these questions complete flexibility on set, working on a few ideas for feature was younger in high school I was in you see all the ugly mistakes they too many preconceived ideas of that I have about the world into a especially with dialogue. I had films and I’m working on a very a group of ten girls and there was make.” what a film should be and allow storyline, into a film. Plus, I love written dialogue, but I also did short film with an experimental always a lot of tension between us. themselves to be guided by their working with children on set. You improvisations and that worked twist.” We were friends but everyone was Branderhorst has recently been intuition in a way that allows for new connections to be made between En Route Director & script: Marit Under the Skin Director & script: images, sounds and movement.” Weertheijm Production: Room for Film Emma Branderhorst Production: HKU-Eva Schaaf, Patou ten Cate

10 11 D for dazzling (and Dutch) New talent from Holland in Berlin

Five new and diverse talents from The Netherlands talk about their selection for the prestigious Berlinale Talents programme 2020.

Director Noël Loozen is certain about what he wants to get out of Berlinale Talents, a clear perspective on the transition from shorts to features.

“I’m exploring how to stay true to my visual style and artistic DNA, whilst experimenting to see how they translate best into the longer format,” he underlines. “A feature film presents a differentcontext than a short film. Ultimately,I hope Noël Loozen Christine Houbiers Ece Yüksel Wouter Jansen Rogier Kramer to investigate my established visual language and form in relation to 2020, having attended many of the fiction storytelling and vise versa. Batumi International Art-House mainstream films I hope to find out Producer Rogier Kramer of Dutch storytelling and drama. This programmed events in Berlin last I’m not scared of changing the Film Festival. more about the best strategies to Mountain Film fully expects a very symbiosis is what currently fascinates year, following the Generation storytelling, like in a documentary. put these in the market and get full week of intense meetings in me the most, and I’m really excited selection of My Extraordinary Summer By doing both, I feel I can get more “During the rehearsal period and them in front of audiences,” he Berlin with the great and the to utilise the Berlinale Talents with Tess, which she edited. out of the material.” the shooting process, I had the stresses. “Hopefully I can exchange good of the international film platform to dive deeper into this.” chance to experience an inspiring ideas and experiences with the community. “I hope to learn more “It was the first time I edited an Netherlands-based Turkish actress and deep character which gave me other sales agents in Talents as well about the international market and He comments how working within international co-production and I Ece Yüksel studied at HKU in the space to create, guided by our as people attending the festival. And different co-production structures, the mediums of film and really enjoyed working with the Utrecht where she “realized the great director. We were all very of course I just want to meet more strategies and methods from photography helps elevate his craft German co-producers, sound importance and fun of diversity in proud that our movie achieved new people, extend my network and experts and other Berlinale to higher levels of proficiency, “and designer and composer. I hope to approaches to acting. Therefore [in many successes starting with hopefully discover some great new Talents.” it challenges me as a storyteller”. He meet new people from different Berlin], I’m mostly looking forward premiering at the 69th Berlinale films.” adds: “Moving into my first feature countries that inspire me and to meet, collaborate with and learn competition, followed by many In 2019 Kramer became co-owner of film (entitled Crapule for maybe I can work with them in the from the great diversity of festivals all over the world.” “I have been able to work with a lot his company. “That’s a really big Amsterdam-based Halal), after future,” she comments. “This year’s colleagues worldwide. With these of young talented directors and achievement for me because I’ve having worked on short films, music topic is about Collectives. At the experiences I hope to broaden my Sales agent Wouter Jansen of Square introduce them to the international always wanted to have my own videos, commercials and moment I’m thinking of starting a skillset and take further steps in my Eyes (launched at IFFR 2020 out of market with their short films where production company. As owner I’m photography, forces me to tie all collective together with two female career internationally.” his previous company Some Shorts) they were also really well received; in full control over my own goals this experience together. I think my friends, a screenwriter and a is eyeing up the long-term transition directors like Guido Hendrikx, Ena and choices about what I want to hybrid approach has given me a director. I hope to learn what’s the Yüksel notes how her experience on into features sales, and believes Sendijarevic and Mees Peijnenburg, produce and who I want to work strong sense of my own visual and best way to do this.” Emin Alper’s A Tale of Three Sisters, Berlinale Talents, located adjacent to name a few, that have all gone on with. This gives me the opportunity aesthetic language, and a confidence which was shot in Eastern Turkey in to arguably the calendar’s most to make strong debuts,” he adds. to develop myself as a producer even in crafting my own little worlds.” “I’m proud of the fact that I have 2017, was “life-changing” for her, important film market, will help “Hopefully with Square Eyes I will faster. been able to edit documentaries as and for which she was awarded Best facilitate that. “I’m still relatively be able to continue this success and Editor Christine Houbiers has a head well as fiction films… When I edit Actress prizes at the International new to the world of feature sales, also build a strong slate of feature “Therefore I would also love to learn start on her fellow Dutch Talents in documentaries, I use techniques of Istanbul Film Festival and the and with my focus on more non- films.” more about entrepreneurship.”

12 13 IFFR Tiger Competition Drama Girl Vincent Boy Kars Drama out of a crisis

Vincent Boy Kars onscreen boyfriend is played by artist she is also interested in the established Dutch talent Jonas differences between her as a Mulders. performer and her as herself, and what is real and what is fake in her Initially Leyla is given latitude to performance. She is interested as a advise on how her parents/boyfriend maker in the same questions that I should be portrayed, but once we get am.” into the action, she must react to (and act within) the severe constraints There is a core scene in the film that the script imposes, and the where Leyla and Mulders, looking In IFFR Tiger Competition emotional grenades that Kars like a pair of beautiful aliens with selection Drama Girl, Dutch continually lobs her way. matching cropped hair and dressed director Vincent Boy Kars in garish colours, contemplate their rewrites the life story of a young As a viewing experience, this is in lives while sitting on the bonnet of a woman, and then asks the same equal part fascinating, moving, car. For Kars, the gods were smiling woman to play herself in its psychologically challenging and at that moment as the weather retelling on screen. emotionally wrenching as she is performs a complete volte face, forced to apply her performance pouring down one moment to bright It all started with a 16-hour interview skills to a fictionalised, and therefore sunshine the next (as if directed), in the summer of 2018 when Leyla de at times unrecognisable, version of and the actors don’t miss a beat. Muynck told director Kars everything her own life story. “That scene by the car, you cannot do about her life, and that of her parents that again. I always wanted to see even before she was born. This text And of course, all this is cinematic Leyla’s first reaction on everything, formed the basis of the story that the gold dust for director Kars. “The so 80% of the film was one-takes. director set out to retell, but on his moments when she is struggling, They knew to continue acting through terms and with little by way of those are the moments for me that the scene.” further input from Leyla. are the most exciting. She is in the construct of a fiction scene, but she The film, to be released in The The film, which received Film Fund is not acting, she is. You have a Netherlands by Periscoop Film, is selective support and a KNF Award fiction scene with an actor but the located in Rotterdam which enabled Special Mention at IFFR, concentrates main character is her, and pulling Kars to find fascinating interiors and on the past five years of Leyla’s life, real emotions out of herself. And she exteriors (he scouted on his bike), “She is clever and just when she has to deal with the death was also in real life struggling with and the electronic music score by as curious about the of her father, falling in and out of her memory [of events]. The struggle Beau Zwart is mesmerising. love, and arguments with her mother. was real… The last thing I wanted life/art dichotomy that was a polished performance.” Leyla performs her own she is experiencing” Leyla is not an actress (rather, a transformation when she asks skilled freeform dancer) but her Not that Leyla is any way unaware that Mulders to crop her long curly hair onscreen parents are powerhouse she is part of an experiment. She is on camera, a process that always Dutch thespians Pierre Bokma and clever and just as curious about the seems the ultimate sacrifice for an Elsie de Brauw, whom we see life/art dichotomy that she is actor. “But that was real,” comments introduced to Leyla on set for the experiencing. “That is the reason Kars. “She cut her hair in real life two first time, to her rising consternation why I chose to work with her. She is a days after her father passed away, so and bemusement. Likewise, her dancer and a performer, but as an it was part of her story. A lot of things in the film you think are fictionalised, Drama Girl Director: Vincent Boy Kars Script: but a lot more things are not.” Nick Jolein Laarman Production: Halal Docs Cunningham

14 15 IFFR Tiger Competition Creature comforts Kala Azar Janis Rafa

Janis Rafa art projects exploring decay and scenes but they were very open in death. The film has its surrealistic allowing me to play with their moments, for example a scene bodies, with their presence.” showing a brass band playing their Animals, both dead and alive, feature instruments in the middle of a huge prominently in the film. Rafa worked chicken factory or of an elderly closely with a taxidermist and artist woman, naked in the bath with a big, who helped her collect and preserve shaggy dog which she takes care to the carcasses of the dead animals.

© Michael Aust wash thoroughly. The dogs who appear are “semi- trained” but she generally allowed Janis Rafa’s debut feature Kala The title Kala Azar refers to a real them to run free. Azar (which screened in IFFR disease, also known as Canine Tiger Competition and is sold Leishmaniasis, which killed many Sound design is crucial to Kala Azar. internationally by Heretic animals in Mediterranean countries “We knew from the start that this Outreach) was shot on the in the 1990s. Rafa, born in 1984, was a film with very little dialogue. outskirts of Athens, “in the grey grew up during this period. She has We tried to approach it with Marc zones of the city,” as the director vivid memories of when the disease [Lizier, the sound designer] in a puts it. hit Greece. The locals didn’t have a minimal way that respected natural sentimental attitude toward pets. sounds, but gives another story to The film, supported by De Verbeelding Medicine to counter the disease was the one the camera gives.” There is a scheme (Film Fund and Mondriaan expensive and many animals were creative tension between sound and Fund), is set in an in-between world, simply left to rot and die. cinematography. We hear dogs that neither industrial nor rural. Roaming we don’t see. The sounds adds around the area in a car is a couple Her father (who appears in the film) “elements which have escaped the (played by Penelope Tsilika and is a geologist and her mother is an image.” Dimitris Lalos) with a very strange artist. Both are animal lovers. “I came job. They collect deceased pets, from a family that had many dogs Rafa may have shot the film in taking their carcasses to the which came as strays from the streets.” Athens but she has very strong Dutch crematorium where they are burned. connections. Her producers were Penelope and Dimitris also gather up There may be hints of her childhood Digna Sinke’s SNG Film. She studied roadkill. experience in the film but the at the Rijksakademie and her gallery storytelling is oblique. Rafa was is in Amsterdam. Her first major solo Rafa deliberately withholds determined to avoid direct exhibition was in Utrecht. The artist/ information both about the couple biographical details. She places director splits her time between and the world they live in. There are heavy demands on her two leads, a Greece, where her family is based, no specific references to the period couple with a relationship so intense and The Netherlands, where most of in which the film is taking place or it risks becoming oppressive. They her work originates. What’s more, its location. We’re told little about behave in as instinctive a way as the Gusto came on board early as the where the couple come from or how animals they tend. The actors had Dutch distributor. They behave in as they met. Dialogue is kept to a never met before. “I cast them instinctive a way as the minimum. separately and they prepared Having finished Kala Azar, Rafa is animals they tend separately. Only a few days before weighing up options as to what she The tone here is similar to that in the shooting, they got together. We even will do next. “I am preparing some “Requiem Series,” the director’s video started shooting with the intimate video pieces. I don’t have a confirmed exhibition yet… and, of course, in the back of my mind is the possibility of Kala Azar Director & script: Janis Rafa Production: another feature!” Geoffrey Macnab SNG Film (NL) - Digna Sinke Co-production: Heretic (GR) Sales: Heretic Outreach

16 17 Dutch minority co-productions in IFFR Tiger Competition Nasir Arun Karthick Piece of the Tiger La Fortaleza Jorge Thielen Armand

Two of the films in IFFR Tiger Competition had Dutch minority support, self-taught Arun Karthick’s award-winning Nasir (Rinkel Film) and La Fortaleza (Jorge Thielen Armand, co-produced by Viking Film).

Arun Karthick

Nasir

needs to be heard and what made to do post and the other half was La Fortaleza Described by the jury as “a moving me decide to say ‘yes’ was that, first sent to India to help with production

letter to and from the oppressed of all, it is a very important story but support,” Selen points out. Jorge Thielen Armand Dutch co-producer Marleen Slot “But despite that it was not just a Muslim minority in Mother India,” told in an original and fresh way,” explains her co-pro rationale. financial co-operation but also a Tiger competitor Nasir picked up points out Selen. “As much as it is a “This kind of HBF support enables “I do it all based on guts and on true co-production,” she the NETPAC Award for best Asian story about how the society in the you to make daring choices, for taste, and I value the previous work underlines. “They really involved film premiering at IFFR. South of India suppresses parts of example the script for the 90-min of the director a lot.” me in the entire process and I acted the community it is told in a film was just 35 pages,” he like a sparring partner for In the film, Nasir is a gentle man different manner to, for example, continues, “whereas a regular When she saw Armand’s previous producers Manon Ardisson and who suffers a hard life but remains our previous film about refugees minority co-production is restricted La Soledad she was deeply Rodrigo Michelangeli.” optimistic in the face of terrible (Rafael, Ben Sombogaart) or Paula to many conditions. The director impressed, and was further excited difficulties, all the time writing love van der Oest’s film about a terrible has to have a proven track record by the director’s desire to cast his “Always when I am a minority letters to his wife. Eventually, miscarriage of justice (Accused).” with previous A-fest selections, and In Jorge Thielen Armand’s La own father in the lead of La co-production partner I try to however, he wonders whether he reciprocity is kind of demanded. Fortaleza, Roque, who is just old Fortaleza. “That was immediately interfere as little as possible would be better off as a migrant The project received €50,000 from These conditions tend to rule out enough for a midlife crisis, has something I found so interesting because I think it is very important labourer in Abu Dhabi. the NFF+HBF Co-production projects that I really believe need to wrecked his mother’s car. He blames and also such a risk. I really felt like that the main producer can really Scheme. Sound post, grading and be supported.” the chaos in Venezuela, but his it could go both ways. It could be take the lead, and I only give my Rinkel Film CEO Reinier Selen deliveries were completed in The parents don’t share this view, and really good or a big mistake, but I opinion when it is really requested credits his colleague Ibo Karatay Netherlands. “And from the start Ibo was very throw him out of their house. To like it when directors take those or when I think ‘oh this is really with discovering the project (as well much involved with the script battle his demons, and the drink, he types of risk.” going in the wrong direction’, but as Karthick’s undoubted talent) at “The NFF+HBF support can be spent development of the project. He did a travels into the southern jungle to that was definitely not the case with CineMart in 2017, and monitoring it in the majority country (up to 50%) lot of script sessions and I think the renovate a cabin he built there in The project was rejected for Hubert this film. It was a really nice closely all the way through the as the euro goes a lot further in film turned out so well because of happier times. He meets old Bals support but was given the nod collaboration and I think the Tiger production process. India than it does in Holland. The that involvement. It is very friends, now captivated by the gold by the World Cinema Fund Europe Competition was the best place to film’s budget was 160,000 euros, uncommon that from a minority rush. But his desire for redemption after Slot submitted her go with this film,” Slot concludes. “Ibo realised that Karthick’s is a very which meant the HBF support was position you are able time-wise to be conflates with an increasingly application. There was no Nick Cunningham distinctive and specific voice that around 33% of that, so we used half involved at that level.” violent environment… requirement for any Dutch spend.

Nasir Director & script: Arun Karthick Production: Stray Factory (IN) La Fortaleza Director: Jorge Thielen Armand Script: Jorge Thielen Armand, Co-production: Rinkel Film (NL), Magic Hours Films (IN), Harman Rodrigo Michelangeli Production: La Faena Films (VE) Co-production: Viking Ventures (IN), Uncombed Buddha (IN), Cent Percent Films (IN) Film (NL), Mutokino (CO), In Vivo Films (FR) Sales: Reel Suspects

18 19 IFFR Limelight Journey into the past Farewell Paradise Sonja Wyss

Sonja Wyss successful and cool, they liked him viewpoints very different from as well. This was the source of mine.” adoring Dorine’s ire, and ultimately Older sister Kathy is a tour de force, the reason she hot-footed it to a firebrand in her youth, pregnant at Switzerland, where both originally 13 (or maybe 14 or 15, opinions came from. differ), her father’s favourite and a girl who, for many years, could not But all is not well when they arrive abide her mother. Christine is in Europe, and Dorine is forced to contemplative, sometimes playful, farm out the children to other but she is hurt that her father Sonja Wyss’ Farewell Paradise families as she does not have the suddenly disappeared out of her is a tale half a century in the means to upkeep the household. It life. Bettina, often tearful in the film, telling, of a woman’s decision to is a trauma (not always recognised was overcome by the experience remove herself and four daughters as such at the time) which informs having had to confront her past. from a warm paradise island to the future development of the girls, a cold and, initially at least, and of Dorine herself… Meanwhile, the father is blunt, hostile Switzerland. although the reasons for his The starting point in this cathartic behaviour are expressed clearly. He In Farewell Paradise, supported by analysis – for that is what the film didn’t find his wife sexy. After they the Film Fund and Production becomes for all concerned – is a had sex for the first time, he felt Incentive, nobody dies and the fantastic 1960s photograph of Dorine compelled to get married – the world doesn’t come to a shuddering and the girls walking towards the 1960s were different times. His halt. The documentary tells a small plane that will take them away. heart wasn’t in the marriage, story that affects few others than the although he wanted it to be, he says. family members featured in it. And Sitting in a blank studio, Ueli, in cinematic terms it comprises Dorine and then each daughter take Mother Dorine is ultimately a little other than a series of talking turns over many days to tell their survivor who, in later life, discovers heads reacting to an off-screen sides of the story, to laugh, to sexual liberation, forges a career in director/questioner, who then turns complain or to remonstrate, surprised journalism, and rediscovers her the camera on herself. by the new information they are innate sense of musicality. taking in but also unburdening Despite these seeming limitations, themselves of years of hurt and And Wyss? How does she assess the the film is riveting in its dissection miscomprehension, all the time experience? “I am the analytical one of a family feud, its slow revelation inexorably drawn towards a point of in the family. My interest was to of detail and in the disparity evident acceptance and maybe even learn and understand the within each family member’s reconciliation. motivations my parents decisions recollection of events. were based on. Decisions that were “We are a very open family, we talk so drastic to us, their children. The “We are a very open Back in the 1960s father Ueli and about everything, but we had never next step was to elaborate on how family, we talk about mother Dorine lived the dream life spoken about this… these were the consequences of the divorce of everything, but we had on the Bahamas with their four secrets that we never spoke of,” our parents had influenced and never spoken about this” young daughters. The problem was comments director Wyss. “There formed me and my sisters and how that Ueli had an eye for the ladies, were things that I never heard and it effects the next generation, our and given that he was dashing, my sisters had opinions and own children. Our past is working through the generations like radioactivity does.” Farewell Paradise Director & script: Sonja Wyss Production: Basalt Film (NL) Co-production: EO/IKON (NL)

20 21 IFFR Limelight Going for Gold Gold Rogier Hesp

They were looking for someone who their kids and made them cry would not only be able to look whenever they didn’t win. credible, vaulting and performing somersaults, but who could carry off Gold was inspired by an article the the dramatic scenes too. In the film, writer-director read about an athlete Timo has a fraught relationship with who was eventually murdered by his his father, a former gymnast now father. “That really triggered my wheelchair-bound. He also has vision on the way we look at Rogier Hesp strong and complicated feelings retrieving success,” he says. towards the female physiotherapist. Rogier Hesp’s Gold (which “I haven’t seen any sports movie world-premiered in IFFR Hesp stresses how he was where you see the downside. It’s Limelight) may be set in the “immediately sold” when he found always the same story of the guy who world of competitive gymnastics his lead actor, David Wristers, a wins and wins, then he loses, then but its writer-director says the former Dutch junior champion with he starts training more and he wins same story could be told against a boyish face but a very muscular – and he is happy about it,” Hesp the backcloth of any sport in body. “He looks like a man but he’s sums up the trajectory of the typical which children are pushed too really still just an adolescent boy – upbeat story of triumph told on hard toward success by their he’s like a little kid in a grown-up’s screen. parents, writes Geoffrey Macnab. body,” the director notes of the qualities which made Wristers the What about his own background? When Hesp conceived the film, perfect fit. It helped, too, that the Hesp says that his surgeon father, supported by De Oversteek scheme gymnast turned actor was such an unlike the one depicted in the film, and Production Incentive, he enigmatic presence on camera. always encouraged him and told wanted an actor to play the young When you looked at him, you could him to choose his own path. gymnast hero, Timo, who is getting never tell exactly what he was ready to compete in the world thinking, Hesp notes. Gold (which will be released in The championships. He thought he Netherlands in March by September would give the actor six months to The director kept on telling Wristers Films) may be Hesp’s debut feature prepare. not to play the part but to be the but he is an experienced director of part. The script was adapted to fit his commercials. “The advantage of However, the director was quickly personality and technique as a working in advertising is that you advised that this wouldn’t work at gymnast, “just so it felt more natural spend a lot of time on set. Even if it all. Gymnasts spend a decade or for him.” is 30 seconds or 40 seconds, you still more trying to reach the top of their have to bring that emotion on sport. They have skills which no Unlike the character he plays, screen,” he says. actor, however dedicated, can pick up Wristers has “nice parents.” in a few weeks or even after months However, during his time on the Shooting on Gold went very of practice. “I knew then I had to go circuit, he had seen plenty of pushy smoothly. “The only thing we were and search for a real gymnast.” and ruthless mums and dads, scared of was what if David falls?” driving their kids far too hard. “You the director remembers. He pushed Hesp and his casting director can see them (these parents) sitting Writers hard, but thankfully the therefore approached all the leading on the sidelines,” Wristers told him. gymnast actor was always able to

gymnast schools in The Netherlands. These were the parents who yelled at land on both feet. © Myrthe Mosterman

Gold (Goud) Director: Rogier Hesp Script: Anne Hofhuis Production: BALDR Film

22 23 IFFR Perspectives Dreamlife Melvin Moti Dual perspectives Leonie, Actress and Spy Annette Apon

Their subjects may be radically legendary Dutch actress Fien de la © Melvin Moti different but two Dutch films Mar (footage of whom is used in selected for IFFR Perspectives Leonie, Actress and Spy ). Apon tell the lives of two extraordinary further ramps up the dramatic story characters, the French caver of Leonie by including other huge Michel Siffre and the actress- stars of the age, such as Asta Nielsen turned-spy Leonie Brandt. and Pola Negri.

Just over a decade ago, video artist/ photo features Francesca Bertiniin Asunta Spina She enthuses about Eye filmmaker Melvin Moti read an Filmmuseum’s archive department, article in Cabinet magazine about a which she refers to as “marvellous, French “speleologist” (a cave expert) marvellous,” as it was very well called Michel Siffre who had spent organised in terms of subjects and two months living in a cave. The themes, thus enabling her to piece experience/ordeal allowed Siffre to Leonie, Actress and Spy together her film like a jigsaw chart the physical and psychological puzzle. She was even able to source

changes that you experience when Annette Apon was oriented more towards the very rare female prison footage you are exposed to such Dreamlife stage than the screen) but as in all (from the German film Die weissen subterranean hardships. great spy stories, she is clever, Rosen von Ravensberg, 1919) to “The main story is definitely based and Hans de Wolf. Windmill Films elusive and mysterious. What’s illustrate Leonie’s incarceration. “At the time, I was making a film on his expeditions but I took it into in Amsterdam will be handling the more, very few photographs of her about visual deprivation and I was my own hands. It is hugely Benelux distribution. Alongside the exist. “To write the script I had to know also researching self- fictionalised,” the director says of cinema screenings, the film will also what material I could find, so for experimentation,” Moti, whose the version of Siffre’s tale. be seen in art galleries. The cast is Filmmaker Annette Apon had months I was in the archive,” Apon debut narrative feature Dreamlife, headlined by the famously intense previously packaged the life story of stresses. “That was the first part, supported by De Verbeelding scheme Moti’s research was thoroughgoing. Belgian actor, Sam Louwyck, known Leonie as a fiction series for TV, writing the script, and then it took a (Film Fund and Mondriaan Fund), He spent a lot of time in caves. Ask for his work in Flemish classics like Born in Germany in 1901, Leonie before hitting upon an ingenious long, long time to get people premiered in IFFR Perspectives. He him what it is like spending Ex Drummer and Bullhead. Brandt came to The Netherlands in way to tell the story in documentary interested and make them believe it was fascinated by the article. He prolonged periods underground and her teens where she became both an form. Leonie, Actress and Spy , made is possible to become involved with began to read Siffre’s books and to he acknowledges that it is “very Louwyck has a background in dance actress and a double agent, working with Film Fund selective support, Leonie while seeing all these screen look at his photographs. He found intense” and can be disturbing. as well as acting, one reason why Moti for the Dutch and German secret uses archive from the Eye stars, all these different women. It something innately cinematic in “You have to fight all kinds of was keen to cast him. “Since the film services. A woman who could Filmmuseum that features was a big deal to convince people Siffre’s work. It also helped that the anxieties. It’s a non-human world. is based on isolation, it means the obviously live off her wits, the contemporaneous sirens and divas that it was possible.” French scientist was so photogenic. Your brain tells you not to do things main character is by himself, glamorous Leonie survived of the silver screen. We see the all the time. The access is very without any dialogue. That means imprisonment in Ravenbrück (where great Dutch and European “What also drove this idea to use In Moti’s description, venturing into challenging. You have to walk uphill you have to act physically – to she was at one point sentenced to actresses from the early days of film fragments was that I knew a cave sounds akin to being buried for a long time and then crawl into interest the audience just with your death) before working for the Dutch cinema, and each of their scenes is Leonie was a cinema lover from the alive. No, your mobile phone doesn’t very narrow spaces which are body and the way you do things,” National Security Bureau after 1945. used to illustrate a passage, an 1920s on,” continues Apon. “The work. Time unfolds at a different sometimes just the width of your Moti reflects. “He (Louwyck) could She was arrested again in 1950, adventure or an impression of films that I saw in the Eye archive, rhythm to the outer world. “You feel hip. You sometimes need to push physically communicate emotions accused of being a collaborator, but Leonie’s life. maybe they were the films that she alien… if something falls on you, it is yourself through that.” without any other actors to play released for lack of evidence. had seen as well… and was over. You are a guest as a human (alongside)… it was a beautiful Apon was no stranger to working psychologically influenced by as she being in that completely non- The film was made through KeyFilm, experiment to transfer the act of Leonie may not be so well known as with archive, having made Ik wil turned more and more to biological environment.” the company run by Hanneke Niens acting into a location like the cave.” an actress in The Netherlands (she gelukkig zijn 2016, about the espionage.”

Dreamlife Director & script: Melvin Leonie, Actress and Spy (Leonie, Actrice en Spionne) Moti Production: KeyFilm Director & script: Annette Apon Production: SNG Film (NL) Co-production: NTR (NL)

24 25 IFFR RTM Porcelain Jenneke Boeijink Decaying from within

In Porcelain, supported by the visual style changes. The opening is Production Incentive, there is a set in the sterile, affluent world of the stark contrast between the family’s family when they seem to be on top of experiences in their apartment “in the world. “The picture perfect world the sky in Rotterdam” and the much is cracking in part 2 and, in part 3, more idyllic, natural world they later we are in this rough kind of nature.” encounter in the Italian countryside. The sound editing also changes, Boeijink describes Porcelain as “a shifting from urban and industrial Jenneke Boeijink modern dark fairy tale.” noise in the early scenes to natural sounds in the rural Italian scenes. Writer-director Jenneke Boeijink’s Boeijink set out to cast actors who Porcelain starts in spectacular weren’t immediately familiar to The film screened in IFFR’s RTM fashion with a shot (filmed by a Dutch audiences. Laura De Boer, who section after making its premiere in drone) of the Rotterdam skyline, plays Anna, is Dutch but based in Cairo late 2019. Boeijink wondered writes Geoffrey Macnab. Berlin and works more in Germany if the story and images would be than in The Netherlands. Tom universal enough to appeal to an We draw closer and closer to a high Vermeir, who plays the arrogant international audience, but those rise apartment in which wealthy patriarch, is Belgian. concerns proved unnecessary as the property developer Paul, his wife viewers in Egypt responded warmly Anna, an expert in ceramics, and Finding the boy proved a struggle. to the film, picking up on what its their son Thomas live, seemingly in Boeijink had chosen a young actor director believes are universal prosperity and domestic harmony. but then production was postponed. themes about family, work, wealth “Two years later, we couldn’t make and the illusion of the perfect life. The film’s title comes from the idea the movie with that boy. He was too that porcelain may look perfect but old and so we had to start the whole Porcelain was in selection for that it is decaying from within. Anna process again.” CineMart (IFFR’s co-production explains this in the course of her job market) in 2014 but took several but the metaphor is obvious. Cracks The director was determined to find years to finance. The director had in the facade of the perfect family someone young enough to act started the project with her then- life soon begin to appear. The little without self-consciousness, who husband, Thibaud Delpeut, a well boy has behavioural problems. He is would forget that the cameras were known theatre director. prey to fits of unexplained aggression. there. “He had to be old enough to take into account things that I “In the beginning, it went really “I have this feeling about modern wanted to direct but also young smoothly,” Boeijink remembers of western society that we are all enough to be spontaneous.” the lengthy financing process. The director was sometimes aiming at the wrong Eventually, she found Neathan van However, potential backers would determined to find thing,” Boeijink explains the der Gronden, a kid from the Utrecht always ask whether this was a horror someone young enough underlying themes of her film. “We region who had never acted before film, a fantasy or a drama. Some to act without self- are trying to have a great career, and was able to play Thomas were uncomfortable that they friends, a big house. We dress without worrying about his couldn’t pigeonhole the genre. She consciousness properly. Everything is picture motivation and what drove his pays tribute to producer Sander perfect. It’s maybe an illness of destructive behaviour. Verdonk at New Amsterdam Film modern society that it is more about Company who stayed with the surface than it is about the inside.” Throughout the course of the film, its project from the start and guided it towards completion. Porcelain (Porselein) Director: Jenneke Boeijink Script: Jenneke Boeijink, Thibaud Delpeut Production: New Amsterdam Film Company (NL) Co-production: Wrong Men (BE), Verdeoro (IT)

26 27 Tiger Short Competition Beer at IFFR CineMart goes NL

In the 36-minute experimental David Verbeek’s The Wolf, the Fox & filmBeer , iconoclastic filmmaker the Leopard is a dystopian story Erik van Lieshout pulls off an about Isa (23) who has been found improbable, if not impossible living amongst wolves. She is feat, writes Nick Cunningham. brought back to a medical centre only to be kidnapped by an idealistic He accepts an extremely well- couple in order to help them build a endowed art prize (€100,000) without new, purer world. being in any way complicit in the questionable dealings of the mega- Produced by Lemming Film, the brand that bears its name. 100-minute €2,700,000 project has €127,500 in place from the Just after Erik van Lieshout won the Netherlands Film Fund (€102,500) coveted Heineken prize, details of the and Creative Europe (€25,000). The beer company’s alleged nefarious screenplay is also written by Verbeek. activities in Africa were published, involving sexual abuse of promotion “In order to start any attempt to hostesses. describe the core of this film, we must look at the animal kingdom So what did Van Lieshout do? He did Beer and ask ourselves what it is exactly what any self-respecting iconoclast that separates us from them,” says and neo-Surrealist would do, and things he goes beer mad, unveiling a Other topics Van Lieshout explores Garden of Earthly Delights the director. “What we do all day with mounted a full frontal assault on the Heineken green sofa (same pantone in the film are sex with his wife and our oversized part of the brain called company, and seemed to have a colour), rebrands the Yellow Canary masturbation (twice a week and In Morgan Knibbe’s €1.5m project become an explosively colourful, the frontal lobe is run simulations, great time in the process. In his pub across as the Green Canary, and every day respectively), the creative The Garden of Earthly Delights, eclectic and grim fairytale in which structure the past and project subsequent film, not only does he has himself rolled through the urge and the fear of aging. He also 12-year-old drug addict Kenji fights grotesque images of hellish horror possible future outcomes or even bite the hand that feeds him, he also streets of Wiesbaden in a human- spends a lot of time pulling human for attention, respect and freedom in are set against moments of surreal entirely alternative variations on unleashes his most confrontational size beer can. shapes on his floor to resemble what the drug-infused slums of Manila. beauty,” Knibbe comments. “The things we have perceived before. and disruptive inner self. seem to be numerous photographs images will have a layered meaning. What I mean to say here is: we’re Which is all great fun, but he is by of turds. Meanwhile, he struggles with his In the first place, the cinematic form storytellers.” Van Lieshout is very funny and is nature confrontational, and in the sexuality and crosses paths with will serve the emotional journey of great on camera, and does nothing film is delighted to say of Heineken “We tried to edit the film really Dutch sex tourist Michael, who is the main characters, which will “I see the art of cinema as a spiritual by half measures. In the film he is to camera, “they’re a terrible strongly on the Heineken problem, being torn apart by his dark desires. become intensely tangible and exercise,” he continues. “Something mainly housebound, due to a knee company, they’re raping all over but then it became a very boring sensory, mixing gritty social realism that cuts beneath rational narration. injury and so, in the great Africa,” before labeling them film,” Van Lieshout says. “So I had to Knibbe blazed like a comet onto the with magical escapades. And perhaps, at its core, to begin procrastinatory tradition of the “colonist exploiters.” put in the other stuff which was Dutch production scene in 2014 with with, the effort to prevent the creative artist, discovers the house important for me and the film… But his audacious doc debut Those Who Co-written with Roelof Jan Minneboo, destruction of the world is similar to chores that must be done before he What’s more, he spent a sizeable conflict is always the most important Feel the Fire Burning. Following this, the Filipino and English-language this; a spiritual exercise more than really gets down to business. But portion of the prize money on helping thing for me.” his The Atomic Soldiers won the film is produced by BALDR Film and anything else.” luckily, each chore, whether fixing to construct a pharmacy in central Golden Calf (Dutch Academy Award) has €72,500 in place, courtesy of the the bathroom cabinet or levelling a Africa to help some of the Elsewhere at IFFR, projects by two of for Best Short Documentary in 2018 Netherlands Film Fund (€22,500) Right now, Verbeek is in post- floor, are recorded, documented and communities that Heineken’s The Netherlands’ most vibrant film and the Dutch Director’s Guild and Creative Europe (€50,000). production on his feature film Dead used in the film. marketing practices have allegedly talents were presented at CineMart Grand Prize in 2019. & Beautiful, also produced by When he really gets into the swing of harmed. 2020. “The Garden of Earthly Delights will Lemming Film.

Beer Director: Erik van Lieshout Script: Erik van Lieshout, Garden of Earthly Delights Director: Morgan Knibbe Script: Suzanne Weenink Production: Suzanne Weenink Morgan Knibbe, Roelof Jan Minneboo Production: BALDR Film Co-production: Cinematografica (PH)

28 29 New IFFR Director Vanja Kaludjercic Vanja at the vanguard

At the end of IFFR 2020 Vanja She returns to a Rotterdam festival change or future priorities, Kaludjercic took over as Festival that has regained its reputation as a Kaludjercic recognises the sterling Director from Bero Beyer, who core player in the discovery of new work performed by the experienced will now be heading up the and vibrant cinema from all corners team and is holding fire until Netherlands Film Fund. of the globe, and as an essential tool Cannes following a period of careful in its finance, realisation and appraisal both of the festival they Vanja Kaludjercic tells an interesting release. have just hosted, and the 50th story about her first visit to IFFR. It birthday celebrations to come. was back in 2002, in the days before cheap flights, when she and five of She returns to a What is very clear is that she will her friends piled into a car and Rotterdam festival that continue to be at the vanguard in drove all the way non-stop from has regained its demanding equal representation Zagreb, dozed off for a couple of reputation as a core for women both at her festival and hours overnight by Rotterdam across the wider industry, and Centraal, and then grabbed her player in the discovery across all sectors, both creative and accreditation just in time for a of new and vibrant business. Miike Takashi 9 am screening. cinema She also underlines the uniqueness Back then (and little has changed of the festival’s host city, Rotterdam. since) the goal was to see 5 or 6 films At IFFR 2020 Kaludjercic shadowed “It’s such a diverse and exciting a day, meet up later with her friends the redoubtable and outgoing Beyer. place, which is exactly what the and colleagues and then lock horns “I had, for the first time, a bird’s eye festival is designed to reflect. Every over beers with the producers and view over the ensemble of events, area and interest is catered for. directors of the films she had just and I can still say it is one of the From events for filmmakers, artists seen. most amazing festivals in the world. and musicians to educational It has so many activities that cater to opportunities, there is a whole different demographics, and to see range of activities that extend across We are about to reach the different ways that film and art the cityscape. half a century and this blend together through audience should be one of our and maker engagement is really “Rotterdam is a place that pillars for the future fantastic.” celebrates unconventional cinema, champions filmmakers and brings “I really enjoyed seeing the number audiences from both worlds Since then, Kaludjercic has continued of youngsters at the festival visiting together in an informal way, to champion ground-breaking en masse, that was really fantastic to creating a thrilling atmosphere,” independent cinema from around see,” she adds. “It is an ambition to Kaludjercic says. the world, programming for the increase as much as possible likes of Sarajevo, Cinéma du Réel younger audiences, and to include “With the festival’s 50th year fast and CPH:DOX, heading up Holland them even more in the festival approaching I will continue to Film Meeting and most recently programme. We are about to reach celebrate everything that Rotterdam working as Head of Acquisitions for half a century and this should be is, and can become, as we look streaming outlet MUBI. And yes, for one of our pillars for the future.” towards another 10 years of diverse, two years she was head of Talks and ground breaking and inspiring

© Vera Cornel © Vera Masterclasses for IFFR. In terms of announcing wider policy film.”

30 31 Dutch Shorts Retrospective Rosto Spring Andy Goralczyk School’s Out Jamille Van Wijngaarden Flow Adriaan Lokman Clermont-Ferrand Playing Men – Homo Ludens Sanne Rovers

honoured at Clermont-Ferrand, a festival that followed his every move with deep interest and fascination. Lauded by cineastes across the world, Rosto made the masterly Wreckers Tetralogy which consisted of No Place like Home, Lonely Bones, Splintertime and Reruns, all of which were satellites around what he called the mothership ‘Mind My Spring Gap’: an online graphic novel of 26 episodes that illustrated his bizarre, mountains. There are places that Adriaan Lokman’s beautiful and unique, stylish and highly feel very ancient and much bigger extraordinary short animation Flow idiosyncratic universe. than our small existence. But (Special Program: 3D), made for Jona/Tomberry Rosto sometimes there are small traces, Valk Productions and supported by The Clermont-Ferrand retrospective carved stones, runes that give us a The Netherlands Film Fund, looks includes 6 films: The Rise and Fall of Dutch filmmakers were once same time there’s a belief that we are very current in my country at the hint of the tiny impact us humans to present in dramatic and physical the Legendary Anglobilly Feverson again in the frame at Clermont- should be mindful of the fact that moment. But when my film have had.” form the shape and power of the air (2002), Jona/Tomberry (2005), No Ferrand, the world’s leading boys and girls are anatomically screened at the International that surrounds us. He does so by Place Like Home (2009), Lonely Bones short film festival. Nick different. So here we have two Filmfestival Emden-Norderney in “The films of Hayao Miyazaki were linear-tracking the movement of (2013), The Monster of Nix (2011) Cunningham reports. camps and in our film this is Germany, I received a lot of praise certainly the biggest influence when wind around solid objects (humans, and Big White Big Black (2016). represented by the mom on the left from especially teachers in the it comes to the visual style,” he buildings, a turbulent sea, even a In Jamille van Wijngaarden’s very side of the table and the teacher on audience. So I came to realize these adds. “Very naturalistic with a lazy hand languidly extended from funny short Tienminutengesprek the right,” stresses van matters really transcend borders.” strong connection to reality. We the window of a sports car) and then Finally, Sanne Rovers’ 2017 Dutch/ (School’s Out), selected for Wijngaarden. wanted to create a world that feels removing those objects from the Belgian short doc Playing Men – International Competition and rich and tangible, which is very frame. Homo Ludens plays in the European supported by KORT! (Film Fund, “At the same time there are many Andy Goralczyk’s animation Spring, challenging to do in computer Short Film Award section. Dressing CoBO fund, NTR and NPO Fund), an problems in our education system, a made at Blender Animation Studio graphics. Again, it’s the connection “Everything that is invisible I turn up as a Viking for the weekend or old-style primary school teacher lack of teachers resulting in and selected for Clermont-Ferrand between us and nature that was the visible. Everything that is visible I racing through mud pools, some exacts violent revenge on a very overpopulated classrooms and Young Audience section, is the story leading element. The works of turn invisible,” Lokman points out. people lose themselves in games pushy parent who demands the very concerned parents venting their of a shepherd and her dog who must Caspar David Friedrich, a 19th “I like to look in another way at while others find it a curious way of best in modern education for her concerns with already stressed face ancient spirits in order to century romantic painter were very things that are kind of ordinary, in passing time. child. teachers. This really puts a lot of continue the cycle of life. It is a influential when it came to the this case the wind that is around us pressure on our educators and is proto-mythological tale of the juxtaposition of human versus all the time. We can’t see it but it In the film we meet a selection of Despite playing for laughs, the film, something that needs to be coming of spring, a ritual as old as nature.” has a huge influence on our lives… dare devils and free spirits; grown- produced by Dutch production addressed. So with this film I the world, and is frightening, It is a beautiful and fascinating ups who completely immerse house The Rogues and shot over hopefully allow educators, who are enormous and exquisite in equal “The mission of our studio is to thing but you don’t see it, you only themselves in games. At times, their 2.5 days, has a serious undertow, really undervalued, to be heard.” measure. develop Open Source software for see the effects of what it does.” complete devotion to the game will the director points out. computer animation and film- have the viewer wondering: what is The film has an in-built universal “I grew up close to the Swiss Alps,” making,” Goralczyk continues. “Our it that drives humans to play “In recent years we are seeing a appeal, the director adds. “To be points out director Goralczyk. developers work alongside us artists The eccentric, visionary and wildly human? more open-minded approach honest I made this film from a “While I was growing up, our family to improve the tools of our trade, talented filmmaker Rosto, who died towards gender neutrality, but at the Dutch perspective with issues that did many hiking trips through the namely Blender.” tragically early in 2019, will be

School’s Out (Tienminutengesprek) Spring Director & script: Andy Goralczyk Flow Director & script: Adriaan Lokman Playing Men – Homo Ludens Director Director & script: Jamille Van Wijngaarden Production: Blender Animation Studio Production: Valk Productions & script: Sanne Rovers Production: Production: The Rogues Prospektor and NTR

32 33 21 March-31 May 2020 Eye Exhibition Eye on Akerman Chantal Akerman: Passages

For Jaap Guldemond, Director of its quality,” he says of the stage an exhibition close to his Exhibitions/Chief Curator at the installation which features 24 heart. Editor Claire Atherton, who Eye Filmmuseum, the staging of monitors in a darkened space. It worked with Akerman for over 30 the Chantal Akerman exhibition, was a non-narrative piece but he years, is one of the artist’s key Passages (21 March-31 May immediately responded to “the collaborators, and has been in close 2020), is the fulfilment of a very sensitivity of the images.” The work contact with Eye about the show. long standing personal ambition, showed him how fruitfully Guldemond has also been in close writes Geoffrey Macnab. filmmakers with ability and vision touch with Akerman’s gallery, the could make use of the exhibition Marian Goodman Gallery, and with “We started this project before she space to amplify their movie work. the artist’s sister. died. This is exactly the field we are trying to focus on in our exhibition Akerman was a troubled figure, a A lavish catalogue has been prepared programme,” Guldemond says of manic-depressive with a close and for the exhibition. “Firstly, Akerman the show celebrating the pioneering sometimes stifling relationship with is an amazing filmmaker. Secondly, avant-garde feminist filmmaker her mother, an Auschwitz survivor. she is an important feminist, who committed suicide in 2015. already from the mid-70s onward. In the context of our museum, she is Akerman made both features for ‘She was one of the key one of the first filmmakers who theatres and installations for figures I knew I would deliberately took the step of galleries. “That made her very love to work with’ developing film installations based special. Finally (with this on works she had first meant to be exhibition), we are able to really shown in cinemas. There was no start at the beginning of this In her films, for example her early catalogue talking about this transformation of film into feature Jeanne Dielman, 23 Commerce subject,” Guldemond explains why exhibition and vice versa. Chantal Quay, 1080 Brussels (1975), about a he and his colleagues went to such Akerman was one of the first single mother who is also a efforts to produce their book. It not filmmakers who discovered the prostitute, she dealt with the only features writing by the artist exhibition space.” oppressive monotony of women’s herself but several essays focusing lives. on her installation work and the “She very precisely represents what I general themes in her work. am trying to establish in the Eye Guldemond had been hoping to Filmmuseum with the exhibition stage an Akerman exhibition for Akerman has influential admirers, programme. Right from the many years. He met her several among them filmmakers like beginning, she was one of the key times in Paris to discuss such a Joanna Hogg and Mark Cousins. figures I knew I would love to work project. Occasionally, their Guldemond suggests her work is with,” he underlines. meetings were disrupted when she now also being rediscovered by a would have manic episodes but broader audience because of its Guldemond had been aware of there were also periods when she attention to feminist issues. She is a Akerman’s filmmaking as long ago was calm and lucid. “Just when I towering figure whose influence is as the late 1970s. However, in the was trying to formulate what I was felt in sometimes mysterious and mid 1990s, at a museum in trying to do (in the exhibition), she indirect ways. The exhibition, which Wolfsburg, he stumbled on one of died,” he says. includes both her earliest work and her installations for the first time. “I the installation Now she presented remember that I was really struck by Now, the Eye curator is delighted to just before her death, is bound to Chantal Akerman in the mirror 1971-2007 boost her reputation yet further.

34 35 Bilal Wahib European Film Promotion Shooting Star from The Netherlands 2020, and star of Mees Peijnenburg’s Paradise Drifters in Berlinale Generation 14plus.