Venice/Toronto saddle up with Dutch western Brimstone Dutch line-up Karlovy Vary, Venice, Toronto and San Sebastian Star profile: Layla M.’s Nora el Koussour REM doc: Koolhaas on Koolhaas CineMart and HFM join forces with BoostNL

Issue #24 September 2016 Venice/TIFF/San Sebastian issue Download the free app for iPad and Android Index

4-5 Koolhoven goes West Brimstone, 24-25 Laguna sunrise Dutch producer starring Dakota Fanning, Guy Pearce Jan van der Zanden talks about his and Carice van Houten, selected for minority co-pro interest in Deepak TIFF and Venice Rauniyar’s White Sun, selected for Venice Orizzonti 6-7 Firing Brimstone The production behind Martin Koolhoven’s first “Dutch 26-27 Cuba libre Transit Havana, Daniel western” Abma’s doc about transexuals in Havana awaiting gender reassignment surgery, 8-9 Anger behind the veil Mijke de was a big hit at the recent Karlovy Vary Jong’s Layla M., a portrait of a Film Festival radicalized young Islam woman, is Toronto-bound 28-29 Festival news Dutch films on the international film circuit 10-11 Haven sent TIFF Kids gives nod to Nicole van Kilsdonk’s The Day My 30-33 Help from our friends… EYE’s Father Became a Bush, the story of new state-of-the-art Collection Centre is a young girl’s walk to safety during up and running and run with the help of wartime wonderful volunteers, both Dutch and refugees new to the country. 12-13 Risky Bezness Alex Pitstra profiles his relationship with his long- 34-35 Feather vs fur Simone van absent father in Bezness As Usual, Dusseldorp discusses her Cinekid selected for Toronto opener Owls & Mice

14-15 Design for living REM, Tomas 36-37 Cool for kids (and adults) Koolhaas’ portrait of his celebrated Cinekid, the renowned fest for family and architect father is selected for Venice youth films celebrates its 30th edition this 2016 year, and shows no sign of slowing down 16-17 The Ascent of Tan Amy Tan’s Ascent, comprising a series of stills of 38-39 Tiger ’s Calf CineMart and the Mount Fuji, world-premiered to great Holland Film Meeting have launched acclaim at Locarno 2016 BoostNL, designed to strengthen market support for Dutch and international 18-19 Downbeat Dad Martijn Maria projects Smits discusses the inspiration behind his Waldstille, selected for San 40 Star profile Nora el Koussour, star of Sebastian Mijke de Jong’s Layla M.

20-21 Independence day Dutch minority co-pro mockumentary King of the Belgians, directed by Brosens and Woodworth, is selected for Venice Orizzonti

22-23 Prisoner of fortune Mahmoud al Massad’s Blessed Benefit, about life in a Jordanian jail, gets TIFF Discovery nod

Cover still: Brimstone Martin Koolhoven See pages 4 - 7 Photo: Philippe Antonello

2 COLOPHON

See NL is published four times per year by EYE International and The Netherlands Film Fund and is distributed to international film professionals.

Editors in chief: Marten Rabarts (EYE), Jonathan Mees (Netherlands Film Fund) Executive editor: Nick Cunningham Contributors: ­Geoffrey Macnab, Joost Broeren Concept & Design: Lava.nl, Amsterdam Layout: def., Amsterdam Printing: mediaLiaison Printed on FSC paper Circulation: 1400 copies © All rights reserved: The Netherlands Film Fund and EYE International 2016

CONTACT Sandra den Hamer CEO EYE E [email protected]

Marten Rabarts Head of EYE International E [email protected]

EYE International PO BOX 74782 1070 BT Amsterdam The Netherlands T +31 20 758 2375 W www.eyefilm.nl

Doreen Boonekamp CEO Netherlands Film Fund E [email protected]

Ellis Driessen International Affairs Netherlands Film Fund E [email protected]

Jonathan Mees Head of Communications Netherlands Film Fund E [email protected]

Netherlands Film Fund Pijnackerstraat 5 1072 JS Amsterdam The Netherlands T +31 20 570 7676 W www.filmfonds.nl Photo: Pief Weyman

Layla M. Mijke de Jong

3 Venice Competition / Toronto Special Presentation Koolhoven goes West Brimstone Martin Koolhoven

a psychotic preacher of its own, “That was just before shooting memorably played by Robert started, so things looked bad. But Mitchum. Despite citing Sergio luckily, because of the changed Leone’s Once Upon A Time In The schedule, Dakota Fanning was now West as a particular favourite available. She was on the list of five, western, one of Koolhoven’s aims but I had not met her, because she was not to make it look and feel like was already doing a movie. We met other westerns. “It is purposely not in Germany, just before I started Martin Koolhoven an hommage to any films,” he shooting and it was very clear it had underlines. to be her. She was extremely Martin Koolhoven’s Brimstone motivated and wonderful.” Leading has been called the first “Dutch “It was hard, especially since I Dutch actress, and Game Of Thrones western.” A big international hadn’t written in such a long time. siren, Carice van Houten also stars, movie shot in Germany, It was a multi-layered, complicated as does the series’ male lead Kit Hungary, Austria and Spain, it script, so it took over three years,” Harrington. stars Dakota Fanning as a mute Koolhoven adds of his struggles to heroine hunted down by a complete the screenplay. The director pays fulsome tribute to psychotic preacher (Guy Pearce). his producer, Els Vandevorst. She Geoffrey Macnab reports. Right from the outset, there was a initially approached him with a very favourable response to project just after he left film school. Director Koolhoven states that Brimstone. Big-name stars queued Het Zuiden (South, 2004) was their Brimstone is set in the “menacing up to take roles. The filmmakers first film together and they’ve been inferno of the old American west.” had an initial list of three actors and regular collaborators ever since. five actresses that they wanted to “I wanted to write a western, but approach for the leads. Koolhoven’s “During the pre-production of our I also wanted it to be personal and casting director told him to give the next movie together (Winter in original. In the end that meant the screenplay to the top agencies and Wartime) we got along so well that movie is hard to compare with then just wait. “He said agents we wanted to form a company any movie, including westerns,” would call us immediately, trying to together, but that didn’t actually he explains of the project’s get their actors in the movie. That is happen until 2010 when we started origins. exactly what happened. The agents N279 Entertainment,” Koolhoven of two of the three names on our list recounts. “Brimstone would be The Dutch writer-director (whose came to us, so then I had to really unthinkable without Els. I probably previous credits include Winter In think which one I wanted and I would not have written it, it Wartime and Schnitzel Paradise) picked Guy Pearce. He was the first certainly would not have been professes himself a big admirer of to come on board.” produced and when the movie was the graphic novels of Brian ready, a lot of people got scared and Azzarello, Garth Ellis and Alejandro With the female lead, it was a more it was Els that pulled us through. Jodorowsky whose vivid and often complicated story. Koolhoven was She’s got balls of steel. I guess I’m violent work influenced the way he very enthusiastic about Mia the Brim and she’s the Stone….” approached his script. Another Wasikowska, who quickly signed inspiration was Charles Laughton’s up. Then, the schedule changed and classic southern Gothic movie Wasikowska had to pull out for The Night Of The Hunter which had personal reasons.

4 Venice Competition / Toronto Special Presentation Brimstone Martin Koolhoven

‘I wanted to write a western, but I also wanted it to be personal and original’ Photo: Philippe Antonello

Director: Martin Koolhoven Script: Martin Koolhoven Production: N279 Entertainment (NL), X-Filme (DE) Co-Production: FilmWave (UK), Prime Time (BE), The Jokers Films (FR), Dragon Films (SE), Film Väst (SE), Paradiso Films (NL) Sales: Embankment Films

5 Venice Competition / Toronto Special Presentation Firing Brimstone Brimstone Martin Koolhoven

How does a Dutch producer put Also pivotal in the film’s journey shown by casting agent Des together a sprawling, big budget, from script to screen was London- Hamilton to the top American 150-minute, English-language based production and financing agencies, there was a rush of western with big name stars? outfit, New Sparta Films. enthusiasm among A-list stars to Brimstone producer Els appear in the film and it took some Vandevorst explains. ‘From the start we supported negotiation to fix a final cast that Brimstone, and it’s a fascinating included Dakota Fanning and Kit “Initially, I had two ways to finance project to be involved in,” stresses Harington, Carice van Houten and this film,” Vandevorst recalls of the Film Fund CEO Doreen Boonekamp. Guy Pearce as the vengeful preacher. sometimes fraught experience. The “The Fund had faith in Martin first was to go to a US studio and to Koolhoven and Els Vandevorst who This is an English language movie ask it to put up the backing. The both have clear creative and set in the US (albeit shot in Europe) downside there was that the Dutch international ambitions.” that received substantial backing filmmakers would almost certainly from the Film Fund, but Vandevorst have lost artistic control. The By early 2015, Vandevorst was was determined that it should retain second solution was to follow the working with German producers a strong Dutch flavour. She was able example of Danish mavericks and studio managers Babelsberg to ensure that almost all the key Zentropa, who fund their Lars Von but at the last minute they could not crew members (including composer Trier features by involving small be involved, jeopardising German Junkie XL) were Dutch. armies of European co-producers. support. Fortunately, a few weeks before shooting, co-producer Paul “The fact that Brimstone is selected Vandevorst took the second option, Trijbits introduced her to new for competition in Venice and a thereby ensuring final cut, but German partners X-Filme and the special screening in Toronto giving herself a logistical nightmare. project was back on track. deserves respect,” adds Koolhoven is a brilliant director but Boonekamp. “These selections are a not, prior to Brimstone at least, one “The script was brilliant and the perfect kickstart to reach out and with a bankable international director extremely interesting and overwhelm audiences worldwide.” reputation. “I knew it would be a talented,” comments X Filme CEO very, very tough gig for me,” Uwe Schott. “This is what X Filme Yes, it has been an exhausting Vandevorst says with understatement. does constantly, European project to make but Vandevorst isn’t co-productions, sometimes with a sure she is ready to return to making At least, the response to Koolhoven’s majority participation, sometimes low budget art house films quite yet. dark and violent script was very minor. This project was a minor After Brimstone, she has the enthusiastic. (This was a revenge investment, but nevertheless very appetite and expertise to carry on story about a young woman and her important to us because of the making films on a very grand scale. daughter fleeing a vengeful quality of the project… It is X Filme’s preacher.) First partners were the speciality to produce this way. As she puts it, “I am not saying that Netherlands Film Fund who backed Internationally and with US appeal, we can only do big films but Martin the film through its development but full of European talent such as and I are both quite ambitious. If and also stepped in with production Tom Tykwer’s Cloud Atlas and you have the opportunity and the funding. Then French financiers Hologram For A King.” momentum (to make bigger films), (and art house specialists) Backup you have to do it.” Media signed up, followed by UK Casting on Brimstone proved a sales outfit Embankment Films. challenge. When the script was

6 Venice Competition / Toronto Special Presentation Firing Brimstone Brimstone Martin Koolhoven

‘A rush of enthusiasm among US A-list stars to appear’ Photo: Philippe Antonello

Martin Koolhoven’s Brimstone Dakota Fanning and Kit Harrington

7 Anger behind the veil

match played between her Muslim Rotterdam and has recently been friends is all too real, and all too accepted into The Maastricht violent. And she has a propensity Theatre Academy. towards romance and affection which is heart-warming. “Nora immediately intrigued me,

Photo: Pief Weyman but it took me some time to make Eventually she feels compelled to a final decision. Like it often goes, leave the West behind for a new life the decision was made after an Mijke de Jong in the Middle East, together with her unexpected moment. After a screen- young husband Abdel, where she test – Nora was just about to leave – Mijke de Jong’s Layla M., world experiences happiness, tragedy and I asked her to sing an anasheed premiering in Toronto before disillusionment in equal measure. (a religious song), together with heading to BFI London FF, is a Ilias, who plays her boyfriend/ searing portrait of a young “When we started, the Arab Spring husband Abdel. It happened to be radicalized woman who rejects had just begun,” explains director her favorite anasheed, one she used her native Amsterdam for a new De Jong, who engaged in a detailed to sing when she was little. Ilias life in the Middle East. consultation process with started singing and Nora joined in. Amsterdam’s Muslim community It was overwhelming, so much Layla is a smart, articulate, football- before the shoot. “Young Muslims passion. Those two together... loving woman in her late teens, from all over Europe were I was completely touched. Then studying for her exams. She is radicalizing and moving to Syria. I thought: If she can do this, then we computer savvy, highly adept at Initially, we saw resemblances to can make this work.” social media and fancies the nice the freedom fighters from the looking boy who pops over from Spanish Civil War. At the time we The film will be released in the time to time. But Layla practises didn’t know how violent and Netherlands by leading arthouse what many consider an extreme endless the battle would become. distributor Cinemien. What form of Islam. She quotes radical But we (screenwriter Jan Eilander reaction does De Jong expect, or at scripture, rejects her moderate and myself) were aware that the least hope for, from local audiences? father and imams at her local mosque dissatisfaction and resistance of and agitates for the right to wear full young Muslims who don’t feel at “I hope that people are touched, burka. “Allah will be my guide in home in Amsterdam also had that the film raises questions, that this alien country,” she declaims. something to do with us (non- they understand a girl like Layla. Muslims) and that our new film And a boy like Abdel,” she says. But the portrait of Layla that director would touch upon this subject… “That people will start thinking less Mijke de Jong paints is far from Never before have I worked on a film in terms of ‘us’ and ‘them’. That it critical or judgmental. She may be that has struggled so intensely with makes angry boys and girls think at times impetuous, but her political the spirit of the time.” twice and that locals might have a activities are not totally without somewhat different approach when justification. She is outraged by The role of Layla is played brilliantly, sitting in the tram, next to a woman online footage of the murder of and with the most acute sense of wearing a headscarf. But altogether, Muslim children, she fears (and authenticity, by newcomer Nora el I hope that my films will make the name-checks) Geert Wilders and the Koussour, whose feature debut this world a little softer. The more you politics of the Dutch Far Right and is. El Koussour has just graduated know, the more you’ll understand.” the police raid on a friendly football from the theatre school in Nick Cunningham

8 Toronto Platform Competition Layla M. Mijke de Jong

‘Never before have I worked on a film that has struggled so intensely with the spirit of the time’ Photo: Pief Weyman

Director: Mijke de Jong Script: Jan Eilander, Mijke de Jong Production: Topkapi Films (NL) Co-Production: Menuet (BE), Chromosom Film (DE), Schiwago Film (DE) Sales: Beta Cinema Supported by the Netherlands Film Fund, VAF, Eurimages, Medienboard Berlin Brandenburg, FFA, CoBO

9 The Day My Father Became a Bush Kids Nicole van Kilsdonk

‘Co-production helped in visualizing what kind of world it would be for the film’

Director: Nicole van Kilsdonk Script: Marleen Versprille, Nicole van Kilsdonk Production: Lemming Film (NL) Co-Production: Nukleus Film (KR), A Private View (BE), Minds Meet (BE) Sales: Beta Cinema

10 Haven sent

The film is produced by the prolific she wants to adopt), and making Amsterdam-based Lemming Film cookies didn’t exist at the end of the (see page 34) with whom Van book. We wanted to give the feeling Kilsdonk made Taking Chances that the father was still in the war (2011), another film about a girl but still in touch, and that even coping with her father’s departure though she doesn’t really know her for war. “It actually helped when mother, it is ok there. I think for Lemming Film suggested The Day children you want to give them Nicole van Kilsdonk My Father Became a Bush could be a some hope but not in a totally co-production with Croatia, and not unrealistic way… In the book she Nicole van Kilsdonk’s just because of the financing,” gets a letter from her father saying adaptation of the acclaimed stresses Van Kilsdonk, referencing that after the war they’ll find a Joke van Leeuwen novel The Croatian co-pro partner Nukleus solution to their separation, which Day My Father Became a Bush Film. felt a bit too easy as if now all of a is selected for TIFF Kids. sudden this would not be a problem The director talks to Nick “I didn’t want it to be totally any more. We didn’t want to give the Cunningham. fairytale such as Dik Trom (Arne impression that everything could be Toonen, 2010), which is very stylised solved in one day.” Life changes for ten-year old Toda and placed within a much more the day her father is called up to absurd world, I wanted to have Van Kilsdonk acknowledges her defend his country against the some feeling within the real world. country’s reputation for producing Others. She must walk to a faraway So I visited Croatia and it really high quality audiovisual product for country to find safe haven in the helped to give the feeling that this is youth and family audiences, but she house of her mother, a woman she a Europe that you cannot really urges the local distribution sector to barely knows. identify. It is clearly not Holland but maintain an equally bold strategy in it could be Austria, it could be marketing and delivering this to As her journey continues, Toda Croatia of course, the North of sophisticated audiences. responds to life on the road as a France, so it really helped in nomadic child refugee, becoming visualizing what kind of world it “When you travel you see that in more independent and resilient as would be for the film.” The other many countries films for kids she discovers both adventure and production partners on the film are means either animation, or they are new friends en route. Minds Meet and A Private View, very childish or the acting is quite both from Belgium. poor. So in that sense we do have a The action takes place in a strange strong tradition in the Netherlands,” land, and one that is pointedly not Without giving too much away, the she stresses. “But distribution has the Netherlands. It is familiar but film is book-ended by scenes of changed, and we need to be aware disorientating, populated by retired safety and comfort. Is this a of this and give it a new impulse generals in hidden castles and necessary pre-condition of films because (this quality) is not as battalions of infantrymen herding within the family genre? Kind of, is obvious any more as it used to be. refugee children away from the war Van Kilsdonk’s response. If you compare it with other zone. Even the language spoken in countries it is good, but not as good Tota’s mildly dystopian destination “We invented the character of as it could be.” country is disconcerting, replete with Stickie (an orphan boy that Tota

Photo: Gregg Telussa curlesques, prefixes and suffixes. meets during her journey and whom

11 Risky Bezness

mid-teens. Then at the age of 25 he received a letter from Tunisia. His father wanted to make contact again and Alex responded positively. But then the requests for money began. For Alex, it seemed that his father had never forgotten the ‘bezness’ trade, but now he plied it Alex Pitstra in an altogether less Westernised, less secular Tunisia. In his second feature documentary, Dutch filmmaker “Yeah, the film is actually about the Alex Pitstra responds to his rise and demise of the bezness absent father’s request for him during the golden years in Tunisia, to visit him in Tunisia, putting in the whole history playing against motion a decade-long saga of this backdrop of my father’s early failed expectations and chronic mastery of it in the 1970s,” agrees misunderstanding. Nick Pitstra, who shot footage for ten Cunningham reports. years through to 2015 although actual production on the film Back in the late 1970s Mohsen Ben commended in 2012. “But then we, Hassen and his older brother Salem the children, arrive in Tunisia – and were at the top of their game, when I confront him we are Casanovas in their prime, experts in standing at this dirty empty hotel the dark art of ‘bezness’. Charming pool, this empty soul maybe, with and handsome, their prey were its wounds, where there is a sense of foreign women visiting the resort loss, and you can feel it in him too. town of Sousse in Tunisia. One such And there is a showdown.” woman was the Dutch Anneke who fell for Mohsen’s considerable The reasons for this showdown are His father wanted to charms. On the rebound from a many. For the past decade Alex has make contact… but failed marriage, she visited him felt like a cash-cow, bailing out his then the requests again and again before arranging father or investing in his various for money began his passage back to the Netherlands nefarious business deals. As where they were married. important­ly, he still feels the pain of his abandonment and the harsh Filmmaker Alex Pitstra, aka Karim treatment meted out by Mohsen to Alexander Ben Hassen, was the Alex’s mother. And accompanying product of this union, born in 1979. him is his half-sister Jasmin, But his parents’ marriage was Mohsen’s daughter from a second doomed to failure, and Alex grew up failed marriage, a woman whose fatherless. Depressed by his father’s socialism and feminism are dia­ lack of contact, Alex adopted his metrically opposed to the outmoded mother’s Dutch surname in his opinions and attitudes of her father.

12 Bezness As Usual Alex Pitstra Docs

Jasmin was the original focus of the film, which received Netherlands Film Fund backing just shy of €100k, but Alex and his producers at Amsterdam-based Selfmade Films soon came to the conclusion that he should be the subject, that his journey of self-discovery was the key editorial line they should follow. But this entailed more than an investigation of his troubled relationship with his father (who himself questions Alex’s own ‘bezness’ motives in making his film).

Alex’s mother is one of the key protagonists too, and she takes considerable umbrage at her own son’s perceived abandonment of her when Mohsen came back into his life. In one poignant and extended scene she lays bare her pain, referring to Alex as a selfish bastard, declaiming, “you’d do anything for your friends, but your mother can go to hell.”

“It was terrifying constantly having to think about whether to use this scene,” comments Pitstra. “I was thinking ‘who am I to put myself into the centre and make myself so important, assuming that there is a film in my story’. So I had a lot of trouble, and throughout the whole process I tried to accept that it might become something that could be valuable to other people. I hope that this is the case, that I have succeeded and that it resonates with audiences on a more universal level.”

Director: Alex Pitstra Script: Alex Pitstra Production: Selfmade Films (NL) Supported by the Netherlands Film Fund, VPRO, CoBO

13 Design for Living

countryside is subordinated to the Director Tomas concurs, putting his needs of the increasingly whimsical, argument in cinematic terms. free and innovative city ideal. “What has always interested me about architecture is how it is used “I considered an even more non- by people, and what goes into linear structure where the planning for that use. I don’t care connection between the overall much for the lofty, hypothetical concept and what you are hearing jargon-laden, ideological battle of Tomas Koolhaas and seeing is even less straight- wits that architecture discourse has forward but in the end I didn’t want all to often become, so it makes sense Tomas Koolhaas’ portrait of his to alienate most viewers, and in that my film focuses more on the father, the highly acclaimed reality, the less linear the film the humanistic aspects of the work.” Dutch architect Rem Hoolhaas, less people will ‘get it’,” Koolhaas is selected for Venice Special underlines. “One of the reasons Within a domestic setting, we visit Program. The director talks to I chose the quote/chapter structure the fabulous Maison Bordeaux in Nick Cunningham. was because although I felt some the bucolic French countryside, people would be able to sit back and constructed for a man whose The architecture-themed REM may open their minds to a more stream physical impairments demand ease comprise a profile of a great architect of consciousness experience where of movement, hence the application by a very talented film­maker son, the connections were less obvious, of hydraulics to allow elevation of but don’t expect a praise-­laden, many people would not.” work and living spaces within the hagiographical listing of the man’s book-lined atrium. “The house is a achievements. Rather, REM is a One can argue that the heart of the tool to live a satisfying life,” explains highly cinematic treatise on aesthetic­ film, shot over a four-year period, the owner’s daughter Louise. ism and practice, with discussion beats with the likes of homeless Phil of a building’s end-use by its who plays piano every day in the The film was funded via grants and occupants assuming equal status to bowels of the Seattle Public Library, a Kickstarter campaign, and the lofty intentions of the designer. which itself resembles an open book, economic expediency determined or his down at heel counterpart that most roles were performed by The film’s form comprises a series Mark for whom the building offers a Koolhaas himself, those of of headings and statements which sense of peace and solace. “Music producer, director, cameraman and are then expanded upon in image and literature I choose over any editor. This was not, he argues, and voice-over, delivered by Rem drug,” he says. As Rem is represented cause for complaint. “I think there’s himself, offering an audio stream of in elegant voice-over, the invisible of a cohesion of style and a deeper consciousness that both society are finally rendered visible. subtextual level you can achieve complements and contrasts the when it’s you doing everything. precision of the film’s visuals. We The architect Rem is baldly stating That level is almost impossible with follow him in his OMA offices, on his design intention, to distribute different people doing different building sites within China and the facilities without concern for class, tasks, for the simple reason that its Middle East, at the Venice Biennale race or economic status, and that almost impossible to immediately upbraiding a journalist for asking there is a considerable divide communicate abstract creative exasperatingly facile questions or between the building as conceived ideas verbally without any element standing within the Dutch on paper and its subsequent use. of ambiguity,” Koolhaas concludes. landscape expounding on how the A building therefore has two lives.

14 Venice Special Program REM Tomas Koolhaas

‘What has always interested me about architecture is how it is used by people’

Director: Tomas Koolhaas Script: Tomas Koolhaas Production: Paragon Films

15 The Ascent of Tan

many images. That is how we ended History’s Future which had an up with about 4000.” ambitious shooting schedule and multiple locations. Nonetheless, Early on, Tan expected that the film Tan points out that any new piece is Photo: PHirth might be around 10 minutes long. “as difficult or more difficult” than However, when the material came the previous one. “The challenges in, she realised she had a far richer were very different. The challenges and more diverse store of images were… how on earth to make a film! Fiona Tan that she had anticipated. The It was really trying to come to grips project therefore began to grow in with what cinema is because I was Less than a year after her debut scope. “Like many artists and making it with something that isn’t feature History’s Future filmmakers, I am a great fan of cinema. I am just using premiered at IFFR, artist/film­ Chris Marker,” Tan states. In photographs and still images. That maker Fiona Tan has completed particular, she admired Marker’s is starting from an impossible a second feature – one in a classic 1962 sci-fi drama La Jetée, starting point in a way.” completely different register, which also used still images and writes Geoffrey Macnab. voiceovers. “I thought, wow, I’d In preparation for the movie, which really like to make a film using only was supported by the Netherlands Ascent is a love story composed still images.” But while Marker’s Film Fund, Tan did extensive entirely of still images. “The film was less than half an hour in research on Mount Fuji. Gradually, photographs are from a collection length, Tan made a full length she began to realise just how much of 4000 that I’ve been able to bring feature. “It felt like I was trying to do resonance the mountain has in together, all of the same subject, the impossible for a while but Japanese culture and philosophy. namely Mount Fuji,” director Tan I think it has kind of worked!” Tan was also aware that photos of explains of her Locarno selection. the mountain never quite do justice Ascent is the story of two lovers: an to the way it is experienced by hikers On a visit to the Izu Photo Museum English woman and a Japanese who actually visit and ascend it. She around three years ago, Tan was man. This couple has had a long- also realised that there were struck by the range of pictures the term relationship, albeit across profound differences in the way museum had of the mountain. continents. Early in the film, it is western visitors regard the There were images from the early revealed that the woman’s lover is mountain and how it is viewed by days of photography; from the dead. She is grieving, trying to come the Japanese themselves. Second World War and from the to terms with his death, and she has period of the American occupation. been sent a big box of his Ascent will be shown both at film She was told she had access to mementoes: letters describing his festivals and in cinemas – and in everything in the collection. The climb of Mount Fuji and photographs galleries. There are two versions: Museum also launched a website on of the mountain. As she pores over a film version and an installation her behalf, asking members of the the material, she thinks not just of version. Having made two features public to upload any images they the man she has lost but about the back to back, Tan is about to take up had of Mount Fuji. relationship between photography, a position as artist in residence at film and philosophy. the Getty Museum in Los Angeles. “I said I need a mountain of images. “I am pulling my whole family over They said Mount Fuji is 3776 metres On a logistical level, Ascent was there… we will see how that high and why don’t we try to get that more straightforward to make than adventure turns out,” she ends.

16 Locarno Competition Ascent Fiona Tan

‘I said I need a mountain of images’

Director: Fiona Tan Script: Fiona Tan Production: Antithesis Films

17 San Sebastian New Directors Competition Waldstille Martijn Maria Smits

‘All stories tell something personal about their creator’

Director: Martijn Maria Smits Script: Martijn Maria Smits Production: Circe Films

18 Downbeat Dad

who’ve been looking after his Yes, he acknowledges a degree of daughter, are understandably very frustration at having to wait so long hostile toward him. between his first feature back in 2010 and Waldstille. Nonetheless, Smits knew that casting would be none of his work in the intervening

Photo: Anouck Wolf crucial. To play Ben, he needed an years has gone to waste. One long actor that the audience could gestating feature that didn’t come sympathise with, even at his lowest to fruition was Everything We Always Martijn Maria Smits points. “Thomas Ryckewaert is a Had Was Now but its ideas and good friend of mine, we made a film themes fed into a short film he was Geoffrey Macnab talks to Dutch together before, so he was one of the able to make earlier this year. director Martijn Maria Smits, first I had in mind during the “I guess in the end all films are a whose drama Waldstille is writing period,” he reflects on the continuation and are connected in a selected for San Sebastian 2016. choice of Ryckewaert to play the way,” the director reflects, but adds lead. “Of course, I tried to cast that even when a filmmaker is Martijn Maria Smits acknowledges Matthias Schoenaerts but that was a that he was at a lowish ebb when he no-go. At the end, all stories tell conceived his new film, Waldstille. something personal about their ‘The director aims for a Several of his other projects had creator... Thomas and I share the realist, documentary- been previously turned down for same interests in art, in life, we have style look, reflecting the funding. “I felt rejected, I felt the same humour, he is like my subject matter’ misunderstood,” he remembers. brother, he is like me, but then It didn’t help that this was during a better looking and a lot smarter.” period when the Dutch government tackling familiar material, he or she was reducing its support for the arts In Waldstille, produced by Circe may be “in a different mood or in general. For a very short period, Film and funded within the Film different stage in your life – and that the writer-director had begun to Fund-supported De Oversteek influences the way you tell the story doubt that he would ever make a scheme, the director aims for a and the shape of the film.” new feature. realist, documentary-style look, reflecting the downbeat subject Now, after all the reversals along the Instead of basking in self-pity, Smits matter. His approach was the way, Smits has a San Sebastian decided to use his situation as an opposite to what it had been on his premiere to enjoy. “I have never inspiration for a new script about a previous feature C’est déjà L’été or been to San Sebastian before. To be character who has similar feelings on TV movies like Emilia and The honest, I’m still in the editing room of rejection. Waldstille is the story of Prostitute And The Girl. In the past, with Waldstille recutting, so I’m still the fall and rise of Ben. He lives a he tended to work out problems on focused on that.” he says. seemingly happy life with his set and to rely on improvisation. Nonetheless, he sees the Spanish girlfriend Tinka and their young With this film, “everything was festival as a perfect launchpad for daughter Cindy. Then, one night, he structured and written out.” It his movie. has too much to drink at a party. On helped that he was working with a the way home, he is responsible for very accomplished cinemato­ a car accident in which Trika is grapher, Frank van den Eeden, who killed. He is given a prison sentence. understood his goals and knew just

Photo: Anouck Wolf On his release, his parents-in-law, how to help him achieve them.

19 Independence day

constitutional crisis. This, as one “Rhythm is everything in comedy, can imagine, is easier said than and I have to admit after making done, and the journey takes on the three rather sobering films before mythical proportions of an odyssey. (La cinquieme saison, Altiplano, Khadak) which kind of exhausted

Photo: Bart Dewaele Of course the film’s political us, this was even more challenging. backdrop is one of identity crisis We didn’t know how hard comedy within a fragile Europe uncertain would be.” Peter Brosens and Jessica Woodworth how to react to the current refugee dilemma. The journey home Nevertheless, their efforts were not Jessica Woodworth talks to Nick through Serbia, Bulgaria, in vain, even if them took four years Cunningham about her and Montenegro and Albania is a to find the finance – “we knew we partner Peter Brosens’ constant reminder of the war in the were capable but it was very difficult subversive mockumentary about Balkans, while the King’s wooing of to convince the financiers,” says a Belgium split asunder and a an authoritarian Turkey is what sets King’s hapless attempts to forge up the dilemma in the first place. a new sense of unity. ‘If we referred to the But we must not forget that while European and local A nation’s inherent (and absurd) King of the Belgians is very political, political situation in too sense of dichotomy is examined to it is a comedy too, which is dense a way it would the max in the comedy King of the distinctly new territory for the Belgians, selected for Venice’s filmmaking duo of Brosens and threaten to cause the Orizzonti Competition. In the film, Woodworth. To crank up the satire, whole story to crash’ co-produced by Topkapi Films with King Nicolas III is Flemish, the support of the Netherlands Film something the actual (and distinctly Fund and Production Incentive, the Francophone) King Philip is not Woodworth. What’s more, now they francophone community of (although Nicolas’s French is just as have this one under their belt the Belgium decides to call it a day and questionable as the real king’s pair intend to revisit the character claim independence. Flemish). And if either of the of Nicolas III and his travails in the communities were actually to future as he looks to secure national The problem for the country’s declare their independence, it (and European) unity. impotent King Nicolas III is that all would be far more likely to be the of this happens when he is on a Flemish than the Walloons, as “The king feels for us like a diplomatic mission to Turkey happens the film. character that involves another step, during a solar storm that obliterates so we are going to continue his most forms of communication and “If we referred to the European and odyssey,” Woodworh confirms. any chance of air travel home. The local political situation in too dense “This is something that we feel king’s mission therefore, along with a way it would threaten to cause the eager to develop. In these dark and two very straight-laced political whole story to crash. So it was a fragile times we really believe that mandarins, a personal manservant delicate balancing act between humour is one of our most potent and a documentary filmmaker with keeping a constant and fresh tone weapons. There is a place for questionable motives, is to get without allowing it to be come powerful and relevant comedies.” home by land or sea (or by whatever pedantic, and to maintain a means necessary) to attend to the rhythm,” Woodworth points out.

20 King of the Belgians Venice Orizzonti Peter Brosens & Jessica Woodworth

‘We didn’t know how hard comedy would be’

Director: Peter Brosens & Jessica Woodworth Script: Peter Brosens & Jessica Woodworth Production: Bo Films (BE) Co-Production: Topkapi Films (NL), Entre Chien et Loup (BE), Art Fest (BU) Sales: Be for Film

21 Prisoner of fortune

The director very quickly realised Netherlands Film Fund. “I am so that the prison was being run far blessed with the Fund,” he more efficiently than society as a underlines. (The Fund has whole. He paints a bleak picture of supported some of his previous contemporary Jordan as a deeply projects too.) dysfunctional place. Amman, the capital city, is as expensive a place What’s more, German sales to live in as any western European powerhouse Beta Cinema has taken Mahmoud al Massad city and yet pay is very low. world sales rights on Blessed Benefit and the film will premiere in At least in prison, the water is “If you would ask how these people Toronto. Whether it will be hot, there is a sense of would survive, your brain would screened in Jordan remains open to community, you can play cards explode to find an answer,” Al question. The director has been and you get served up some Massad says. He argues that the warned that it might be considered decent food. It is better there politicians have failed the country. subversive and disloyal. than on the outside. That is the “The situation is not getting better, conclusion reached by Ahmad, even one per cent.” Al Massad found kindred spirits in the builder hero of Dutch/ his Dutch co-producers, New Ams Palestinian director Mahmoud al As Al Massad acknowledges, his Film Company, run by Julius Ponten Massad’s debut feature, Blessed film is very different from the typical Benefit, selected for TIFF prison drama like Hunger or Discovery 2016. Midnight Express in which inmates ‘The Jordanian prison suffer extreme deprivation. In his was being run far more The film is 60% based on a true movie, prison is a refuge. It is “more efficiently than society story, Al Massad claims. A friend of comfortable than your own house.” as a whole’ the director was sent to prison for three months for what seemed like The film has taken four years to an entirely trivial crime. He had push into production. Al Massad, and Sander Verdonk. He met failed to finish a building job and who divides his time between Ponten in Jordan where they were was sued. At first, he was dismayed Jordan and Utrecht in the screening their film Rabat. at being behind bars. Then, he Netherlands, has enjoyed compared his new situation to considerable success with his “I really admired what they did with everyday life in Jordan and very previous films Shatter Hassan Rabat. I am doing the same thing, quickly decided he was better off. (2001), Recycle (2007) and This Is My investing my own money and Picture When I Was Dead (2010). The making a film in any way I can. “He was my friend. I was very worried script for Blessed Benefit won a I remember making my film Recycle about him. I had known him for 20 variety of prizes, among them the in Jordan. I didn’t have a penny. years,” the director recalls. Al Massad Abu Dhabi Shasha Grant, the Arte I was broke. I was working and went to visit him in prison (and Cinema Award and the Global Film working to make this film. On again after he was released). “He Initiative Award, and it was chosen Rabat, they did the same thing. looked good. He was whispering to for the Cannes Atelier. I thought I’d love to work with these me because he didn’t want his wife guys. We are young and we are on to hear him. He said he was really The director pays tribute to his the same level.” Geoffrey Macnab having a good time.” Dutch backers, in particular the

22 Blessed Benefit Mahmoud al Massad Discovery

Director: Mahmoud Al Massad Script: Mahmoud Al Massad Production: Twenty to Twenty Vision (DE), Yo Image (JO) Co-Production: New Amsterdam (NL) Sales: Beta Cinema 23 Laguna sunrise

‘A movie easily accessible to an international audience…’

Director: Deepak Rauniyar Script: Deepak Rauniyar, David Barker Production: Aadi Productions (Nepal) Co-Production: The Film Kitchen (NL), Louverture Films (US) Sales: The Match Factory 24 Venice Orizzonti / TIFF Contemporary World Cinema White Sun Deepak Rauniyar

Rauniyar divides his time between were reading and commenting on New York and Nepal. An added drafts of the script from an early attraction in working with him was stage. They asked questions and the chance to collaborate with New were able to help Rauniyar to make York co-producers Joslyn Barnes his story more accessible to a and Danny Glover at Louverture western audience. For example, they Films. (The Film Kitchen has warned the writer-director that another project from Jan-Willem viewers who didn’t have an intimate Deepak Rauniyar van Ewijk called Sleep due to shoot knowledge of Nepalese history and partly in the Rocky Mountains – and politics simply wouldn’t know that One of the first co-productions so having worked with American the drama was unfolding shortly cooked up by former Waterland partners beforehand can only be a after the civil war. Rauniyar listened execs Jan van der Zanden and help.) to their advice both at script stage Ineke Kanters at their new and while he was editing. The result company The Film Kitchen is White Sun didn’t have an especially is a movie far more easily accessible Deepak Rauniyar’s White Sun. smooth gestation. The project was to an international audience. Geoffrey Macnab reports. delayed by a huge earthquake in the region. “In the beginning, I was White Sun is screening in Venice’s The Nepalese drama tells the story thinking: ‘will this work, will this Horizons (Orizzonti) section and of Agri, a Maoist guerrilla who work?’ You can have a nice and good has now been picked up for world returns to his home village after plan but if Mother Nature doesn’t sales by leading German company many years away to bury his father. come along, there is no way to make The Match Factory. It turns out to be a very troubled this film.” homecoming. This was one of a The Film Kitchen is barely a year old number of projects supported by No, Van der Zanden and Kanters but its slate is already bulging. HBF+NFF, International Film weren’t actually in Nepal for Alongside White Sun, it has many Festival Rotterdam’s Hubert Bals shooting themselves. “In the first new film and TV projects on the Fund and the Netherlands Film place, I hate travelling and in the boil, among them Nicole van Fund’s mutual co-production second place, I was so busy with Kilsdonk’s upcoming feature, Sweet scheme. other things that I just couldn’t Lies (about a love affair between two make it,” Van der Zanden says. He divorcees in their 60s), due to shoot “We picked out this one because it points out that on Hubert Bals Fund in October. had a human and a political backed movies, shot in remote storyline,” Van der Zanden says of places, it isn’t that unusual for the In the meantime, Van der Zanden is the ingredients in Rauniyar’s European co-producers to do their hoping soon to secure a Benelux project that appealed to The Film work from their home base. The distributor for White Sun – and Kitchen. After speaking to him for Film Kitchen execs were still happy perhaps to make it over to Nepal for the first time via Skype, he and that they had a creative input on the the film’s first screenings there. Kanters were impressed by the project. “I am just dying to go there!” Van writer-director’s talent. He already der Zanden declares. He just has to had one feature to his name, Nepal, “If we don’t play a (creative) role, overcome his fear of travelling first. which had screened in the Berlinale. then we won’t step into it,” he says They were convinced that White Sun of the attitude The Film Kitchen would also have a festival life. takes to films that it supports. They

25 Cuba libre

male transgender. “He outed came to introduce themselves. The himself and said he thought we filmmakers said they were planning were the right people to make this to make a movie about transgender movie… Mariela’s mouth went wide people and asked was there anyone open. Then, she gave a heartfelt, if interested… everyone raised their some­what awkward compliment. She hand. Alex’s status as a member of Photo: Johannes Praus said, ‘Oh, you were done so good.’” the community was instrumental in gaining their trust. “They knew our Daniel Abma Bakker was there throughout intentions were good. They are shooting and was a key collaborator. activists – like we are in a way.” Geoffrey Macnab talks to Daniel He wrote a script that was used Abma, whose Transit Havana successfully for the application for After Transit Havana’s selection at screened to great acclaim in Netherlands Film Fund support and Karlovy Vary, Abma is hoping it will Karlovy Vary Docs Competition. helped research the project. With be selected for the Havana Festival Mariela’s backing, the filmmakers year-end. If that’s the case, they can Daniel Abma had an unlikely ally were able to gain access to some have the Cuban premiere with the when he was making Transit unlikely locations. For example, protagonists in attendance. Havana, his documentary about they are almost certainly the first transexuals in Havana awaiting foreign film crew ever to have shot Does the director consider his gender reassignment surgery. Not in a Cuban prison. At the same time, documentary to be optimistic about long after arriving in Cuba, Abma the filmmakers made it clear that the plight of transgender people in had an audience with Mariela they were independent. They Cuba? “I think in the film, the Castro, daughter of President Raul weren’t going to show any of their message is uncertain,” Abma Castro (and niece of Fidel Castro.) material to the authorities or to ask reflects. In Havana, surgery waiting for their blessing. lists aren’t organised in the same Mariela told him that she “was way as at European hospitals. It doing the job that her mother Abma was startled by how trusting wasn’t a case of waiting for your started”, supporting the project that his three main subjects – Juani, name to work its way up a list. allows sex change surgery for Malú and Odette – were of the The system isn’t transparent. The Cubans. “I met her several times. filmmakers. “We were so surprised. operation is very difficult – which is She is a very strong and warm We thought this is such an intimate one reason why experienced person,” Abma comments. and sensitive topic that it might be western European surgeons are difficult to find protagonists. When called on to come to Cuba. However, The idea for the film had come from we asked, everyone was like, ‘yes, of CENESEX is now planning to open a his friend Alex Bakker. He and course, I’d love to participate!’” gender clinic in Havana. Bakker had met to watch a movie and have a beer. Bakker mentioned At one stage, the filmmakers visited Transit Havana has already opened that he knew a Dutch surgeon who The National Center for Sex in the Netherlands. Abma, however, went regularly to Havana to perform Education (CENESEX), the is yet to decide on his next film. As surgery on transgender people. This government organisation run by he explains, he throws himself into surgeon knew Mariela. Mariela. Here, members of the trans projects and will spend years working community met on a terrace once a on them. “I make movies that need At the first meeting with her, Bakker week. There were 20 or 30 people a lot of time… I have several topics revealed that he himself is female to sitting when Abma and Bakker but it is so difficult to choose.”

26 Karlovy Vary Docs Competition Transit Havana Daniel Abma

Mariela Castro is doing the job that her mother started…

Director: Daniel Abma Script: Alex Bakker Production: Witfilm (NL) Co-Production: Kloos & Co (DE), HFF (DE) Sales: Rise and Shine World Sales

27 Festival news: More Dutch selections at the Summer A-Fests

in a quirky film about integration, migration and a family that is trying to make sense of it all. After the film’s world premiere in Quinzaine we are now very honoured to have the film at TIFF.”

Ayhan and Me The short film Ayhan and Me, directed by Amsterdam-based Turkish/Dutch filmmaker belit sag˘, is also selected for TIFF. According Ayhan and Me by belit sag˘ By The Time it Gets Dark by Anocha Suwichakornpong

Toronto

By The Time it Gets Dark Thai filmmaker Anocha Suwichakornpong’s second feature By The Time it Gets Dark, selected for TIFF, won the Prince Claus Fund Film Grant after it was pitched at CineMart 2010. The jury was impressed by the use of to belit, the film was made as a unconventional ‘episodic’ storytelling to evoke a strong and highly personal response to the censorship process perspective on contemporary Thailand. The film offers a contemplative that the film was going through reflection on Thai history and society through multiple storylines. Comments from its idea phase until its Suwichakornpong: “It is my attempt to deal with the impossibility of making a realization. “The Istanbul exhibition historical film in a place where there is no history. What begins as a single that Ayhan and Me was supposed to narrative soon becomes fragmented, and ultimately devours itself. There are be part of was cancelled (read no beginning or ending points. Time is both transfixed and moving.” censored) five days before the opening,” she claims. “It was a very Import urgent video for me. It is very much Ena Sendijarevic’s short film Import, dealing with the situation now, the produced by Layla Meijman for situation of the art world in Turkey Amsterdam-based Pupkin Film and but also the general political which chronicles a single day in the life situation in Turkey, which is of a Bosnian family living in the constantly changing and is very Netherlands, is also selected for chaotic… TIFF is a perfect next Toronto. “When Ena and I started platform for me to reach a wider talking about future projects after her international audience.” graduation in 2014 she told me she Import by Ena Sendijarevic wanted to make a film about the very first encounter she had with the Other Toronto selections include Netherlands when she moved here from Bosnia 20 years ago,” explains Thomas Vinterberg’s The Commune producer Meijman. “I fell in love with the starting point of the film for it it to (co-producer Topkapi Films) and a be focused on the absurdity of the life of a refugee and to not diminish the retrospective screening of Heddy characters to victims but to emphasize instead their humanity. This resulted Honigmann’s Oblivion.

28 More Dutch selections at the Summer A-Fests

Locarno Karlovy Falling Frames Vary In the short Falling Frames German Clan direcor Johannes Langkamp, a Stephanie Kolk’s short graduation Galloping Mind graduate of the Academy of Art & film Clan was selected for Locarno Galloping Mind, the first feature of Design (AKI) of the ArtEZ Institute 2016 Pardi di Domani competition. celebrated theatre director Wim of the Arts in the Netherlands, uses “I made this film because the ease Vandekeybus and selected for framing and perspective to explore with which a group of people can Karlovy Vary 2016, was co-produced the visualization of three- exclude someone fascinates me. by Dutch production company dimensional space through the two- One or two pairs of eyes within the Phanta Vision. Main producer is dimensional medium of a video group meet, and the group’s walls Bart van Langendonck of prolific camera. “Originally I intended to are up. Everybody understands. It’s Belgian company Savage Film. make just a short experimental a collective decision that doesn’t video sequence which explores Galloping Mind by Wim Vandekeybus need any words. And for that space through a static shot. Driven reason, nobody bears responsibility by curiosity I wanted to drop 25 individually. wooden frames (of a 16by9 aspect ratio) into the camera’s birds eye “In Clan we observe how this perspective,” Langkamp explains. human, animal process unfolds in a “My intentions to just do a “micro- commune, where a newcomer is project“ however failed. It took me turned into a stranger. In our six months to work out this one modern world, this process is at minute sequence.” play on a large scale, maybe more so than ever before. Still, with this film I wanted to concentrate on how it works on the smallest scale. The human scale: the glances, the body language, the physical constellation “Vandekeybus is a director who of people. With Clan I have tried to always seeks the borders of the make a film about ordinary people, medium. With Galloping Mind he who look at each other and wait for describes a fascinating and someone else to take action.” confusing world that deals with Falling Frames by Johannes Langkamp greed, passion, impossible love and Other Locarno selections include loss,” says Phanta Vision’s Petra Other Karlovy Vary selections Anocha Suwichakornpong’s By The Goedings. “Producer Van included The Land of the Enlightened Time it Gets Dark (see above) Langendonck proves again and by Pieter-Jan De Pue, Neon Bull by again that he has a nose for quality Gabriel Mascaro (Dutch in both people and projects. How co-producer Viking Film) and could you say no to the fascinating Oscuro Animal by Felipe Guerrero world Vandekeybus created with his (Dutch co-producer Viking Film). script and his way of directing, together with a strong creative producer. We are all proud we were Clan by Stephanie Kolk able to make this film happen!”

29 Help from our friends…

stills, 78,000 posters and cinema apparatuses.”

Over the last seven decades, this ever-growing collection was spread across numerous locations in and around Amsterdam, as there wasn’t a single building with the capacity Frank Roumen (both in volume and in storage conditions) to house it all. On September 16, EYE “That also meant that our completes its relocation to employees were spread out,” Amsterdam North with the Roumen explains, “which could be official opening of its brand new difficult at times. It has been great Collection Centre. For the first to have everyone together in one time in the museum’s history, location since we moved in April. the complete archival collection And it’s only a stone’s throw from will be housed and accessible in the museum building (opposite one location. Behind the scenes, Central Station), so communication work on the move has been with the other EYE departments is underway for months, with the much easier as well.” helping hand from dozens of volunteers, both Dutch and new For the first time in the museum’s to the Netherlands. Joost history, the complete collection will Broeren reports. be available in one place, alongside working spaces for EYE’s collection The keys to the newly built EYE and restoration experts. There’s just Collection facility were handed over one exception, the archive’s to EYE last January, and the first collection of nitrate film prints from employees of the archive began the earliest days of cinema. work there in April. Then the first “These are highly flammable pieces from EYE’s immense archive materials, so they’re not allowed started the move in June. It is an within residential areas,” stresses immense operation, and was still Roumen. “They will remain in their continuing as of late August. Frank current location, in climate- Roumen, Director of EYE’s controlled spaces in unmanned Collection Department articulates bunkers on the Dutch coast.” the scale of the task: “Our collection consists of some 40,000 films, Since the complete archive would which means that there are over be passing through human hands as 210,000 film cans which need to part of the move anyway, EYE took be transferred. Aside from that advantage of the occasion to apply a there’s the so-called paper barcode system to its entire

collection with over 700,000 photo collection. “We started that in Photo: Ton Söder

30 EYE Collection Centre

The complete collection will be available in one place alongside working spaces for EYE’s collection and restoration experts

31 January,” says Roumen. “All 210,000 film cans were stickered and scanned. As the film cans move into their new home at the depots, that location is scanned as well, so by the end of October we’ll know exactly where all our films are. It’s a huge undertaking, which was carried out with the help of around sixty people.”

Many of these were volunteers. While these were drawn in part from EYE’s regular volunteer group and the network of the Friends of EYE, a special case was the institute’s collaboration with the Dutch Council for Refugees. Through this scheme, several refugees from Syria now living in The Netherlands collaborated on EYE’s collection project as well as in other EYE departments.

‘These former refugees have become part of EYE’s large group of volunteers’

“The Dutch Council for Refugees helped us to contact refugees who had been in The Netherlands for a while and had residency status, thus allowing them to work for us”, Roumen says. “Eight former refugees worked with us on the barcoding of the films for one or two days a week and some of them have stayed on in other capacities.”

One of them is Yousef Khamij, who fled his home country Syria with his

32 EYE Collection Centre

wife and daughter in 2014 and has been living in Amsterdam for a year now. The group of volunteers will see a Aside from following classes three days a week to learn Dutch, Khamij can be lot of new faces starting in October, found at EYE twice a week, where he now assists the institute’s facility services. when the Collection Centre will be It’s a welcome activity, he says. “In my home country, I worked as a builder, fully operational. The new building installing aluminium doors and window frames. It’s great to be able to houses the eight depots in use by continue my work here.” EYE to store its film archive and all related materials – including one These former refugees have become part of EYE’s large group of volunteers, state-of-the-art facility where master who are invaluable in much of the institute’s day-to-day functioning. copies and original negatives will be For many volunteers, the activities at EYE have become part of their daily kept at sub-zero temperatures to routine after retirement. One such example is Noortje Hogendonk, who turned elongate their shelf life as much as 80 just days before we spoke to her about her activities at EYE. “I’m still getting possible. But it will also be the new home for the library, now renamed the EYE Study. The volunteers will ‘In my home country of Syria, I worked as a builder, help describe EYE’s collection and installing aluminium doors and window frames. act as hosts for this part of the It’s great to be able to continue my work here’ centre, which will be open to the public Tuesday to Friday, noon til five. used to it!” she laughs. Hogendonk has been volunteering at EYE since the museum opened the doors of its new location in Amsterdam North in 2012. “We’ve had to make do for the last “I had volunteered at Victim Support for eleven years before that, but it was year, because we closed the time for something different. I live just around the corner from the museum, collection to prepare for the move,” so when I saw the call I immediately went for it.” At EYE, Hogendonk often says Collection chief Roumen. works as a host in the museum’s expositions as well as at the film screenings. “But in October we’ll finally be open “We collect the tickets, give out information, and give people directions for business again, for anyone with through the building – it’s a beautiful location, but the layout can be a bit an interest in learning more about confusing!” cinema. We have a close connection to the University of Amsterdam, but Fred Pieters has been at EYE even longer. “I started in 2009, right after my of course we also hope to attract retirement. I’ve always had a great interest in film, so this was right up my alley. students from other universities for Back then the museum was still in the Vondelpark, in the centre of their research and possible Amsterdam. I worked as a host, although there was less to do because there collaborations. The new building was much less room for expositions in the old building. And I also assisted in will be a great help in that respect: spotting films for the purposes of having them translated.” there’s no need to take a lengthy subway ride to far-flung parts of When EYE moved in 2012, Pieters moved along with them. “That’s also when Amsterdam anymore; you simply I started doing odd jobs for EYE International. For instance, I helped sort hop on the ferry and you’re here.” through the entire VHS collection – all these old videotapes of films that were released in The Netherlands. I spent two years on that, calling distributors and producers to ask them for digital versions so we could replace those old tapes. Since one of my other hobbies is cooking, I have a lot of films about food at home, and I was lucky enough to be able to add some hard-to-get titles to that

Photo: Ton Söder collection through this work.”

33 Feather vs fur

“The animals are the not the political subtext. It is about problem,” Van Dusseldorp says of friendship, not about race. the creatures she worked with on Nonetheless, she was keen to cast a the movie. “Children are harder to mixed group of kids from a range of direct than animals.” She points out different backgrounds. She was also that any filmmaker collaborating keen to work with real animals to with kids needs to be patient. It can garner more convincing be hard work holding the interest performances from the children. Simone van Dusseldorp and enthusiasm of the child actors. Before shooting begins, she goes to Owls & Mice was made by Lemming Simone van Dusseldorp great lengths to discover if her young Film, one of the most respected describes her new filmOwls & stars really do enjoy acting – and to production companies in the Mice (opening this year’s ensure that they are not being Netherlands. “They know how to Cinekid) as a follow-up of sorts pushed into a project by their parents. produce children’s films and that’s to her 2009 feature Frogs & Making movies isn’t always fun. very important.” On films with Toads, she tells Geoffrey children, there are challenges with Macnab, and there may be “I always look to find out if the scheduling – the kids can’t shoot another two films in her cycle of children are strong; if they can be “animals and children” films. watched by 50 adults on set without going shy,” the director explains of ‘Lemming know how to Van Dusseldorp is a regular her method. “It is without the produce children’s films, attendee at Cinekid, one of the parents – I don’t involve the and that’s important’ foremost international festivals for parents.” The young actors are given children’s, youth and family films. a taste of what working on a movie One of the prime attractions of the is like. She then tells them to go during term time, for example – so event is that it doesn’t just home and “sleep on it.” If they don’t sometimes, it will take longer to programme bland, mainstream enjoy the process or aren’t up to it, shoot a scene than with more children’s movies. Cinekid is not she warns them that it is best to seasoned adult actors. Van averse to showing darker, more admit it at the outset. If they do Dusseldorp praises her producers challenging films as well. agree to be in the movie, they have for taking every logistical problem to promise to stick it out until the in their stride. The film received Not that Owls & Mice is a ‘heavy’ end. For the director, the trick is backing from the Netherlands Film film. The writer-director describes it being “nice but also not too nice,” Fund and the Netherlands Film as one of her lighter efforts. It and making sure the kids take their Production Incentive. concerns Meral, a young girl responsibility seriously. struggling to adjust to a new school. Having made Owls & Mice, Van At home, she makes friends with a Hiba Ghafry, the young actress who Dusseldorp has already completed mouse called Peeppeep – and this plays Miral, was nine years old when another project – about young little critter opens up a new world to shooting began. Van Dusseldorp boxers – and is preparing a new her when she secretly takes it with had told her casting director that installation piece. “ I want to do her to summer camp. An owl also she wanted to work with a Moroccan something new, really new,” she features prominently in the story actress rather than with yet another says of a project in which, for once, too... blonde haired Dutch girl. The film there are unlikely to be any kids or isn’t intended to have any obvious animals.

34 Opening Film Cinekid Feather vs fur Owls and Mice Simone van Dusseldorp

‘With kids, the trick is being nice but not too nice’ Photo: Victor Arnolds

Director: Simone van Dusseldorp Script: Simone van Dusseldorp Production: Lemming Film (NL) Sales: Attraction Distribution

35 Cool for kids (and adults)

in the main programme. This year, too rowdy. “It is wonderful to see there are seven films in selection how engaged they are… and how that came through the market, smart they are. They make such among them such titles as 2013 intelligent comments,” Poelsma project Blue Bicycle by Turkish says. director Ümit Köreken, screening in Panorama, and Dutch Family Film There will be a Media Literacy Competition contender Siv Sleeps seminar during the festival attended Nienke Poelsma Astray from director Catti Edfeldt by numerous high profile Arn. Co-directed and scripted by professionals and experts working It’s the 30th anniversary this year Lena Hanno Clyne, this whimsical within the kids’ audiovisual sector, of Cinekid, the Amsterdam- Swedish-Dutch co-production about and the European Commission will based film, TV and new media a 7-year old girl who converses with be in attendance to address festival for children, running mysterious badger friends was in questions about the future of October 12 - 21. Head of the the co-production market in 2014. European children’s content at the Cinekid for Professionals Nienke (See See NL January/February, European Film Forum. Poelsma talks to Geoffrey Berlin Generation 2016) Macnab. Poelsma is heartened that the Since the first co-production market festival is paying attention to gender Nienke Poelsma points out just how over half of the presented projects and diversity. Even in kids’ films rapidly the Cinekid festival has – 52% – have secured finance and and TV, she notes, a certain gender grown over the last three decades. were completed. This is reckoned to bias is evident. “That really Cinekid started as a “really small be a very healthy strike rate. cultural initiative screening a few films and series” but has Cinekid doesn’t just show movies 60,000 kids are mushroomed to become, as she for kids. The festival helps coax expected to visit the calls it, one of “the most remarkable these films into existence – and calls festival children’s platforms in the world.” on the expertise of the children Over the course of the festival themselves to decide what should 60,000 children are expected to visit be made. Selected projects from the frustrates me personally. Already in the festival to watch the films, co-production market are presented cartoons and films for children, documentaries, VR installations, TV to the children in the Test And Pitch most of the time there are boy dramas and cross media initiative. “We do it in certain age characters in the lead,” she suggests productions, and to participate in groups. We go from 3 to 6, from 6 to of the persistent stereotyping. “Even VR and interactive installations and 10 and from 10 to 12,” Poelsma if you go into a toy store, it is blue on workshops within the programme. explains. One requirement is that one side and pink on the other… all the kids understand and speak although there are a lot of people The core industry programme has English. They watch works in working for equal gender been in existence for 15 years and is progress and are then invited by the representation there is still as a long set to grow more. One sign of the moderator to give their opinions to way to go.” event’s success is the number of the professionals. And no, says projects hatched in the Junior Poelsma, addressing the fears of Co-production Market that are film professionals whose work isn’t made and go on to secure selection so kid-oriented, the children aren’t

36 Cinekid 2016

Cinekid Medialab

37 Tiger ’s Calf

CIneMart and the Holland Film Van den Elshout concurs with this Film Meeting and CineMart, two Meeting are joining forces in view. “This program allows us to platforms that are very dear to us. September to launch BoostNL, really follow through in terms of the BoostNL will give Sacha and Viking a 5-month initiative designed to projects’ development and it marks Film the opportunity to work strengthen market support for a first very concrete step which can intensely on the film and will help Dutch and international projects. offer real value to each one, and the us to push it forward and to bring it Nick Cunningham reports. producers can benefit greatly from to the attention of international the partnership support that we will financiers and distributors.” Five Dutch and seven international offer.” projects will benefit from a series of Van den Elshout underlines how rigorous and bespoke monitoring The four Dutch projects in positive Dutch and international sessions during the first BoostNL development are Dreamscape, producers are about an initiative program that kicks off in Utrecht directed by Anna van der Heide and that sets out to elevate projects to late September and continues into produced by Iris Otten for Pupkin optimum level, ready for the next Cinemart 2017. All the projects, two Film; In the Arms of Morpheus, stage within their cycle, whether of which are works-in-progress, directed by Marc Schmidt and that be pitch, production, have already received acclaim for produced by Janneke Doolard for marketing or release. “This is a their quality and originality, and all KeyDocs: Quicksand by Margot partnership that is very open in of the international projects have Schaap and produced by PRPL’s terms of what we can offer and what already received ‘quality assured’ Ellen Havenith and Sacha Polak’s they need. We have been very open approval courtesy of a previous Jade, produced by Marleen Slot CineMart selection or funding from (Viking Film). Polak’s feature debut the Hubert Bals Fund. The monitor­ Hemel won the Fipresci Prize at ‘Three or four days at ing sessions will run the full gamut Berlin Forum 2012 while her second a festival is not enough of problem solving, from creative to feature Zurich won the CICAE Award for most producers with technical to financial and legal. at Forum 2015. The Dutch work-in- a project’ progress is Quality Time, directed by The BoostNL inititaive was born out Daan Bakker for Pupkin Film. of a joint desire on the part of in saying we are not offering the market bosses Marit van den Kaludjercic argues that the Holy Grail but a different way of Elshout (CineMart) and Vanja opportunity that BoostNL offers presenting your project – not quite a Kaludjercic (HFM) to widen the Dutch filmmakers is considerable, lab, not quite a market but very remit and increase the effectiveness given both the intensity and tailor-made, and not within a of their respective co-production longevity of the program. formula where everybody is doing events. “The inflation of markets the same kind of script has put us into a position where we Jade producer Slot further stresses development or hosting the same have to reflect differently on what its international appeal. “Jade just workshop on how European we do,” points Kaludjercic. “Three received production money from co-productions work. or four days at a festival is not the Netherlands Film Fund and enough for most producers with a development money from the BFI “It is not at all general. And it is good project. Boost NL will offer support and we are very much looking to bring projects back that we have that follows up in a very personalized forward to taking part in BoostNL,” already supported, drafting in leading way each project along a 5-month she comments. “It’s a great experts and using our strengths to trajectory at least – if not longer.” initiative combining the Holland make them better,” she concludes.

38 NFF Holland Film Meeting IFFR CineMart

Zurich Director: Sacha Polak Script: Helena van der Meulen Production: Viking Film (NL) Co-Production: Rohfilm (DE), A Private View (BE) Sales: Beta Cinema

39 competition forTIFFandBFI LondonFF. Nora’sfeature Mijke deJongtoplay theleadinLaylaM.,selected Maastricht fromSeptember. Shewaschosen bydirector Summer 2016and willentertheAcademyofDramatic Arts Nora (22)graduatedfromtheTheater SchoolRotterdam in Taking flight: NoraelKoussour confident andtrustedshe began toflyand fly and fly.” preparation,” comments DeJong.“As soonshefelt “It wasamazingto seehowNoragrewduringthe – powerful, emotional andhighlynuanced. screen debutastheeponymousJihadi brideisastonishing

Photo: Edgar Wetsel