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ECFA Journal 2 /2019 (PDF) 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 2 | Journal 02 | 2019 INTERVIEW 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 3 | Journal 02 | 2019 INTERVIEW 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.
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