interviews

Binti Fight Girl Journal Tangerine Tree No. 2 | 2019 Monkey KIDS Regio Forum May

Photo: BINTI www.ecfaweb.org Index Editorial

3 BINTI Interview Bringing different colours to the screen

6 FIGHT GIRL Interview “Children’s film is not an island,” Nicola Jones (Gold- Award nominations of the year, in films like BINTI, 8 ZOZOOLOI FROM MONGOLIA en Sparrow) stated in an interview (see page 16). FIGHT GIRL and I USED TO LIKE THE SEA. DoxSpot Obsessed by our own box office numbers, European funding applications and ECFA jury invitations, we This diversity is also reflected in the pages of this 9 Tangerine Tree should not forget that the world of children’s film Journal, exposing you to the widest spectrum of Interview is part of a bigger film industry and part of a socie- what children & youth film can offer, through not 12 LOS BANDO ty who’s trends and tendencies we can’t (and don’t only interviews with EFA Award winner FIGHT GIRL Interview want to) escape from. and ECFA and recent EFA Award nominees, but also with one of Europe’s most qualified children’s doc- 14 FILMS ON THE HORIZON That is why great importance should be given to the umentary producers. You can read about a wonder- 16 KIDS Regio Forum & Golden Sparrow upcoming KIDS Regio Forum, where current policies ful Albanese treasure in archive films (the work of Interview in children’s film and media will be discussed and Xhanfise Keko) or about unique participative pro- where the sector will join forces, searching for ways jects. “As a festival programmer, it was never as easy 19 THE RED PHALLUS to implement societal tendencies like co-creation as today to bring different colours to the screen,” was Interview and lifelong learning in our work. Find the interview another statement from Nicola Jones. 20 ZARA AND THE MAGICAL FOOTBALL with two leading ladies behind this exclusive net- BOOTS working event in this ECFA Journal. Another interesting event to look forward to is Participative Projects the ECFA Conference at the Schlingel Festival (7 & We’re happy to meet these tendencies also on the 8 October) where new and upcoming ways for film 21 Film – A language without borders level of film content – we’ve never seen so many distribution and the role that festivals can play in Participative Projects children’s films about (gender) identity, we’ve nev- the perception of children’s films will be discussed. 22 The work of Xhanfise Keko er welcomed so many female heroines and we’ve We’re hoping to meet you all there! Archive film never seen so much diversity on screen as we’re seeing nowadays. This is reflected in the first ECFA – 24 FAME, Take 1 Gert Hermans Conference report 26 MONKY Interview

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Frederike Migom about BINTI “A sheet of paper that says you don’t exist.”

„There is no place to call home,“ says Frederike Migom: I’d prefer to call Binti, the main character in Frederike it ‘a communal house’. Many squats Migom‘s feature film debut. Binti nowadays are well-organised. Like and her father have no place to feel the one where we filmed, where a at home. Certainly not in the squat, non-profit organisation was offering from which they have to flee for the housing facilities to those who can’t police, and not in Belgium, where afford a proper roof over their heads they have been living for years with- in an overcrowded and expensive city. out a residence permit. Even though Unfortunately, the building now has on her YouTube vlog Binti has plenty been claimed back by the owners, Director Frederike Migom © Faye Wolfs of followers, officially - on paper - she who are planning to fill it with offices doesn‘t even exist. or apartments. Migom: I deliberately didn’t want Migom: The squat was a cosy and col- to specify his answer. I assume that ourful place too, which was my delib- Binti’s vlogs are fun intermezzos, of- Some people live there in constant everyone who is willing to endure erate choice. Houses are usually not fering the audience some extra room fear. those horrors, will have a good rea- the most rewarding film locations. to breathe in a dynamic film, an explo- Migom: Not only sans papiers do live son for it. I don‘t want the audience But the overload of colours and at- sion of energy and colours. Just like there, not everyone was there illegal- to compare „he has the right to flee tributes was fun. We even play around the title character, who, together with ly. In reality, police raids only seldom and he doesn‘t.“ I have no answer as with those colours: Binti and Christine her father, seeks shelter in the house take place. Nevertheless inhabitants to why so many people are fleeing, are always colourful. Elias and Jovial of Elias, a somewhat introverted boy are constantly moving from one place but I do know that there are plenty of are more khaki or green... They refer of her age. From then on, a plan rip- to another because they cannot find a reasons for people to pursue a better to nature, while Binti and Christine ens in Binti’s head: if she can link her permanent home. life elsewhere. have a more urban appeal. father to Elias‘ mother, all their prob- lems would be solved at once. When Elias asks Binti‘s father Jo- After their escape, Binti and Jovi- Elias‘ „Save the Okapi“ club is a vial why he left Congo, he replies: al end up in a completely different hopeless one-man battle to fight. The film starts in a squat right in the „Sometimes you can only go away.“ world with Elias and his mother Why okapis? city centre. An unknown, parallel Sounds rather indifferent, doesn’t Christine. She is a fashion designer, Migom: There is so much to tell about world for most of us. it? surrounded by colours and clothes. those animals. Their existence is

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Tshiani (Binti) and her boundless difficult moments. energy determine the rhythm of the film. How did you direct such a bulb Also in real life Bebel and Baloji are of energy? father and daughter. Migom: Bebel is like a bright ray of Migom: That was such a wonderful sunshine and therefore perfect for gift. We casted around 60 girls for the this role. She acts very intuitively, role and Bebel was the best. With the while Mo Bakker (Elias) plays more children I rehearsed for a few days: thoughtfully. Keeping Bebel‘s energy trying out scenes, capturing an at- level under control was a challenge. mosphere... Each director has his own Days were heavy, the young actors method, but I find rehearsing very got tired, but then we went outside useful. I have a background in the- to shout and roar together, and that is atre and I like to do my improvising threatened by rebels, poachers, clima- Despite the serious theme, these how the energy came back. beforehand, so that you are well pre- tological and political factors. The sto- vlogs contribute to the feel good pared when arriving on the set. With ry about how okapis came to Belgium, tone of the film. Something is going on between our budget, there was little room for which is the central breeding ground Migom: The film focuses primarily on those two actors. They totally shine improvisation. for all okapis in captivity, refers to our people: who are they, what do they on the screen. colonial history and to Jovial’s fate. do? People with no official documents Migom: I can‘t play the typical strict All your characters are strong hu- These mysterious animals only live in are often cheerful, warm personali- director. It always had to be as much man beings. the Ituri rainforest. Congo is there- ties. And of course there is the music. fun as possible for the kids. I wanted Migom: I like strong characters, as fore not only a distant and dangerous I wanted a soundtrack that was 100% us to enjoy ourselves and work to- long as they are not too perfect. Binti country, but also a beautiful place full 2018, to which Congolese elements gether on something beautiful. If the is the heroine, but she is also a girl of of nature, culture, music... and okapis. were added. Everything had to merge atmosphere on the set sometimes be- flesh and blood with her weak sides. into one, exactly what Le Motel does, came a bit tense, I dared to ask them Yet, in this film it is the kids who come One of the movie’s assets are Binti’s in one of his songs he uses samples of to go the extra mile. If I needed them up with solutions, while the parents vlog posts. They are super fun and singing pygmies, who live in the Ituri for the full 100%, they were there, keep muddling through. look totally credible. rainforest, just like the okapis. As if especially for me. That was so nice! Migom: I watched a lot on YouTube it was destined to be! That was the I think they felt a close involvement BINTI was shot during a terribly hot and studied different styles, on which sound pattern that I was looking for with our joint project. Bebel is very summer. Did you suffer from the our own vlogs are based. We recorded with BINTI. young and had - unlike Mo - no expe- heat? them with an iPhone, directly on the rience at all. But we always were able Migom: I wanted a summery, sunny spot. That was great fun. The incredibly lively face of Bebel to drag each other through our most film, but the gods took my prayer a

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bit too literally. It was superhot, with Migom: I did a lot of research because Binti makes an impressive final a lot of sweating going on. We filmed I absolutely wanted it to be correct. statement: „I do exist“, she says ex- scenes with 50 people in a small plane There is no standard procedure; there plicitly. without air conditioning. The make- are too many legal administrative de- Migom: She addresses the audience up artists worked overtime dabbing tails and exceptions. The procedure as directly through her vlog channel. the sweat. There were dance scenes I show it is quite extreme, but perfect- Anyone can „be someone“ on for which the children had to jump ly possible. Everything that happens YouTube. Even though there is a sheet around in costumes at 35 °. To do 20 in the film has already happened in of paper that says: you do not exist, takes under such circumstances, you reality. Despite the cheerful, romantic or at least not in this country. There, have to be brave. The production tone, we did not want to undermine Binti claims her place in our society, team went to buy ice creams for the the seriousness of the case. In the and she has the right to claim it. extras. course of this project many people have asked me to re-think that ending. – How realistic is the procedure you They thought it didn’t sound credible. Gert Hermans describe in those closing scenes, But I was 100% convinced and didn’t that has to do with arrest, deporta- give in. Now I‘m proud of that. tion…?

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Director Johan Timmers about EFA Award winner FIGHT GIRL The smell of sweat and bruises

While her parents are caught up in sects end up in the story? a divorce, the introverted Bo moves Timmers: We had ordered them long with her mother to an Amsterdam in advance. They needed time to suburb. A girl next door introduces grow, otherwise you wouldn’t even her to a kickboxing club and Bo turns notice them on the screen. They are out to be a natural talent. But Bo just a minor element of the story, but must learn to control herself, because I like them better than yet another you should only fight when you’re in dog or cat. the ring. In that way we get a better under- For FIGHT GIRL, it seems like director standing of Bo’s anger. Johan Timmers knew exactly how he Timmers: The scene in which we see wanted to tell this story. With a lot of Bo in the ridge of the gym hall is a key that is what they do all the time. ble, she would knock us both out in passion and inspiration, but also with moment. When we hear her ‘mono- Timmers: Bo’s story is very simple: a the blink of an eye. Main actress Aiko a lot of anger. FIGHT GIRL shows an- logue interieur’, we come closer to girl suffers from her parents’ divorce Beemsterboer trained three times a ger in all forms and variations, among her, we sympathise and we under- and fights her way through it. That’s week for four months. The immense young people and adults, because stand why she is angry. When she is all. If she wins the competition, she power of kickboxing radiates through- everyone is angry in their own way. practicing kickboxing and she doesn’t has conquered herself and she mas- out the entire film and adds an extra get the hang of it immediately, that ters the situation. She has grown up dimension. It is a youth film, but the Johan Timmers: Bo’s anger should not makes her furious - “I must succeed!”. to become strong and autonomous. tone is tough, raw and energetic. repel the audience. That is why sever- When kickboxing, that inner struggle Kickboxing is such a beautiful sport! al softer moments, such as the sweet must be in balance, otherwise you get There is a lot of bruises involved scenes with her brother, show us how smacked in the head. The better she Is it really? Timmers: No, it all looks spectacular, vulnerable she is. The film starts with can control her anger, the better her Timmers: I started kickboxing myself but the boxers are well protected. the image of Bo talking to her stick in- boxing is. now and it is a very difficult and tech- Competitions are fought with head- sects... This girl is still a child! nical sport. In this film, 14-year-old caps on, but then you couldn’t recog- You don’t spur the audience to hit girls are fighting at top level. Noa Fari- nise the characters, so we dropped By the way, how did those stick in- each other’s faces, but in the film num (in the role of Joy) is unbelieva- those. Aiko had a bruise here and

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your children is totally unacceptable. to hug me after the first rehearsal. I The only adult who manages to play a wanted to hold on to the feeling that meaningful role in the children’s lives everyone was very easy with his body is the trainer. and with each other. In reality, boys and girls rarely fight each other, but What about the language? Is that I enjoyed showing how some girls just stylised too or is it real street talk? knock down the boys. This is a film Timmers: The actresses have adjusted about girl power. the dialogues to their own liking. But scriptwriter Barbara Jurgens has two Thanks to actress Aiko Beemster- teenage daughters, she knows the jar- boer. gon of youth in and out. Timmers: She is a phenomenal talent. We had 25 shooting days and Aiko is there, but every fight was strictly ing club seem to take place in two You make a statement by choosing in just about every shot. She is a fan- choreographed by a coach, punch by different worlds. female protagonists in a boxing tastic fun and smart girl. She came up punch and kick by kick. And all cred- Timmers: You can depict suburban life film. In the ring boys and girls are on with suggestions and we discussed its to our editor Philippe Ravoet, who in a gloomy way, as Ken Loach does so an equal terms. everything together... It was a very contributed substantially to this film, well. But I didn’t want cliché images of Timmers: We rehearsed the boxing true and special collaboration. especially to the final fight, that he poor, gray flats. We opted for stylised scenes with a lot of extras, members entirely puzzled together. places, such as the geometric high-ris- of various boxing clubs, and I immedi- – ers and the intimidating courtroom. ately noticed how physically they act- Gert Hermans The atmosphere in the boxing club Outside the boxing school it is always ed with each other. They already came feels authentic. You can almost cold and dark, inside it is warm. There smell the odour of sweat. we shot with a handheld camera, mov- Timmers: We built that set from ing closer to the characters. scratch in an old factory. Kickboxing sometimes has an aggressive conno- The parents usually stay out of tation, but I wanted a location that sight. was clear and bright. Despite that Timmers: I chose to maintain Bo’s per- smell of sweat, it is a magical place spective. That’s why I literally kept the where it is nice to box. Of course all parents at a distance. This is not their details in colour and lighting were de- story. You realise Bo is the most ma- cided in advance. ture character, while her parents fight out their childish arguments in the The scenes in and outside the box- background. Quarrelling in front of

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199 LITTLE HEROES – ZOZOOLOI FROM MONGOLIA

“I’m a shy Tuvan girl, I cannot speak Although the sisters like the nomadic well, I don’t speak much.” Neverthe- life in the mountains with their par- less Zozooloi, a 12-year-old Mongo- ents, they enjoy the advantages of liv- lian girl, gives us an insight into her ing in a village with many other kids, exceptional life in the Altai Mountains their friends, electricity and internet. and her long way to school. Her par- ents are living a nomadic life at 3,400 A wide and barren countryside, no meters above sea-level – it’s like en- paved roads, no houses, only a small compiles documentaries portray- programmed in the ECFA Doc compe- tering another century: no electricity settlement of yurts. The film gives an ing children in each country of the tition at the doxs! festival in Duisburg, or running water. As Zozooloi has no impression of the nomads’ harsh and world on their way to school. Sigrid Germany. brother, she is the one to undertake demanding life and the way they’re Klausmann-Sittler and her husband all demanding, and sometimes dan- dependent upon the nature that sur- Walter Sittler launched the first sea- Director: Sigrid Klausmann-Sittler; gerous, tasks in the household and on rounds them, the climate and the ani- son in 2014, producing 23 short films, Producers: Walter Sittler, Gerhard the animal farm. mals. Zozooloi is quite aware of these filmed on five different continents. Schmidt; Cinematographer: Thorsten coherences. She reflects about the The full-length movie NOT WITHOUT B. Harms; Production & Distribution: Zozooloi herself does not want to climate change that makes it harder US has been created out of 16 short Gemini Film & Library, Schneeganz become a shepherd. Her dream is to survive: “In winter it snows a lot episodes (ZOZOOLOI FROM MON- Productions. Germany, 13’, 2018. to become a teacher. That’s why she and in summer the sun burns intensely. GOLIA was one of them) and has goes to school, studies hard and only Then there is a drought in summer and enjoyed tremendous success at film The Doxspot column is published goes back to the settlement for the no feed in winter. If things continue like festivals around the world. Until now, with the help of the doxs! festival holidays. The neighbour’s car enables this, our animals will die and there will it is still a ‘work-in-progress’ with a for children & youth documentaries her, her sister and up to 13 other chil- be no nomads anymore.” large community of “hero friends” (Duisburg, Germany), www.do-xs. dren to travel the 120 km distance to and an interactive internet platform de. school. After a six-to-seven hour jour- The film is part of the worldwide film (www.199kleinehelden.org). ney they arrive in Tsengel, where series 199 LITTLE HEROES, a project under the patronage of Germany’s In 2018 the film 199 LITTLE HEROES Zozooloi stays with her grandmother. UNESCO-Commission. The project - ZOZOOLOI FROM MONGOLIA was

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Youth documentary producers Tangerine Tree Nienke Korthof & Willem Baptist: “A substantial part of the production budget was spent on fines”

me? On our website is a quote: “Pain is Nienke Korthof: These are not the temporary, film is forever”. A filmmak- kind of children that stand out. er must dare to suffer and seek for Baptist: We are based in Rotterdam, discomfort. And of course we ask our- a straightforward working-class city. selves which ethical limits we should We sometimes stir things up and love respect. to be a bit defiant. When I started making youth documentaries, I had LENNO seems like the perfect ex- nothing to do with children, and you ample of all the elements you just don’t even have to. If a submitted pro- summed up. ject starts like “I myself am a mother of Baptist: Director Shamira Raphaëla four...” we immediately lose interest. deliberately strived for that rawness We’re not looking for mothers. Our and did not want to sugarcoat the sit- starting point is never patronising or uation. In this film we have explored pathetic. BIKELIFE the limits of what could and could not be done. Boundaries can be pushed How do you recognise a good story? Nienke Korthof and Willem Baptist Willem Baptist: We are up to our ears both on a cinematographic and ethi- Baptist: That has to do with urgency are the driving force behind Dutch in youth documentaries. Since the cal levels. How to deal with a child in and with a director’s vision. You can production company Tangerine Tree, launch of Tangerine Tree, we’ve made a precarious situation? What are our analyse a good story academically: is experts in the field of youth docu- 14 of them, and all of them “have responsibilities? For the rest of his there enough conflict, redemption, mentaries. This year they stood at the balls”. We treat youth documentaries life this child must live with a docu- surprise? But our question for the Berlinale with their short #BULLYING with as much love and regards as films mentary for which he himself is not director is: Why do you want to make STORY and with BIKELIFE a new high- for adults, but we also set the same responsible. this film? Is there a connection with light was added to their catalogue. standards. We do not make films for your own childhood? Do you want to On the occasion of receiving the ECFA children, we make cinema for a differ- All your protagonists are kids that prove or tell something through this Doc Award 2019 in Berlin for LENNO ent target group, and coincidental- are exceptional, but in an unexcep- child? A few years ago we produced & THE ANGELFISH, Baptist, on stage, ly that turns out to be children. Our tional way. Children you should look SKATEKEET. Director Edward Cook mi- described their company as “hardcore most important question is: Is this a for, as they don’t advertise them- grated from Iceland via the US to the children’s documentary producer”. strong and honest film? Does it touch selves. Netherlands and found a home in the

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#BULLYINGSTORY LENNO & THE ANGELFISH skaters subculture. With that experi- never expose themselves. But if you though both his parents were very ill, tion? Jose had some conflicts with the ence in his backpack, he made a film speak their language and understand he was trying to defuse death. Thanks police and is now facing this crucial about a girl who doubts whether she their world, they will open up much to my own experience, I’M NEVER choice. belongs with the boys or with the girls more easily. AFRAID got a certain sincerity. Korthof: You are only legally punisha- and finds a safe haven among those ble from the age of 14. Isn’t it typical skaters. Edward, who knew this world There is a credo for fiction film BIKELIFE is another diamond in the for a boy like Jose that he got arrest- through and through, was perfectly directors: the trauma’s from your rough. The film tells about Jose’s ed on the night of his 14th birthday? placed to make this film, as he could own childhood will not necessarily dream to ride with a gang of stunt “For riding a bike, that wasn’t fair” he dig beyond the superficial level. provide a good story. But for a doc- cyclers, sweeping across the city on explains. René got to know the bike- umentary maker it helps to be famil- pimped bicycles. Jose doesn’t mas- life scene through him. These days, The same goes for LENNO & THE iar with the subject. ter all the stunts, but keeps on prac- every major city has such a scene. ANGELFISH. Baptist: We are not after directors ticing. Though, growing up turns Baptist: Shamira knows that tough making films for therapeutic reasons. out to be a lot more difficult than What exactly is bikelife? world, families on the edge of a crim- But your own background sometimes cycling and both come with a few Baptist: Groups of youngsters riding inal lifestyle. That is why she can be allows you a certain focus, an angle. bumps and bruises. out on very peculiar bicycles. The po- more than just a ‘peeping Tom’. Peo- As a child I was a scaredy-cat. Later, I Baptist: Director René van Zundert lice regard them as a kind of motor- ple living under such conditions devel- started looking for stories about chil- wanted to make a film about a child cycle gangs. They are not, although op a special sense, a radar for who is dren who are not anxious, who are in that already had some contact with there’s often a few boys with a crim- sincere or not. They immediately rec- control of their fears. That is how I the law, and who is now at a junction inal background riding with them. It ognise a bourgeois filmmaker from came across this boy who wanted to in his life: do I follow the path towards looks great on camera: dark-skinned Amsterdam, to whom they would become a motocross champion. Al- crime or do I choose another direc- boys wearing golden necklaces hav-

10 | Journal 02 | 2019 INTERVIEW ing illegal ride-outs through the city. Korthof: But since we took this deci- They do their stunt-riding in the mid- sion, we already launched five new dle of the road, which easily attracts titles, so... police attention. Are you maybe a bit saturated? How difficult was it to capture that Baptist: About 50% of our projects bikelife scene on film? comes from the Kids & Docs work- Korthof: René only brought along a shops and the Human Rights TV se- cameraman, to keep the crew as small ries, and I got a bit bored with the for- as possible. That way they could meet mat. In the Netherlands the formula with the gang every day without a has become very fixed; give me three perfect shooting plan. They had to be random words and I can on the spot LITTLE FIRE flexible, because always something come up with a film plan. When I did was going on with those boys – set- the Kids & Docs workshop in 2009, we something fresh. We’re counting on in which two feature documentaries ting appointments was not something felt like we were going to change the an audience that wants something will be developed. Shamira Raphaëla they agreed on easily. So we were world with our films. That urge now different than yet another film about is going to develop one with us, about freewheeling. The biggest problem seems to have disappeared, it all got “a girl dreaming about having her own a flat in Rotterdam. Soon we’ll know was: those guys go terribly fast! And institutionalised. Of course we are riding horse”. Nevertheless LITTLE whether the project will receive fur- you can’t follow them with a car. We spoiled: so many good documenta- FIRE for example is a very moving film ther funding. bought two scooters, but then they ries have been produced in the Neth- about a moving subject: an autistic went everywhere where scooters erlands. Now there is a new batch of boy getting a biker buddy. You work together as a couple. How were not allowed. A substantial part films that are very well made, all fit- Baptist: But even in that film we en- do you manage? of the production budget was spent ting nicely in the same box to meet couraged the director not to show Korthof: We are used to it. Running a on fines. the broadcasters’ expectations. When only the sweet sides. He also shows household is more challenging than we propose a plan that looks a bit dif- how the protagonist Noëll clumsi- producing a film! People often sup- Now what’s next? ferent, we see how broadcasters are ly stumbles into a creek. For such a pose we’re spending all our days to- Baptist: It is not the best moment to immediately trying to mold it nicely: short documentary, the director goes gether, while in reality we hardly see tell you, but... we are planning to de- we need more conflict, more recog- on the road together with a child for each other. But together we know ex- crease our efforts in youth film pro- nisable elements etc. about six days. actly what we do want and what we duction. We must be more selective. don’t want to do. Youth documentaries are often made Which are exactly the kind of expec- But first you have a feature young by young directors. We need to invest tations you’re trying to avoid. audience documentary in the mak- – a lot of extra energy in their projects, Korthof: We also produce sweet and ing! Gert Hermans and the financial reward is limited. tender films, but there is a need for Korthof: Doc Junior is a new trajecto- That balance just isn’t fair. ry supported by the Dutch Film Fund, More info: www.tangerinetree.nl

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Arild Tryggestad and Tiril Marie Høistad Berger about LOS BANDO “If needed, I can scream very loud”

A lot has happened since LOS BANDO These options were already includ- got exclusive attention in the Septem- ed in the film’s original dilemma: ber edition of the ECFA Journal. After making a band movie or a road mov- a triumphant march that lasted an en- ie? You wanted to do a road movie. tire summer and autumn, now the film Tryggestad: Me and Christian had an was nominated for the prestigious ‘idea meeting’ about making another EFA Award. On the occasion of the fresh, nice young audience film. Chris- JEF festival, a remarkable LOS BAN- tian as a young guy played in a band DO delegation was welcomed in Ant- that also participated in this band werp. Arild Tryggestad is screenwriter contest “Norwegian championship of and editor, but most attention went rock” and I always loved road movies. to actress Tiril Marie Høistad Berger. Mixing both together, we ended up exterior shots during a three day trip. spired you for LOS BANDO? In the role of little cellist Thilda, she with a band on a trip to the far North. They made a ‘road movie in reverse’ Tryggestad: I do have some favourites. was one of last year’s most intriguing from which we used the footage. LITTLE MISS SUNSHINE profoundly in- film characters. Together they talk Norway’s wild, breathtaking land- spired us in terms of structure. Just about their love for road movies, cel- scapes seem like a perfect location How would you define LOS BANDO like LOS BANDO, this is a true ensem- los and good rock music. for a road movie. as a road movie? ble movie. THELMA & LOUISE is sim- Tryggestad: It’s a long, narrow coun- Tryggestad: People travelling from ply fantastic. And I would consider When the audience comes out of the try with a lot of different landscapes. one place to another and it is not SIDEWAYS a road movie as well, even screening they might feel the urge For some places it takes days to drive about the journey as such, but there if these two friends keep on driving to do two things: steal a car to start there. Pure road movie material! We has to be some personal development in circles through California without cruising the country, or buy a guitar drove from South to North - like the of the characters as well. They have ever reaching their final destination. and start playing. scripts says - filming the scenes with their struggles that need to be solved Which option would you recom- the actors. Starting from the Lilleham- ‘on the way’. The challenge is: their Tiril, you’ll be remembered as ‘the mend? mer woodlands, we passed the coast, problems are situated in their daily girl with the cello’. Arild Tryggestad: I’d probably suggest the mountains, and then finally onto life at home, but still have to be sort- Tiril Marie Høistad Berger: It’s a cool you to ‘play guitar’ and see if that the snow in Tromsø. Then director ed while being on the road. instrument. I had an instructor teach- works out. If not, you can still steal a Christian Lo and DoP Bjørn Bratberg ing me how to hold the bow correctly car. drove all the way back, filming the Any classic road movies that in- and I had to practice eight times per

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week. I learned to play some songs. ing his own lies, driven by his irration- problems. But for the film I only had to make ally great expectations. During the the right movements, they hired a journey he should learn to grow up. Arild, you were also the editor of professional to play the songs. It’s my the film. How was it to cut your own hand holding the cello, but the sound What is the specific role of this cyn- story? is hers. ical character called ‘The Hammer’? Tryggestad: Terrifying. The editor is Tryggestad: Meeting your idols is supposed to be a ‘neutral outsider’, How important is music to you? seldom a good idea, especially not if but I was far from neutral. It made me Berger: Super important! I sing every they’re only a vague shadow of who very nervous. I had to cut out several single hour of every single day, and I they once used to be. The Hammer is parts I really liked, that’s what editing love it. the one who has experienced the mu- is all about. The most important thing Tryggestad: Rock music was a big sic industry and the success the oth- was to maintain the feeling of being inspiration for the movie. We have ers are dreaming of, but ended up on on the road. some cool Scandinavian bands on the the wrong side of it. soundtrack, even a couple of my per- Spoiler alert! Los Bando doesn’t win sonal favourites, and I was so happy Thilda is a rather extreme charac- the music contest in the end. they all agreed. ter: dark and mysterious. What is Tryggestad: Showing that “you can going on in that pretty little head win by not being the winner” was an Other music had to be written espe- Tiril Marie Høistad Berger (LOS BANDO) of yours? important element. Their real victory cially for the film. Quite some pres- Berger: Thilda’s head is full of is about playing on that big stage and sure for the composer? You created a perfect profile for thoughts. She doesn’t feel happy at becoming friends. Tryggestad: Eirik Myhr wrote the every musician in the film. And I home, because her parents are never Berger: Grim is a winner because he score and the songs for the band, was so happy that just for once, the there. They don’t have a close rela- brought his parents together. Aksel he made arrangements for the cov- drummer wasn’t an idiot. tionship, which makes her unhappy. is a winner because he gets ‘a girl’. er songs, and then had to make sure Tryggestad: Thilda’s character, I al- Thilda is a strong girl, she knows what Martin is a winner when he convinc- everything came together, sounding ready had in mind for a short film: a she wants, but what she wants most es his father. And Thilda is a winner like one entity. little girl with a strong power, playing is a family. now that she has found friends. All of an instrument that is too big for her. them are winners! But the best musical scene comes For her age, Thilda’s cello is total- For the story friendship and music from you, Tiril! Where did that roar- ly oversized, which creates a funny are equally important. – ing, grunting scream come from? visual effect. And we wanted an intro- Tryggestad: Every character has is- Gert Hermans Berger: That’s me. I have a very deep verted character only coming to life sues that are too big to deal with by and strong voice. If needed, I can behind his drum kit, kicking out all his themselves. Only by supporting each scream very loud. frustration. That was Grim. Aksel is liv- other, they are able to face their own

13 | Journal 02 | 2019 Films on the Horizon

AFTERLIFE Up Prod. Production: Toolbox Film Phone: +32 43 42 36 02 Feature, The Netherlands, 2018 World Sales: LevelK – Film & TV Distri- World Sales: LevelK – Film & TV Distri- [email protected] Director: Willem Bosch bution bution www.passerelle.be; Prod.: Pupkin Film See address above See address above http://jenaimepluslamer.com World Sales: Dutch Features Phone: +31 6 42 40 69 22 DAFNE LOTTE AND THE LOST [email protected] DRAGONS www.dutchfeatures.com

THE ARCTIC CAMELS Feature, Norway, 2019 Director: Karl Emil Rikardsen Prod.: Relation04 Media, Giraff Film, Toolbox Film HARAJUKU World Sales: Autlook Filmsales Feature, Italy, 2019 Feature, Norway, 2018 Phone: +43 720 34 69 34 Director: Federico Bondi Director: Eirik Svensson Animation, Estonia, Latvia, 2019 [email protected] Prod.: Vivo Film, RAI Cinema Production: Maipo Film Directors: Janno Poldma & Heiki Er- www.autlookfilms.com World Sales: Rai Com World Sales: Charades Int. Sales nits Phone: +39 06-33 17 82 44 Phone: +33 629 87 45 04 Prod.: Eesti Joonisfilm, Rija Films BINTI [email protected] [email protected] World Sales: Rija Films Feature, Belgium, 2019 www.raicom.rai.it www.charades.eu Phone: +371 67 36 26 56 Director: Frederike Migom [email protected] Prod.: Bulletproof Cupid, Kwassa DOUBLE TROUBLE – THE I USED TO LIKE THE SEA www.rijafilms.lv Films, Family Affair Films MAGICAL MIRROR World Sales: LevelK– Film & TV Distri- Feature, Germany 2019 METEORITES bution Directors: Marcus H. Rosenmüller Feature, France, 2018 Phone: +45 48 44 30 72 Prod.: Viafilm, MDR, KiKA/Leipzig Director: Romain Laguna [email protected] World Sales: ARRI Media Int. Prod.: Les films du clan www.levelk.dk; Phone: +49 89 38 09 12 88 World Sales: Indie Sales www.bintithefilm.com [email protected] Phone: +33 1 44 83 02 27 www.arrimedia.de/international [email protected] CHECKERED NINJA Documentary, Belgium, 2018 www.indiesales.eu Animation, Denmark, 2018 HACKER Director: Idriss Gabel Director: Anders Matthesen Feature, Denmark, 2018 Prod. & World Sales: Les Films de la Production: A Film Prod., Sudoku, Pop Director: Poul Berg Passerelle

14 | Journal 02 | 2019 Films on the Horizon

MY EXTRAORDINARY www.onegirlfilm.com World Sales: Dutch Features [email protected] SUMMER WITH TESS Phone: +31 6 42 40 69 22 www.fandango.it Feature, The Netherlands, 2019 See address above Director: Steven Wouterlood THE UNPROMISED LAND Prod.: Bind Film, VPRO, Ostlicht World Sales: Picture Tree Int. Phone: +49 30 42 08 24 80 [email protected] www.picturetree-international.com

MY GRANDPA IS AN ALIEN REMI – NOBODY’S BOY Feature, France, 2018 Director: Antoine Blossier TAIKI Feature, Sweden, 2019 Production: Jerico, TF1 Films Prod., Feature, The Netherlands, 2018 Director: Victor Lindgren TF1 Studio Director: Mirjam de With Prod. & World Sales: Bautafilm World Sales: TF1 Studio Prod.: Fiction Valley +4670 744 44 72 Phone: +33 1 41 41 21 68 World Sales: Dutch Features [email protected] [email protected] Phone: +31 6 42406922 www.bautafilm.se www.tf1international.com See address above Feature Film, Croatia, 2019 VICIOUS Director: Dražen Žarković & Marina ROCCA CHANGES THE TWIN FLOWER Feature, The Netherlands, 2019 Andree Škop WORLD Director: Dennis Bots Prod.: Studio Dim,Wady Films, Filmbin Feature, Germany, 2019 Prod.: Goldman Film, Phanta Film World Sales: Studio Dim Director: Katja Benrath World Sales: Phanta Vision Phone: +385 13 90 62 77 Production: Relevant Film, Warner +31 20 6 26 02 55 www.dim.hr; Bros. Film Prod. Germany [email protected] www.dim.hr/grandpa-alien World Sales: Beta Cinema www.phantavision.com Phone:+49 89 67 34 69 80 ONE GIRL [email protected] Documentary, UK, Italy, Romania, www.betacinema.com Feature, Italy, 2018 More information on all these 2018 Director: Laura Luchetti films you will find on our web- Director: Rosa Russo SUMMER WITH RANA Prod.: Picture Show, Donkadillo Films, site: Prod. & World Sales: Debra Prod. Feature, The Netherlands, 2018 RAI Cinema www.ecfaweb.org/european-chil- Phone: +44 17 53 78 54 50 Directors: Sanne Vogel World Sales: Fandango drens-film-network/feature-films www.webra.co.uk; Prod.: JoCo Media, KRO-NCRV +39 06 85 21 85

15 | Journal 02 | 2019 Industry INTERVIEW

Anne Schultka (KIDS Regio) & Nicola Jones (Golden Sparrow) about the 3rd KIDS Regio Forum “Cultural success means that a film has an impact”

ingia. We asked Nicola Jones (Golden there’s interesting and inspiring pro- lot of things seem to be happening Sparrow) to help us climb up that big grammes going on that we don’t know in Greece and in the entire Balkan re- tree, to get a better overview on all about yet. That is a goal to achieve gion these days. I was also very much the roots and branches. with the Forum, connecting people impressed by the Centennial move- and developing a network. Although ment in the Baltic states (read about Anne Schultka (KIDS Regio): At the I prefer to use the word ‘community’. it in the ECFA Journal 4/2018). That 3rd KIDS Regio Forum in June we’ll be Because it’s not only about grabbing project was very relevant for Baltic discussing the current state of affairs: and using, but about giving and shar- audiences, and helped children to Anne Schultka Nicola Jones What has happened since the first fo- ing, like what happens in the ECFA get a better understanding of their rum in 2009? What have we set in mo- community. own history. It was a great domestic “A forum where the most important tion? How can we get updated about achievement, but also effective on an players will gather to discuss the specific situations in every European Networking goes with grabbing, international level. state of affairs.” It sounds like Davos, country? We know what is going on community goes with sharing? but we’re talking Weimar in Thuring- in Germany, Scandinavia, the Nether- Schultka: People should take this in- Attending the Forum is “by invita- ia. That’s where KIDS Regio on 26-28 lands and Poland but in many Eastern, spiration with them to their country, tion only”. Is it KIDS Regio making June will invite around 90 key person- Central and Southern European coun- like KIDS Regio ambassadors, and the selection? alities from the world of European tries the right connections still have make things happen right there on Schultka: That authority is with the children’s film and media education to be made. We don’t know enough the spot. We need people who really organising committee. Last summer for the 3rd KIDS Regio Forum. With about what is going on there yet. want to engage with the topic, and we we installed a co-creation team, in this high-profile Think Tank, tracks want to keep them on board for the which we invited experts to join us: will be laid down to follow towards Is that among the tasks of KIDS Re- next five years. Margret Albers (ECFA President), Vi- the future. Anne Schultka (KIDS Re- gio? ola Gabrielli (former KIDS Regio pro- gio) knows all about it. But at the Schultka: The most important task Can you feel how the situation in ject manager), Signe Zeilich-Jensen same time we want to unravel the for KIDS Regio is to collect and share some specific European regions is (Dutch Film Fund), Annette Brejner entire children’s film and media con- information and data, so that we can changing? (Financing Forum for Kids Content), struction in the German state of Thur- learn from each other. I’m sure that Schultka: Actually, yes. Apparently a Maciej Jakubczyk (Financing Forum,

16 | Journal 02 | 2019 Industry INTERVIEW

for the situation of German children’s branch, convincing the world about cinema. Their most important pro- the importance of children’s film jects are: through networking and lobbying ac- • Organising the Besondere Kinder- tivities. film (Outstanding Films for Chil- Schultka: KIDS Regio is also connect- dren) funding model. ed to CineRegio (representing all Eu- • Running the Academy for Chil- ropean regional film funds), the MDM dren’s Media, which is a scholarship (Mitteldeutsche Medienförderung), and script lab for authors. and The State Chancellery of Thurin- • Running the ‘Formats from Thur- gia, which are our biggest funders. To- ingia’ development trajectory for gether with The Golden Sparrow and TV-series. the German Children’s Film Associa- Their expertise is in facilitating the tion, we are all – literally – at the same development and production of sto- desk. We’re separate organisations, ries and scripts for a young audience. but always working in close cooper- ation. We are ambassadors for each Warsaw), and Charlotte Appelgren the end we have to narrow down the Then there is the Golden Sparrow other’s work, which is the foundation (CineRegio). We took an experienced list. Foundation. of our strength. conference designer on board, who Jones: The Foundation’s main pur- is preparing an interactive, dynamic In organising the Forum, KIDS Regio pose is to organise the Golden Spar- It is no coincidence that all this is conference concept, that will be re- is backed up by several organisa- row Festival. I am the director of happening in the state of Thuringia. vealed on the first day of the Forum. tions. Golden Sparrow is like a laby- the festival, but also the CEO of the Schultka: Thuringia gave themselves rinth, a big tree with many different Golden Sparrow Foundation. Further- a label: the Federal Children’s Media How do you select your invited roots and branches. more we’re responsible for organis- and Film State! Their support is at the guests? Schultka: It is hard to explain to an ing the EFA Audience Award for Best base of everything we do. Schultka: We discuss people’s profiles outsider how these organisations fit Children’s Film, of which the award with the team. The key words to our together, because we’re so strongly ceremony is held in Erfurt. And we’re What do we need to know about the work are: children’s film, live action, entwined with each other. hosting the Cinema School Week in Golden Sparrow Festival? original screenplay. But we also want November, for which my team pre- Jones: It was founded in the days of to include experts from outside the Can you sketch me a structure? pares a special programme of panels, GDR, 40 years ago, and from the early children’s film industry to enrich our Nicola Jones: First of all there is the film talks, seminars etc. beginning the topic of children’s film discussion. When travelling and meet- Förderverein Deutscher Kinderfilm, was taken very serious. The GDR gov- ing people, we’re on the lookout for which is the German Children’s Film And then there is KIDS Regio ernment invested a crucial amount of new faces. It’s a long process, and in Association. Their work is essential Jones: Which is our international money in the production and promo-

17 | Journal 02 | 2019 Industry INTERVIEW tion of children’s films to be show- nowadays is shifting towards Ger- gaining attention, they bring a differ- cased in the festival. When reading many. ent colour to the screen. These titles the festival archive documents, you’d Jones: Children’s films have always still struggle on the national market be surprised to see how serious chil- done pretty well at the national mar- if you’re only counting in numbers dren’s film issues were already dis- ket. There’s about 25 German chil- to define what is a success. But more cussed. At the same time it was also a dren’s films per year to be released important is what these films actually successful audience festival. In 1989, rather successfully. But many of them have achieved. AT EYE LEVEL and after the German unification pro- didn’t travel. They did very well in MOUNTAIN MIRACLE were “cultural- cess, nobody knew who should put terms of tickets sold, but not in terms ly the most successful films” in 2017 the money on the table to continue of content and diversity, it was all in terms of festival nominations and the festival, as DEFA, the DDR film based on books and brands and se- awards. Cultural success means that industry, disappeared more or less quels and franchises. It was time for a film has an impact, it can be used off the radar. Until the idea for the a change. That’s why the Outstanding in schools to learn about the world, Golden Sparrow Foundation came up. Films for Children fund became so im- it can be a mind-changing experience Ever since, the focus on children’s film portant for the audience. Which is much hard- became even stronger. In our jury we Schultka: The initiative started six er to measure than counting tickets. bring together children from all over years ago, and you can’t deny that From my position as a festival direc- Germany and from German speak- original screenplays have been boom- tor, I want to show my audience a ing communities in our neighbouring ing in Germany ever since. We started wide variety of formats, and this has countries. with live action films but nowadays become much more easy with the cur- animation and documentaries are in- rent market situation. So yes, things are changing, but at the cluded. This project opened the eyes end of the day children’s films are still of the German film industry and made Is this something the industry real- not treated as equals. That will be one them realise there is a real need for ises as well? of the themes at the KIDS Regio Fo- diverse children’s content to keep Eu- Schultka: There is still a long way to rum: How can we make sure that chil- ropean arthouse cinema alive. go, but the sentence “we’re currently dren’s films get the importance they working on a children’s film and after- deserve? How can we make ourselves Recent German titles seem to be wards we’ll do a real film again” is less heard when screaming out loud that much more visible on the interna- and less to be heard these days. what we do is important? tional level, they’re so much more Jones: The most important things Over the last years the profile of “out there”. missing are cultural awareness and – German children’s cinema has dras- Jones: With all partners involved we recognition. A children’s film will still Gert Hermans tically changed. After the success of are putting a stronger focus on chil- not be nominated for the national Scandinavian and Dutch children’s dren’s films. They are much more Best Director award. Some directors Photos & graphic from 2nd KIDS Regio films, it feels like the attention visible in festivals nowadays, they’re are even still scared off by that label. Forum, 2014

18 | Journal 02 | 2019 INTERVIEW

Tashi Gyeltshen about THE RED PHALLUS “In the heart of my film is the loss of humanity”

One of the most interesting films at the city. Then it comes to a brutal and the Berlinale 2019 was the feature bloody confrontation between the debut of Tashi Gyeltshen, a writer, two important men in her life. journalist and self-taught filmmaker from Bhutan. His THE RED PHALLUS Your film is challenging the audi- tells about the 16 year old Sangay, ence, by its subject but also by the struggling her way through a male patience it demands to watch the dominated, patriarchal world. Ever slow burning narrative and – mar- violence lurking under the imag- since her mother died, she’s lived in vellous! - calm wide shots. es of the wonderful nature in your I found this impressive debut film a secluded village on the foot of the Tashi Gyeltshen: The movie takes its country. very sad and depressing. Is there no Himalayas alone with her father, Ap time to establish a dramatic climax. Gyeltshen: When I visited those festiv- hope? Atsara, who controls nearly her every I wrote the story four years ago, be- ities called Tschechus and was blessed Gyeltshen: Of course I am hopeful move. As a sculptor, he is carving phal- fore the #MeToo debate even start- by the clowns with phalluses, I often because in the moment when Sangay li in wood. These symbols of fertility ed. But ever since the film has been asked myself why in our culture the fulfils her destiny, the hope is already – resembling fertility goddesses from released, everybody connects it with power to bless one by virtue is given embedded. In Buddhism we believe other cultures - are used for ceremo- the #MeToo movement, which is not to a man behind a mask. Everyone in in rebirth and I hope Sangay will have nies, decorating the houses in the the intention I had in mind. this world is wearing a mask as a way her next life in a more civilised world wonderful Phobjikha Valley to ward to hide the truth, we hide our flaws, with more humanity and higher moral off evil spirits. Then what did you actually want to fragilities and crimes. I wonder why grounds. show? we turned so bad, destroying our- Ap Atsara also plays the role of the Gyeltshen: In the heart of my film is selves? Although I don‘t want to judge Where did you find Tshering Euden, clown in traditional festivities. Clowns the loss of humanity and, of course, my characters from my own moral the outstanding young actress play- in Buddhism can help people to attain shame. The phallus symbolises hu- perspective, I wonder where this need ing Sangay? enlightenment. But behind the mask manity’s decadence, that we largely to kill and rape comes from. My film Gyeltshen: She is an amateur, like my there’s always a human being with all owe to a patriarchal society and a deals with questions I ask myself, and other protagonists. They all live in its capability to commit even horren- way of thinking that is destroying the I most probably won’t get an answer. Phobjikha Valley. But I am sure we will dous crimes like abuse and rape. San- world. Because once I get an answer, the see her again on screen. gay’s only friend is Passa, a lower class question will no longer be out there, married man and father, who tries to Right from the beginning there is a and I insist to keep on asking ques- – force her into running off together to tense and gritty atmosphere, with tions. Uta Beth

19 | Journal 02 | 2019 Participative Projects , Mirjam Marks & Julia Schellekens about ZARA AND THE MAGICAL FOOTBALL BOOTS

Zara wants to play football with the rity) to get in the picture, could work scenes included! For instance the AZC team (Asylum Seekers Centre), on props or short animated scenes. In same soccer team in every episode but her brothers don’t agree. Until the crew were mainly professionals, is played by different kids. The shirts Little Angel appears, from whom Zara but some of them had a background are the same, but the kids wearing gets a special gift: a pair of magical as asylum seekers and in every AZC we them aren’t. Luckily the audience football boots. Suddenly she can play found a lot of skilful helping hands. doesn’t notice. inside me. like a pro. ZARA AND THE MAGICAL From the young actors, only main ac- FOOTBALL BOOTS is a Dutch TV se- tress Liz Heijnemans and her close This was a logistical tour-de-force! Can this series be exported? ries in which children living in AZCs family do not live in an AZC – that Schellekens: Six weeks in a row we Marks: It has an adventurous story participate. would have been impossible in terms worked in a different AZC. Shooting and good production value and a com- of organisation and permissions. only two days is very little when work- pletely non-white cast. English and Mirjam Marks: Children living in AZCs ing with inexperienced actors. We Arabic subtitles are available. And the can get bored a whole summer long. And you were the one keeping it all needed to find all locations within the idea is universal: women’s football They have little money, no passport, tied together? AZCs, improvising with what we found is on the rise nowadays, and in many they can go nowhere. Luckily there Marks: Together with Julia and many on the spot. countries football is the only platform are organisations trying to cheer fantastic colleagues. I came up with for a natural form of integration. up those long summer months. As a the idea, and won the trust of Dutch The value of the project is also in – filmmaker, I often do workshops with broadcaster VPRO and several well- the way you considered how to do it Gert Hermans Foundation ‘De Vrolijkheid’, that has known scriptwriters, directors, actors so dignified and respectful. been organising cultural and creative and crew members. They all said: “We Marks: Besides 300 children, 160 vol- All info: Pristine Film, Julia Schellek- programmes in AZCs for many years. don’t have time to do it but we will.” unteers and over 80 crew members ens, [email protected]; And with Cinekid we organised pop- participated. Most of them had nev- www.pristinefilm.com. up film festivals on the spot. The story in itself is not about asy- er been to an AZC before. This had a lum seekers. huge impacts on all contributors. In this TV-series AZC inhabitants Marks: Our first task for the screen- Schellekens: We’ve worked extremely are in front or behind the camera? writer was to deliver a story that hard, but got so much in return. At the Julia Schellekens: They were the ac- continued over six episodes in which premiere when those kids were look- tors. Those kids who didn’t want (or as many kids as possible could par- ing at themselves on the big Cinekid were not allowed for reasons of secu- ticipate every week. Plenty of mass screen, something kind of snapped

20 | Journal 02 | 2019 Participative Projects , FILM – A LANGUAGE WITHOUT BORDERS

A cinema full of children. All are with – the position of the newcom- children in new ways? How to address watching the same film, but experi- ers. Film can enable young people to new and difficult topics? How to stim- encing it differently. That experience share, discuss and exchange under- ulate dialogue among children who was examined in ‘Film - A Language standings of different societies and speak different languages or have dif- Without Borders’, a cross-European cultures. ferent backgrounds? In our research gration Classrooms’. These resources project organised by the Danish and we have worked with interviews and have been developed in German, Dan- the British Film Institute and Vision Working with film observations of the young partici- ish and English and will be translated Kino (Germany), supported by the Cre- Giese: Film creates a “common third” pants, and questionnaires for teach- into other European languages for ative Europe programme. “We want and can be a resource for empower- ers. I wish we could do that more of- countries with high levels of immigra- to find out how films are experienced ment and tolerance. We ourselves ten, instead of counting the numbers tion, such as Greek, Italian and French. by newcomers in our society, and how learned how important film can be. of kids reached with a project. this experience is shared with other One kid who came to the cinema for International cooperation young people in a cinema or class- the first time, on that occasion took The report on the project, as well as Giese: We needed this European con- room,” says Charlotte Giese (DFI). “At on a suit. After the screenings there the full research report, will soon text, sharing information with col- the same time European countries sometimes were discussions in small (June 2019) be accessible on the web- leagues from Germany and the UK, share a commitment for groups of mi- groups (quality was more important sites of the three partner organiza- where the situation with migrants grants and refugees, coming here as than quantity) for a more detailed tions. and refugees is totally different from a result of social, cultural, economic survey. All was done very informally, Denmark. We all have a long experi- and political change.” not to put any extra pressure upon Films come with study guides ence in film education, but not in this them. Giese: There are study guides with particular area. Charlotte Giese: This project is about each individual film (for example a series of films (8 new titles and 3 Results in a report FIGHTER, PADDINGTON, BILLY ELLI- What impressed you most? classics), a research report and study Giese: ”Film can make a difference.” OT). These resources have been de- Giese: That the project raised so many guides on “the use of film in a migra- That statement is often heard, but veloped in German, Danish and Eng- interesting discussions among chil- tion society”. Films shown in schools not so often evaluated, we take it lish and might also be translated into dren, sometimes about very complex can help refugees and migrants to for granted too easily. We need to other European languages. issues that not everybody could agree orient themselves in our society. And validate our ideas, we need new solid Those who’d prefer German study about. But it brought up even more they encourage other children to bet- arguments to convince teachers, man- guides can find them here. And there tolerance, empathy and understand- ter understand – or even empathise agers, politicians... How to stimulate is a general study guide on ‘Film in Mi- ing. That was the most impressive.

21 | Journal 02 | 2019 Treasures from the Archive

ZLIN FESTIVAL SHOWCASING UNIQUE TREASURE Presenting the work of Albanian filmmaker Xhanfise Keko

In the late sixties and early seventies, TOMKA AND HIS FRIENDS. East German, Czechoslovakian and Yugoslavian directors started making While under the communist regime children’s films in an outspoken po- films were supposed to bring a glori- Xhanfise Keko litical context, subtly working with- ous tribute to reality, Keko dares to in the system that at the same time break away from realism, into a field rock & roll. During the televised con- as a pretext to end a brief period of they were questioning. Within the of dreams, tenderness and fantasy, cert, women dressed in short skirts cultural change in Albania. Several communist bloc, Enver Hoxha’s Alba- in the disguise of genuine communist sang popular songs, like the ones you people who took part in the concert nia was an isolated, self-sustaining iconography. Keko made 29 films in could hear on American or British ra- were imprisoned or sent into internal entity. Even there, behind the coun- total, she died in 2007. Now in Tirana, dio. It seemed that many of the musi- exile. try’s guarded frontiers, filmmakers a street is named after the country’s cians had been listening to Italian and were working on an oeuvre that was first female director, where kids play Yugoslavian radio stations, which was The middle of the 1970’s wasn’t an impactful for an entire generation. on the sidewalk, as so beautifully considered a criminal act under the easy time to be an artist or filmmaker Specifically one artist made a series depicted in Cousins’ cinematic essay communist regime. in Albania. But one director was able of young audience films that were as HERE BE DRAGONS. to use the children’s film genre to poetic as they were subversive. A documentary film about the concert express her personal ideas about the * * * * * shows many people in the audience pain and joy of being young. Though Now Albanian filmmaker Thomas looking tense. After living under the much of the country’s film industry Logoreci, together with film critic In late 1972, an annual song festival harsh dictatorship of Enver Hoxha for was (and still is) dominated by men, Marc Cousins, found the momentum was performed at the Soviet designed nearly 30 years, Albanians had no idea Xhanfise Keko (1928-2007) is now to present Xhanfise Keko’s brilliant Palace of Culture in the centre of what the future had in store. Shortly considered to be one of the top direc- oeuvre to the world. The Zlin Festival the Albanian capital, Tirana. Believ- after, the Albanian leadership de- tors in the world, and perhaps Alba- also programmed two of Keko’s films ing change might soon be coming to nounced some of those performers as nia’s most well-known director. in the festival’s new ‘Discover & Ex- Marxist Albania, many of the musi- ‘enemies of the people’. In early 1973, Already at a very young age, Xhanfise plore’ section: SPOILED MIMOSA and cians performed Western jazz and communist authorities used the event was so eager and enthusiastic about

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the movies that she decided to be- films were only meant for children, come a filmmaker. In the early 1950’s, they often didn’t notice how Keko she left Albania for the Soviet Union, used camera and editing techniques where she studied the craft of film- that male Albanian directors couldn’t making. For the next 20 years, Keko master. Though critics today often worked in the New Albania Film Stu- point out the communist messages in dio, sitting every day behind a huge films like TOMKA AND HIS FRIENDS editing machine, cutting images shot (1977), Keko’s work features some of by news reporters. She married one of the most iconic moments in Albanian the leading documentary cameramen, cinema. Endri Keko. SPOILED MIMOSA TOMKA AND HIS FRIENDS In 1979, her husband Endri Keko, got In the early 1970’s, she decided to Mimosa feels so lonely that she starts badly injured in a car accident. Until Xhanfise Keko spent her later years stop editing other people’s films and talking to her dolls. Only in the end, his death in 1989, Xhanfise’s prior- writing her memoirs, in a book enti- to start making her own. Fascinated she realises her mistake and makes up ities shifted towards taking care of tled THE DAYS OF MY LIFE, in which by the innocent world of children, in with the other kids. Mimosa is spoiled her partner. During these years, Keko she spurs a next generation of direc- 1973, when the era of cultural free- no longer. made two of her most serious movies, tors to make films for children. “We dom was at its end, Xhanfise directed WHEN SHOOTING A FILM (1981) and had one common goal in life: to raise MIMOZA LLASTICA (SPOILED MIMO- The communist regime approved with TAULANT WANTS A SISTER (1984). a new generation, beautiful, educated SA). As with all her films, Xhanfise the film’s ending. Albanian leaders and wise, to serve Albania’s tomorrow. spent many hours with her young ac- found it utterly important that their After SPOILED MIMOSA, Xhanfise Cinema and children remain two of my tors, talking and listening. This unique citizens belonged to a collective, not Keko made nine more fiction films greatest passions.” method allowed her to gain their acting like individuals. Even though with children. Unfortunately after the trust, thus being able to direct them the film’s message was embedded in decline of the government-funded into authentic performances once the the philosophy of the dictatorship, Kinostudio system, she never made Thomas Logoreci co-wrote the camera began to roll. SPOILED MIMOSA still holds a special another film again. This is one of the feature length essay documentary place in the hearts of Albanian audi- tragedies of Albanian cinema. If only about Albania, HERE BE DRAGONS, Zhaklina Dhimojani was only seven ences. Everyone who saw the film, she could have continued filming dur- with filmmaker Mark Cousins. He years old when she starred in the title remembers the child actors’ authentic ing the dramatic and chaotic 1990’s, was co-writer and co-director of role, playing a sour child that doesn’t performances. many young people might have found BOTA, Albania’s selection for the want to share her toys with her in her a friend and spokesperson who 2016 US Academy Awards and is friends in the apartment block. Until For the next ten years, Xhanfise Keko could reflect their problems onto the currently writing a Young Person’s Mimosa is left to play all by herself. continued to make films with young big screen. Guide to Albanian Cinema. In one of the most touching scenes, people. As authorities believed these

23 | Journal 02 | 2019 Conference

Animation Film & Media Literacy in Education - FAME, Take 1

most important programme for life- tion is seeing the solution… It is emo- long learning), the major challenges tion and intellect going together,” as and positive effects of why integrat- David Lynch says. ing media and visual literacy in educa- tion were discussed; including the use FAME, Take 1, the Conference of animation brought by the Animat- ed Learning Lab (ECFA member ALL, The conference was the result of a Denmark). work group that studied the possibil- ities of media within education, the Develop intuition facilitation of tools, and training for teachers who could re-adapt the ac- Filmmaking can help students to deal quired knowledge and techniques in with the internet and its challenges. their regions. The two day workshops Filmmaking empowers them to speak and talks took place at Tallinn Univer- out, to be democratic and to devel- sity and the Estonian Film Museum on op critical and creative thinking (J. January 10-11 2019, gathering lec- Zipes). Students claim ownership and turers, researchers, film institutions, responsibility of their own creations, media experts and most importantly: they connect with their inner wisdom teachers from public schools. In spring 2018 different film peda- ucators must be trained and encour- (intuition) and with others, they de- gogical organisations in the Baltic and aged to integrate the use of film liter- velop empathy and new perspectives. Claus N. Hjorth (Danish Film Institute) Nordic Region collaborated in a work acy and media in the classrooms. This As Johannes Lõhmus (Estonian Film pointed out the following key points group within the project “Media Lit- culminated in a two-day international Institute) said : “I truly believe in the to reflect upon when trying to work eracy, Re-use and Heritage in Educa- conference “FAME, Take 1. Film & Me- power that art has in making people with audiovisual content in class- tion”. The main goal was to share best dia for Education” in January 2019, more aware and empathetic towards rooms: practices that combine the teaching addressing 21st century skills such as each other and the world.” In this • The relevance of making a selec- of audiovisual skills and the (re)use collaboration, creativity and critical sense, film/animation is a mindfulness tion of movies for educators, for in- of film’s material, like a fragment of thinking. practice, that helps to develop intui- stance in a digital library database. a chronicle or a self-made animation, tion. “Life is filled with abstractions, • Need to discuss the length of films which helps to explain some of the At the conference, supported by Nor- and the only way we can make heads as well as other technical stand- more difficult parts of a lesson. Ed- dplus (the Nordic Council of Ministers’ or tails of it is through intuition. Intui- ards, to create a common frame-

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work between schools. hend literary stories by constructing self-esteem. tractive vehicle to learn about and • Treat filmmaking as a new language the “world” being described through influence society. Big efforts and a to facilitate alternative ways of text.” The Animated Learning Lab, We also highlight the main conclu- stronger unity among institutions and communication, which demands ac- with support from The DFI, compared sions from the European Commission educators are required to disseminate quisition of film literacy skills. different studies and experiences report, 2015. workshops and to assure their conti- • Provide the proper training to film- within film pedagogical activities • A limited use of films in schools, nuity. makers willing to be educators and from all over Denmark. movies usually end up being com- vice-versa. plementary material to illustrate a “My wish is that, one day, formal ed- • Offer a platform to share movies The five main conclusions to strength- part of the class more than study- ucation will pay attention to the ed- from different regions, fostering en the use of film literacy in schools: ing the film itself. ucation of the heart, teaching love, cooperation between institutions. • Strengthening the film’s own pro- • A need to improve the lack of tools compassion, justice, forgiveness, mind- • Question the boundary between fessionalism and special language to create films. fulness, tolerance and peace. This edu- film education and formal educa- in elementary school. • Improve communication between cation is necessary, from kindergarten tion, commercial productions ver- • Using filmmaking as a learning tool schools and right holders to access to secondary schools and universities. sus educational. to teach different subjects. audiovisual content and protect I mean social, emotional and ethical • Further research is required regard- • Building the bridge between the privacy data. learning. We need a worldwide initi- ing the (mis)use of apps and tech- school system and film profession- • Professional training courses for ative for educating heart and mind in nology. als. teachers are needed to instruct a this modern age.” • Making the students create their good use of media/film literacy. The 14th Dalai Lama, 2018. Workshops with topics such as ani- own film productions. • Extra-curricular activities for film mated sciences, privacy and surveil- • Strengthening teachers’ compe- literacy are limited, requiring an ef- lance, filmmaking and philosophy, tence development in the field of fort in the teachers’ engagement to – camera and pedagogy, integration of film literacy. research/apply for funding. Inma Carpe & Sia Søndergaard virtual reality and documentary film • The film Industry needs to collab- covered these aspects. Other positive outcomes observed orate with educational institutions From The Animation Workshop /An- in European studies revealed a deep- on agreements that enable the use imated Learning Lab & Polytechnic Why Film Literacy and Animation in er learning experience and helping of films and audiovisual content University of Valencia, Spain Schools identity development and cognition. without legal constraints or unrea- Stories act as a meaning forming and sonable prices. According to E. Semino, from an ear- memory tool, a metaphorical lan- ly age, “young children construct guage that improves judgment and Education of the heart knowledge of their world through creativity. A sense of connectedness the stories they hear and participate increases along with democracy, co- Filmmaking, especially through an- with. They interpret and compre- operation, resilience, joy and higher imation, is nowadays the most at-

25 | Journal 02 | 2019 INTERVIEW

Maria Blom and Frida Hallgren about MONKY “Don’t keep your sadness all for yourself”

One day when scriptwriter Jonathan possible thoughts and emotions upon Sjöberg walked into a school, he saw them. They don’t argue, they just a drawing on the wall showing a tree, stare back at you. In my teenage years a family, a monkey and a quote say- our dog was an attentive listener to ing: “When I die, I want to become a all my tormented love stories. monkey.” Back home he immediately Frida Hallgren: I had a bird that could wrote the first draft of a script. say my name and nibble my ears. His name was John Lennon. Animals of- When eleven-year-old Frank finds a fer you the comfort of their company, monkey in the garden, he calls him and sometimes the tangible sensation … Monky. Despite all the mischief of their soft fur. cautious: if we show them a real mon- key-shaped puppet to illustrate all and laughter, the animal re-awakes a key, maybe the audience will notice the action. “Now the monkey is going silent sorrow that was not yet put to But you didn’t chose a dog or a bird. that ours is fake. But in the end the up there, and then jumping down…” sleep: the lack of Frank’s deceased sis- How many times did you regret hav- quality of our monkey was so good Gibbons are extremely fast, we were ter Saga. It doesn’t take long for Frank ing picked a monkey? that it stood the test next to a living never fast enough to keep up with its to realise that Monky did not acciden- Blom: The main objection against a specimen. pace. And then we shot the scene just tally end up in their garden. monkey was always the budget. It Hallgren: Ours looked more real than with the actors. turned out so expensive that first the real one! Especially the fur was Blom: After every scene a machine Meeting Swedish director Maria Blom we putted the script ‘to sleep’. When fascinating. Every single hair was made a 360° scan of the set, upload- and actress Frida Hallgren (playing picking it up again two years later, modelled individually. You can see the ing all details into a computer that the role of Frank’s mother) at the JEF technical facilities had developed so wind blowing through it. calculated all graphic variables from Festival, we want to figure out: What much that suddenly it was possible to every possible angle. A very advanced is it that animals do with people, do it in CGI. How exactly did you do those mon- technique. Then the scenes were once bringing out these strong emotional key scenes? more recorded in a studio in motion reactions. What can animals achieve Was there, not even for one second, Hallgren: The monkey is completely capture, for the correct CGI insert. that expensive therapists can’t? a real monkey on the set? done in CGI. We worked in different Blom: Never, except in this one scene stages. First we had Nina, a mime ac- What about those monkey sounds? Maria Blom: Animals offer you their in the zoo. That’s the only real mon- tress playing all the monkey scenes Blom: That was my seven-year-old unconditional love. You can project all key you’ll get to see. It made us very on the set. Then there was a mon- daughter. We took her into the stu-

26 | Journal 02 | 2019 INTERVIEW dio to make those funny sounds over with my memories, I want my sadness and over again, collecting an archive all for myself.” But talking about it is of monkey sounds for different emo- important. tions: happy monkey, angry monkey, Blom: Compared to our contemporary scared monkey… It took the sound society, other cultures have better designer two weeks to sort out every ways to deal with death, speaking sound for the right moment. Poor about it openly. When MONKY was guy! released in Sweden, we received pos- itive reactions from people who came MONKY tells about a mourning pro- to watch the film with the whole fam- cess, about a child standing in the ily after they themselves had lived a shadow of his sister who’s no longer tragedy. But there were others who there. asked their money back, because “no- Blom: Our scriptwriter Jonathan lost body told us this film would be about a sister too as a child. In this script he death!” In the cinemas often parents her face towards me, I looked straight Unfortunately the view is spoiled recalled how he felt back then, when were anxious to confront their chil- into a pair of blue-green eyes. I told by some rather silly looking neigh- so many people had but one advice dren with the theme, trying to pro- her I was making a movie about a bours. for him: “Life must go on.” tect them from the film’s emotional monkey, a boy and his sister. “Can I Blom: They can afford to look special impact, while children didn’t have a be that sister?” That’s how Matilda as they own the place. Our costume Which in the film is translated as problem with it. Forss Lindström entered the project. designer bought a whole series of “let’s have another cup of choco- With her special energy, she makes velour tracksuits in every possible late”. You introduce Saga in the first 10 an immediate impression that lasts colour. For every scene we picked for Blom: In Frank’s presence, his parents minutes of the film, and then you throughout the entire film. them the most appropriate colour. try to act normal. Only when he’s not can never show her again. In those around, they’re falling apart. People first minutes she had to make a last- The house where the film was shot You took a risk with the title… You don’t know how to mourn, they just ing impression. looks like a remarkable location. must have known hundreds of peo- want things to be like before. While Blom: Therefore we needed the right Blom: The place was unique. The own- ple would come to tell you: do you Frank is longing so much to talk about actress. In our search for the right girl, er wanted to renovate and sell it, he know there is a spelling mistake? what happened. we had one particularly important cri- was waiting eagerly for the premiere. Blom: That’s exactly what happened. teria: she needed to have blue-green Meanwhile for a whole summer long, But it’s Saga who picked that name. Mourning is something you do to- eyes, like a monkey’s eyes. All the girls we didn’t let him mow the lawn, as Monky is not an ape, it’s a name. gether? in the casting had brown eyes. One we didn’t want the grass to look too – Hallgren: My advice is: share your morning when walking into my office, clean. Our DoP was very precise about Gert Hermans grief with others. Often people prefer a little girl was playing in the hallway, the length of the grass! We were liter- a certain isolation: “Leave me alone her hair a bit messy. When she turned ally brushing it to give it a wilder look.

27 | Journal 02 | 2019 COLOFON

ECFA Journal No. 2-2019 ECFA Journal Published by ECFA Contributors to this issue: European Children’s Film Association Gert Hermans (Editor) Place de l’Amitié 6, 1160 Brussels, Belgium Reinhold Schöffel, Felix Vanginderhuysen, Margret Albers, Gudrun Sommer, Alice Goezu, Uta Beth, Phone: +32 475 55 02 97 Tinne Robberecht, Laura De Bruyn, Karo Guetens, Email: [email protected] Tanja Tlatlik, Jaroslava Hynstova, Johannes Lõhmus, Website: www.ecfaweb.org Anne Schultka, Mirjam Marks, Charlotte Giese, Thomas Logoreci, Iris Elezi, Inma Carpe and Sia Søn- Please send press releases, advertisements, questions & information to: dergaard. Gert Hermans, [email protected] Proofreading: Adam Graham ECFA’s goal is to support cinema for children and youth in its cultural, economi- Design: Stefan Koeneke cal, aesthetic, social, political and educational aspects. Since 1988 ECFA brings to- ECFA website: Udo Lange gether a wide range of European film professionals and associations, producers, directors, distributors. ECFA aims to set up a working structure in every European country for films for children and young people, a structure adapted to Europe’s multicultural interests.

For more information and memberships (€ 250 per year): ECFA European Children’s Film Association Phone: +32 (0)475 55 02 97 Email: [email protected] Website: www.ecfaweb.org

The European Children’s Film Distribution Network: www.ecfaweb.org/european-childrens-film-network/network Databases on children’s film festivals, sales agents, distributors and TV-programmers interested in European films for children.

28 | Journal 02 | 2019