Journal No. 2 | 2021 May - European Children's Film Association
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interviews
Sihja, the rebel fairy
The fantastic
journey of Margot &
Marguerite Journal
Ket & Doc 2021
No. 2 | 2021
La Mif
Birta
May
Photo: Sihja, the rebel fairy
www.ecfaweb.org
I n de x Editorial
Pull that trigger
ECFA continues to grow in numbers - with Iceland giving away spoilers) find it quite an anti-climax if
and Chile two new countries are now represented the girl, after a strong build-up, finally wouldn’t
3 SIHJA , THE REBEL 16 FIL MS ON THE
in our membership list. As every organisation does dare to shoot at the supreme moment. That is a
FAIRY HORIZON
Interview in troublesome times, we sometimes might ask our- compliment to the filmmakers (who carefully con-
18 Dimitris Spyrou selves: do we have enough to offer our loyal mem- structed their story around this dilemma), and an in-
5 TRIPLE TROUBLE Meet the Mentors bers? For ECFA the answer is a wholehearted “yes”. dication that adults still have difficulties assessing
Interview Isn’t it fantastic to have festivals and events roll- what young audiences can handle or not. It’s all in
21 Give&Take Film ing out the red carpet for ECFA members, offering the hands of the filmmakers and the choices they
6 THE FANTA STIC Workshop them a free accreditation or a reduced fee? With a make. I remember a screening of THE RABBIT HUNT
JOURNE Y OF MAR- Youngsters make films
GOT & MARGUERITE heartfelt “thank you” to BUFF (Malmö), KICFF (Kris- at the doxs! festival, when the images (and sound!)
Interview tiansand) and CMC (Sheffield) for facilitating oppor- of a rabbit skin being stripped off sent a wave of
22 BIRTA
Work in progress tunities for “exchange and consultation”… horror through the theatre. The impact lies with
8 Ket & Doc 2021 the camera. Children are still susceptible to the
Industry Project 24 GIRL SBOYSMIX …Which are vital and crucial aspects of our work, power of the image and the effects of certain cine-
Interview as recently became clear, again, when receiving a matographic choices. When the filmmaker’s choices
11 L A MIF question about a young audience documentary (see are balanced, children can handle a lot.
Interview 26 Parole Emil page 8). In BUCK FEVER you’ll meet a family of pas-
Industry
sionate hunters. During one of the family conversa- I hope BUCK FEVER will be programmed in many
13 Giffoni Festival :
Cl audio Gubitosi tions, framed very discreetly, a wild boar’s skin is festivals soon, for kids to confirm their status as
28 S K Y RAIDERS
Industry interview Interview ripped off. A festival considering to programme the skilled viewers.
film, doubted whether children could handle such
15 C ABINET S OF explicit horror. They consulted the JEF festival, –
WONDER where the film premiered in February, and where Gert Hermans
DoxSpot
the young audience’s reactions were different than
expected.
In a Q&A with directors Louise Van Assche and Griet Join us on 30 May for a virtual edition of the
Goelen, the young audience focused on the film’s ECFA AGM (members only) and ECFA Award Cer-
central question: will 8 year old Emily be pulling the emony (open online event) hosted by the Zlin
trigger to shoot her first deer or not? They would Film Festival.
(although it is difficult to address this theme without
2 | Journal 01 | 2021
I n te r v i ew
Marja Pyykkö about SIHJA, THE REBEL FAIRY
“A hoodie in a box“
Sihja, an outrageous young fairy, is livered great work; it was a pleasure
surely one of a kind. When entering to create Sihja’s world on such a solid
the life of Alfred, a shy and sensitive base.
boy, she turns his whole world upside
down. She messes up his room, scares Can I compliment you with Sihja’s
off his friends and spits her milk all wings? Scientists would probably
over the table. But even stranger identify them as “too small to carry
things are happening. Birds are found a creature of Sihja’s size” but they
dead on the streets, and both plants look so elegant!
and people display rather peculiar be- Pyykkö: Me too, I was very pleased.
haviour. Something weird is going on We had a lot of discussion about
at the local fertilizer factory! Alfred them. Fortunately the Dutch ‘magi-
and Sihja are the only ones capable of cian’ Rob Hillenbrink gave them their
preventing an environmental disaster final shape. The idea was to combine of street credibility. “Sihja from the Pyykkö: I always try to get “the real
that threatens the nature of mankind. a bat and a maple leaf, with one spe- Bronx” I told my costume designer feel” to all the tricks. It helped a lot
cific sort of beetle in mind as our ref- Emmi Leeve. I have two daughters, that Elina Patrarkka (Sihja) is a talent-
Keeping control over the uncontrol- erence. Rob and I joined forces with who often stood model for several ed gymnast; with the help of a stunt
lable, that was a mission for Marja production designer Otso Linnalaak- parts of Sihja´s character. The hoodie team she was really walking on walls,
Pyykkö, director of SIHJA, THE REBEL so, DOP Remko Schnorr and the VFX is now guarded as a treasure in Tuffi´s wearing a harness and rigs. She did
FAIRY, and skillfully mastering the wizards from PlanetX to make it all secret safe deposit box, for possible her own stunts, which wasn’t easy at
twilight zone between chaos and or- come to life. later use. all. Justus Hentula (Alfred) and Elina
der, with the support of Finnish pro- were very brave and bold, and after
ducer Tuffi Films. An iconic object for this film is Sih- Fairies come with special effects! a lot of training, they did as much as
Marja Pyykkö: Tuffi is known for its ja’s yellow sweater. What happened Was there a lot of “film magic” re- possible on the spot, including the
ambitious catalogue with high artistic to it after the shoot? quired to make her walk up the flying scenes. Those kids were fly-
standards. I am honoured to be part Pyykkö: I wanted Sihja to be like a walls? Or were there other more ing above the rooftops, hanging on
of this tradition. Scriptwriters Jenni ray of sunlight, clear and bright. This complicated tricks required in the cranes, which was truly amazing! I
Toivoniemi and Kirsikka Saari have de- oversized hoodie lends her a kind film? wanted the audience to really feel the
3 | Journal 01 | 2021
I n te r v i ew
night wind on their faces. Pyykkö: Alfred is drawn towards dif- Can you tell us something about
ferent things than the other kids, that intriguing factory location?
If there is one thing among the ac- which I also have witnessed with my Pyykkö: Those scenes were shot in a
tors that sounds very convincing, it own daughters. This story is Alfred’s water plant, with amazing colours and
surely is their laughter. As if they farewell to childhood, the last adven- shapes. All that grey and yellow! Oth-
had an awful lot of fun on the set. ture in which he can deny all pre-teen er shots were made in an abandoned
Pyykkö: The secret to that is… Justus! problems already “lurking” around factory. All the machinery and empty
He is hilarious. Elina simply loved his the corner. He is still in his own mag- halls allowed our art department to
stories, and they got along so well. We ical world, and I think he is happy create a world exactly like they want-
did some rehearsals without a script, there, not ready yet to take the next ed it. I find the result very convincing.
mainly trying out stunts and hanging step. The gang of other kids isn’t bad
out together, talking about life. From or mean, they are just in a different I’m probably not the first one who
then on, the work on the set was filled universe than him. I love how Justus saw certain similarities between the
with trust and laughter. gives shape to Alfred, wise, and full of scenes with the shipment of “magic
righteousness and humour. The value potion” and the current vaccination
Maybe it had to do with the many of kindness is priceless. debate…
things Sihja was allowed to destroy. Pyykkö: The script was written way
Already in her very first scene, she I was intrigued by the ‘magic po- before we even heard about Covid-19,
turns Alfred’s room into a total tion’ that plays a crucial role. We’re so I have to admit this is pure coinci-
mess. Was it fun, wrecking all that all dreaming of a better world, but dence.
stuff? a potion that “destroys all bad ele-
Pyykkö: Of course! Especially the powers! She is rather experienced ments” sounds horrible. That is an
mud fight was cool. At first the kids and has been working on various film interesting ambiguity! –
were a little worried about getting sets before. But she was simply born Pyykkö: Nature is naturally leaning Gert Hermans
dirty, splashing each other with mud – to play Sihja, the role allowed her to towards chaos, while humans are des-
which was actually cleaned thorough- display her full potential, freely play- perately looking for order. But when
ly to avoid all risks. As soon as mud ing around and experimenting. She looking into nature, you will always watch trailer
was flying around, we sent our DOP is pure magic, and a true pro, even if find order, and when looking at hu-
to the middle of the arena, and let the that sounds weird to say about a nine mans you will always find chaos. It is
kids loose. Pretty cool! year old. all about balance, between temper
and serenity, between beauty and World Sales: Dutch Features;
Elina Patrakka’s ‘magic aura’ makes How are the other kids treating Al- ugliness… All emotions have their sales@dutchfeatures.com
her perfectly credible as someone fred? I wouldn’t exactly call it bully- rightful place in our world, including
who might perform magic. ing, but how would you describe it sorrow and rage. Our flaws and weak-
Pyykkö: This little lady has special then? nesses are little jewels to treasure.
4 | Journal 01 | 2021
I n te r v i ew
Marta Karwowska about TRIPLE
TROUBLE
“The golden rule of children’s cinema: get rid of
the adults”
Creeping footsteps in the museum strong effect to attract the viewer’s
garden, skilful fingers fumbling on attention from the very first shot.
the frame of a painting... Not just any
painting, but a masterpiece by Monet. Where exactly did you film that
The next day it turns out the painting scene?
has been stolen and Julka and Olek Karwowska: We had been searching
travel to Poznań to start their investi- for a suitable location for a long time
gation. Since Julka’s aunt is falsely ac- until finally my dream came true. We remembered the story of Beach in Karwowska: For me, both films are
cused of theft, the duo quickly needs shot exactly where the scene is ac- Pourville, the only painting by Monet two different worlds. I approached
to reveal the true identity of the thief. tually taking place, in the hall of the on public display in Poland, which was the actors and the script completely
They get unsolicited help from Felka, National Museum in Poznań. Polish stolen from the National Museum in differently. Our characters are older
though with her comes trouble, jeal- people will recognise the place that is September 2000. It was cut out of its and more mature, so their problems
ousy and rivalry. famous for its beautiful architecture frame and replaced with a copy, paint- are a bit more complex. I hope our
and decoration. The cooperation with ed on cardboard. The painting was re- audience is growing up parallel to
The film opens with a burglary in a the Museum went smoothly, every- covered only in January 2010 and one the films. Even the visual design of
museum. It felt almost like ‘Mission one was very helpful and open to our suspect was arrested. This was exactly the movie is different - I wanted this
Impossible’ for kids. ideas. the kind of story we were looking for. one to be sunny with more space and
Marta Karwowska: I worked with a oxygen.
great team and the opening scene The story’s set up is not coinciden- In comparison to the first (very
is the result of several departments tal… successful) DOUBLE TROUBLE film, How did you direct Pulpet, the dog,
joining forces - stage design, cine- Karwowska: Together with producer your characters have grown up a in his wild police chase scene?
matography, sound… We meticu- Agnieszka Dziedzic, we were looking bit and are now facing life’s big- Karwowska: The dog obeyed to only
lously prepared the scene by drawing for something that could serve as a ger questions about friendship and one person, which was our first AD.
storyboards. We wanted to create a foundation for our plot. Agnieszka trust. He was the one in charge, although
5 | Journal 01 | 2021
I n te r v i ew IN T E RVI E W
the scene was mainly constructed
through the editing. Both the dog and
cooperate once they’ve overcome
their rivalry.
Pierre Coré about THE FANTASTIC
the policemen are running all the time
through the same corridor. The scene
Karwowska: As a woman, it is only
natural that I have girls playing the
JOURNEY OF MARGOT & MARGUE-
was initially intended as a short gag,
but in the editing room it turned out
leading roles. People often tell me
how TRIPLE TROUBLE is a movie with
RITE
we had enough material to make it strong, charismatic female characters, “Realism allows me more than fantasy does“
longer, if we puzzled it nicely togeth- like Julia and Fela, but also Kaja, Aunt
er. I will also reveal the secret that and the Double Coloured Eye woman.
Pulpet actually is a girl and her name I really believe in friendship among
is Marlena. girls - Julka and Felka’s friendship is Margot and Marguerite are both 12 tablished order and adult compromis-
an example of how to overcome prob- years old, struggling with family, es (which we prefer to call wisdom)...
There were some more technical lems and build strong relationships. friends and other issues. But one lives At the same time, they are often ego-
challenges to the film: cars, boats, in 1942 during the war, the other one centric, seeing the world only through
planes… You had it all! Your film has been travelling the in 2020. They tumble into each other’s their own filter and having a hard time
Karwowska: My main challenge is to festivals. lives via a magical trunk. One more adapting to someone else’s point of
shoot good emotional scenes, to be Karwowska: Festivals – like Ale Kino! thing they have in common: an absent view. Margot’s anger serves as fuel,
honest. That is what I care about. All here in Poland – add an extra dimen- father. Despite the 70 years that sep- the energy that enables her to accom-
you need for the action scenes is to be sion to children’s cinema. They attract arate them, they embark together on plish this mission.
well-prepared and to guarantee the an audience that likes to talk about an adventure on the edge of space
safety of the actors and extras. The film. In countries like ours, where un- and time. What is so typical about Margot’s
chases were shot in the studio and we fortunately not many films for chil- father? And by the way: is graphic
had stuntmen in the forest and on the dren are being made – they empha- Is anger a crucial emotion at the age designer not a real job?
boat. It wasn’t as hard as it seems. sise the importance and prestige of of 12? Coré: Oh yes, of course it is! My wife
our work. Pierre Coré: In this film this anger is is one, you should see this as a little
Throughout the film it is always mainly Margot’s privilege; Marguerite wink to her, though I’m not sure if she
the kids who keep control; they can – simply isn’t there yet. At the age of 12 finds it funny. I wanted to make young
solve every problem without the in- Gert Hermans you are no longer a child but not yet audiences reflect on the evolution of
volvement of grown-ups. © Ale Kino! Festival adolescent. You have one foot in both the fatherly role over the course of 70
Karwowska: This is the golden rule of worlds. Marguerite tilts more towards years. Coming from 1942, Marguerite
children’s cinema; get rid of the adults World Sales: Beta Cinema; childhood, while Margot is revolting is quite distraught facing this “ado-
and let the kids do the job. beta@betacinema.com like a teenager. I love that passionate lescent dad”, who refuses to grow
Festival contact: Renate Zylla, side of teenagers, their heightened up, wearing jeans and hoodies. This is
In your case: two girls, who truly RZylla@arcor.de emotions. They are angry with the es- not the kind of authority she expects.
6 | Journal 01 | 2021
IN T E RVI E W
its moments of happiness. I wanted is living?
Marguerite to be astonished when Coré: A beautiful house it is! We did a
being confronted with our mixed lot of prospection before we discov-
school classes, our cell phones and ered this one. I wanted Margot to be
our means of transport. She discovers completely overwhelmed by the size
people eating fast food and sugary of the house. Nowadays most of us
snacks while drinking sparkling soda. live in cities or suburbs in rather tiny
The funny thing is that by trying to be spaces, and Margot’s first shock is
neutral, the audience can interpret precisely about this immensity. I pro-
our projection any way they want. The foundly had to cut Margot’s discovery
sequence with the wind turbines, for of the location in the editing process.
example, can be experienced either Initially she made an almost halluci-
as a magical, poetic moment, or as natory stroll through all the rooms,
a nightmarish vision of a disfigured each one even larger than the other.
world… Everyone can project their Unfortunately the audience only sees
own fantasies. a small part of the decor. This house
is so big that we even created an ex-
However, dad will have to find peace The more the context seems realistic, The girls have to run, drive, fly… tra set for another sequence; also the
with his fatherly status. the easier your audience will accept Coré: This was indeed a very de- labour camp kitchen scenes were shot
the cheating with the time and space manding physical performance. Main here.
A film about time travelling can nev- continuum. In short, realism allows actress Lila Gueneau (playing both
er be realistic, but still you made a me more than fantasy does. Margot & Marguerite) loves to run,
great effort to make it look like jump and do stunts. But we shot in –
that. When filming from a 1942-bound winter and weather conditions were Gert Hermans
Coré: To make your audience believe perspective, were there moments tough, sometimes with rain and snow. © Ale Kino! Festival
in magic you have to be as realistic you were wondering about our con- We had to adapt her costume to keep
as possible. We close a pact with the temporary times, and the kind of her from shivering all the time. And
audience regarding the magic trunk, lives we’re living today?!” there was the concentration she had watch trailer
testing the flexibility of their imagina- Coré: It was great fun filming our to keep up for eight weeks. Every day
tion. If they’re willing to accept that, world through the eyes of a girl from she was on the set, almost in every
it’s okay to have our two heroines the past. I didn’t want to pass a judg- scene, which for a 12 year old is quite
swapping time zones. Once this pact ment, I don’t think everything used a challenge. World Sales: Orange Studio;
is sealed, you have to keep the story to be better in the old days, I don’t contact.orangestudio@orange.com
as close as possible to the characters, feel like idealising the past. Each pe- What about that beautiful ‘mansion’
not losing yourself in artificial effects. riod has its quirks, its brutality and location, the villa where Marguerite
7 | Journal 01 | 2021
I n dust r y P r o ject
Ket & Doc: new generation of Flem- ANGRY by Frederike Migom
ish young audience documentaries “The big explosion”
Ket & Doc means five new Flemish and have all been broadcasted on Some children often get angry. So
young audiences documentaries Ketnet, the Flemish youth channel of angry that life at home or at school
every year. For 15 minutes, these the public broadcaster. “We do not shy is no longer bearable. In hospital, in
films consequently look at the world away from difficult themes: farewell, the children’s psychiatry department,
through the eyes of a child. After they gender issues, children’s psychiatry... they explain through conversations,
premiered at the JEF festival, chil- These films offer an open view on the photos and images why they are so “I don’t believe you really like me,”
dren talked to the directors via the world,” says Annemie Gulickx, Net angry and how they feel about it. says one of the children.
classroom computer. This is what the Manager of Ketnet. Migom: If your teachers and parents
young audience wanted to know... Everybody gets angry sometimes. tell you time after time that you’re
With Ket & Doc, the three partners - When do things become so problem- nasty, and nobody wants to play with
In Ket & Doc, a trajectory for filmmak- the Flemish Audio-visual Fund (VAF), atic that you have to see a psychi- you anymore, you might tend to be-
ers that started in 2018, Flemish direc- JEF and Ketnet - have succeeded in atrist? lieve that nobody likes you, indeed.
tors go through a series of workshops putting youth documentaries on the Migom: When you are no longer able
working towards their own young map in Flanders. Meanwhile, a new to go to school or just live at home, Did you want to make a series of
audience documentary. The five films batch of filmmakers is preparing for when you and the people around you portraits of several children, or did
that were made within this year’s Ket the third edition of Ket & Doc: anoth- are no longer able to cope, then you you approach them as a group?
& Doc edition tell captivating stories, er five lovely films in the making. need help. But there is always a rea- Migom: I wanted to give a voice to a
son why kids get angry, and that’s group of children who have some-
what we need to look for. thing in common. Through the anima-
tions they do get their own colours
Is it a disease or can you grow over and textures that suit their individual
it? personality. When they grow more
Migom: Children are facing so many and more angry, their voices grow
confusing feelings that are some- into one big voice, because they all
times difficult to understand. All that share the same experience; the anger
confusion can come out at once in a in this film has but one voice.
rage, like an explosion. If those feel-
Buck Fever Yaren and the sun ings are very strong, the explosion Producer contact: Maarten Schmidt;
can be huge. maarten@storyhousefilm.com
8 | Journal 01 | 2021
I n dust r y P r o ject
BUCK FEVER by Griet Goelen & JULES & ME by Anne Ballon
Louise Van Assche “Going through a transition all together”
“Her deer’s head on the wall”
Roos has a sister who used to be her
brother. At home, a lot of attention
In Texas, Emily, an 8 year old cheer- will always raise questions, even if goes to Jules. Still, Roos tries to be a
leader, is on the eve of her first hunt. children can only handle a gun in the good sister.
She is the youngest in a hunters fam- presence of an adult.
ily and the only one who does not yet You made this movie within your
have a deer’s head hanging on the liv- Emily’s father is kind and patient. own family.
ing room wall. Goelen: We were moved by the bond Ballon: Roos and Jules are my sisters.
between Emily and her dad, which was Sometimes it was easy to make a mov- a girl?
Where did you find Emily? reinforced by spending long hours to- ie in my own family, because you know Ballon: I think she always knew. But
Goelen: In Llano, the ‘Deer Capital’ of gether in a hunting cabin. the story through and through. But it wasn’t easy to admit, even though
Texas, a small town where hunters go sometimes it’s harder because you she liked to dress like a girl and play
for groceries. (Spoiler alert!) We were all waiting don’t want to hurt anyone. You want with Barbie’s as a child. As a teenag-
Van Assche: One day in a shop we for Emily to pull the trigger but it to be a pleasant experience for all. er she kept it hidden for a long time,
met Chase and his dad. Chase told us then… she didn’t. That is why you constantly wonder and around the age of 20 she finally
he had a younger sister who would Goelen: Emily makes clear that the how far you can go. told us.
soon go hunting for the first time. time isn’t right for her yet, which is a
She was a cheerleader. This family brave thing to do. It is what she felt Why did you make this film? What does Jules think about the
had everything we were looking for. inside. Sometimes things turn out Ballon: It is important that minori- film?
Hunting is a family tradition in Texas, differently than expected; suddenly ties in our society get more visibility. Ballon: She is happy with it, but she
passed down from generation to gen- you don’t want something that you It’s all about being seen and heard, is also a little vain. Film extrapolates
eration. Boys often learn to hunt at a thought you always wanted. Then as and it adds to our vocabulary to talk everything, both your appearance and
very young age. a child - and as a young girl - you have about such topics. I wanted to look your behaviour. During the editing I
the right to say no. at a transgender person through the showed her different versions that
Still it is weird to see children carry- eyes of a family member. Because we discussed thoroughly. In the end,
ing a weapon. Producer contact: Bram Versteyhe; such a transition is something you go I usually got my way.
Van Assche: When I first got to Texas, bram@lionheart.be through all together, as a family.
all those guns shocked me. The com- Producer contact: Frederik Nicolai;
bination of ‘weapons’ and ‘children’ At what age did Jules know she was frederik@offworld.be
9 | Journal 01 | 2021
I n dust r y P r o ject
THOM & STOFFEL by Zaïde Bil & YAREN AND THE SUN by Renate
Sébastien Segers Raman & Joren Slaets
“Overlooking the horse stables” “We went along camping”
Thom’s best friend is Stoffel, an old Yaren goes to a summer camp for all the nice moments were extra fun
Shetland pony. Wherever Thom goes, children who have lost a dearly be- - all emotions were particularly ex-
Stoffel trudges after him. But Thom loved person in their life. There she treme. Afterwards I felt so tired.
has grown too big for Stoffel. Soon he meets Kato, a real twinkletoes. This is
will have to choose another horse. the start of a special summer and an How difficult was it to constantly
equally special friendship. keep up your professional approach
Segers: We wanted to show how during those sad moments?
Thom looks at life, how he experi- grows big and strong, but inside he is Why did you choose to follow Yaren? Slaets: We couldn’t. That light parade
ences his world. still 3.5 years old. He has now grown Slaets: Yaren and Kato were both was such an intense moment that we
Bil: He lives very much in the “here too big to ride Stoffel, his feet are al- capable of talking easily about their couldn’t keep filming.
and now”. Thom doesn’t think about most dangling to the ground. That is grief. At the camp they ended up in Raman: We filmed for about half an
yesterday or tomorrow; he is enjoying why he has to change horses. the same group and became best hour, then we put the camera aside
the moment. Bil: For him this is a turning point. The friends. That made them our obvious and went among the kids. In that
new horse symbolises Thom’s person- main characters, although they had scene we mainly focus on the connec-
Thom is a bit different, but we don’t al development. never met before. tion: the being together, the hugs...
get to know much about that. Raman: Thanks to that strong bond of We want Yaren and Kato to be proud
Segers: Thom has a form of autism, Where does Thom live? grief, they became close friends. And whenever they see this film, we don’t
but we never mentioned it. We Segers: On a large farm, with mead- they still are. They have both already want them to relive all those sad mo-
thought it was more important for the ows and a pear orchard. He has plenty registered for the camp again next ments every time again.
film to raise questions than to provide of freedom and space. His bedroom year.
answers. This isn’t a portrait of a boy overlooks the horse stables, from his Producer contact: Maarten Schmidt;
with a disability; we just show Thom window he can see Stoffel, Rosanne, How was it for you to join the camp? maarten@storyhousefilm.com
as he is. Xantos and the 15 other horses… and Slaets: The three of us (two directors +
all the chickens, cats and dogs. sound guy) went along, we ate, played
Why does he need a new horse? and stayed with the children. Those
Segers: Thom has grown enormously. Producer contact: Zaïde Bil; five days were extremely intense. All
He has the body of a 10-year-old, he info@dokma.be the sad moments were extra sad, and
10 | Journal 01 | 2021I n te r v i ew
Fred Baillif about LA MIF
“Like a rushed, energetic, pounding heartbeat”
In LA MIF (aka THE FAM), self-taught Swiss TV – in prime time – and there
Swiss filmmaker Fred Baillif tells an was this producer telling me con-
impressive story about seven teen- stantly “we must have this, we must
age girls with traumatic family expe- have that“. It felt like making a reali-
riences, living in a residential shelter ty show. All the time I was so anxious
in Geneva. Mif is a French slang word about manipulating reality. That is
for family; although most of the girls when I decided: I am not going to do
have parents and siblings, public wel- documentaries anymore. I’d rather try
fare has put them in a home. fiction and see if that might work. And
it did! With this method for non-pro-
Born in 1977, Baillif, grew up in the fessional actors, I have the freedom
countryside near Geneva, where he to tell any kind of story, always true
graduated in 2000 as a social worker to my point of view.
and found a job in a youth detention
centre. But his dream was to make How was this method applied with
films. He went to New York where he RTS. acters and viewers in brutal honesty LA MIF?
worked as Production Assistant on a through different stories and incidents. Baillif: All started with Claudia Grob,
documentary series and at night as a His first fiction feature TAPIS ROUGE Carried by captivating and strong per- playing Lora, the director of the shel-
DJ in the legendary bars in Brooklyn. was a no budget film made with teen- formances it never loses its balance be- ter home, which was really her pro-
Back in Switzerland, in 2003 he direct- agers from a Lausanne suburb. With tween power and vulnerability.“ fession until she retired. We worked
ed his first documentary SIDEMAN, them he started developing a meth- together 20 years ago and stayed in
about the New York-based Swiss har- od for directing non-professional ac- LA MIF almost looks like a documen- touch. Through my documentaries
monica player Grégoire Maret. With tors. LA MIF, created in collaboration tary. What is the advantage of mak- about ‘the social work field’ she kept
his background as social worker he with a shelter home in Geneva, was ing fiction films for you? up with my career. She told me how
then made the documentary GEISEN- honoured with the Grand Prix in the Fred Baillif: Freedom! There was a frustrated she was about her work in
DORF, about kids terrifying citizens 14plus Competition at the Berlinale particular moment in my career when the institution, especially when issues
in Geneva’s Geisendorf Park. As an 2021. The International Jury stated: I understood the limitations of the of ‘sexuality’ were involved – and they
established documentary maker, he “Like a rushed, energetic, pounding documentary genre. At that time I always were – and in the way politics
started working for Swiss TV station heartbeat, this film pushes its char- was making a documentary series for dealt with it. Her deep anger towards
11 | Journal 01 | 2021I n te r v i ew
Baillif: We built up a relationship. I People are always anxious; protection
went to the shelter maybe once per is our priority. I have different prior-
month on a Sunday evening to have ities: how can we make these kids
dinner with the girls, together with believe in themselves? How can we
my wife and kid (who both had a role help them expressing themselves –
in the film). I told them from the start like they did in the movie? All I can do
this project would take a lot of time. is plant the seeds – sometimes they
grow, sometimes they don’t; we can’t
How much footage did you collect? control everything. This is what I have
Baillif: I haven’t calculated, but maybe to accept, as a social worker and as a
5% finally made it into the movie. The filmmaker.
story further evolved in the editing
phase. It was the first edit that finally On the soundtrack I would have ex-
made local fundraising possible. pected maybe punk songs, but using
classical pieces by Mozart, Scarlatti
the entire youth protection system, film’s co-authors, without knowing Your relationship with those young and Bach works very convincingly.
became my inspiration for LA MIF. the details of the overall story. Finally people seems to be very intense. Baillif: This music takes us back to the
on the set, every day they got to know How were you as a teenager? time when shelter homes were ran
So when Lora accuses the insti- a little more about the characters and Baillif: Super difficult. For me the by nuns. Our current juvenile system
tution, these were Claudia’s own plot. Of course none of the dialogues whole world was black or white. When is regressive, it takes us back in time.
words? was written. there was a teacher who understood Moreover I didn’t want the music to
Baillif: Completely! me, we were best friends; when there manipulate the audience’s emotions,
There was no script, no screenplay? was one who punished me or felt su- as it happens all the time nowadays.
What happened then? Baillif: You can imagine how difficult perior, all hell broke loose. I wanted
Baillif: I interviewed the girls and em- it was to get such a project financed! to become a teacher, just to do bet- –
ployees of the shelter. Asking them That is why it took so long. Finally, af- ter than them, to try and understand Uta Beth
about the real ‘drama’ in their lives, ter three years I said: “Okay, we don’t those children. And I became a social
I made up a story for each of them… have the money, but the girls are grow- worker because I believe these kids
but not their own stories. I asked all ing up. We need to shoot now, other- need to be listened to and heard. watch trailer
of them to evaluate their characters… wise it will be too late.” So we shot the Teaching is listening, but in schools
except for Lora; Claudia agreed that film within two weeks. or shelters there is no time for that.
she wouldn’t know anything about her The problem is not with the social
character and her backstory. That is How did you keep the girls in line workers, but with the institutions World Sales: Freshprod;
how the young actresses became the over such a long period? and with the overregulated system. fb@freshprod.com
12 | Journal 01 | 2021I n dust r y I n te r v i ew
Giffoni Film Festival celebrates 50th anniversary
Claudio Gubitosi: “Changing the idea about the South“
Isn’t that what defines the nature of es them.
truly famous people? We all know
them, we know all the facts published The path of the festival is closely
in gossip magazines, but none of us intertwined with your persona as
know who they really are. The same founder and director.
goes for famous festivals: everybody Gubitosi: I was only an 18 year old boy
knows the Giffoni Film Festival, one of back in 1971. Now I am probably a wis-
the biggest children’s film events, but er man, but my enthusiasm and ener-
little do we know about the beating gy are still the same. In the beginning
heart of the festival, the founder and I worked with a small team, while now
director Claudio Gubitosi. What we all there is a staff of professionals, often
know about the festival in Southern people who grew up in the festival
Italy is this: it’s welcoming young peo- and first came here as jury members
ple from around the globe through in the eighties or nineties. I see it as
exchange projects, it’s big in numbers, my duty to coordinate and direct this
premieres and screenings, it attracts staff, showing them the way and to-
famous Hollywood stars as festival 10 years the event grew slowly, until member of the family can find some- gether giving shape to the festival of
guests and… it’s celebrating its 50th everything suddenly changed in 1982: thing interesting here. We have many the future.
anniversary! François Truffaut accepted my invita- sections in our programme, each one
tion to come to Giffoni for a meeting for a very specific audience or age One of the festival’s trademarks is
We know the Giffoni Film Festival with our jurors. It was amazing! From group. Even for such a big event, it is the presence of big stars, like Holly-
as a massive event. Were you “born that moment on, finally, cinema pro- important to really know your audi- wood celebrities. What is their role?
big”? fessionals became curious about us ence and their preferences. Over the Gubitosi: In my opinion it is getting
Claudio Gubitosi: The original event in and started to accept my invitations. years, we have closely studied the re- more and more important for young-
1971 was very small. We just had some actions of our young jurors and how sters to meet people in the “real
films – the ones we read about in mag- The festival is impressive in terms they evolved. A 9 year old in 2021 is world” – not only star actors, but writ-
azines or found with local distributors of numbers: so many films, so many very different from a child of that ers, politicians, scientists, to better
- and a jury: some hundreds of kids full guests… “Size matters” for Giffoni? age in 1989. But still we want to offer understand their human side. They
of energy and curiosity. Over the first Gubitosi: For us it is crucial that every them all a film that moves and touch- are not idols, they are not untoucha-
13 | Journal 01 | 2021I n dust r y I n te r v i ew
ble, they are normal people with pas- and think further. It should be a film
sions, desires and fears from who you that our jurors can “feel” and - at the
can learn. A famous actor can tell you same time - a starting point for new
how much work and study are needed thoughts, a new perspective on the
to master a role, or how many fears he world.
had to overcome. This is important in
a world where success seems so easy Are there any specific ambitions for
to reach. the future that you can share with
us?
Which one of these stars has made Gubitosi: In 2020 the festival’s ‘Winter
the strongest impression on the Edition’ was our answer to the pan-
team? demic situation. Now I’m trying hard
Gubitosi: Many of them did, but we to create a new festival calendar with
will never forget Meryl Streep. After a more appointments throughout the
long day of meetings and interviews, Claudio Gubitosi with Meryl Streep year. I’m sure this should be our fu-
at dinner she asked to take some ture; I just need to convince my spon-
pictures of the staff, because “only erations of jurors who have come here Italian films but at the same time sors and partners. Different events
thanks to these people such a won- from other Italian regions or from we think Italian producers should be could be dedicated to specific themes
derful event was made possible”. abroad. Young people who, thanks more active, specifically for young or types of production (like exper-
to Giffoni, discovered the beauty and audiences. European countries like imental film, video dance, VR). We
You’re located in South Italy, famous safety of Naples, Amalfi, Paestum, the Netherlands or Germany pro- have to be open to all new aspects of
for its splendid beauty and hospital- might return here as adult tourists. duce so many good films for children the world of imagination. At the same
ity, but at the same time poverty, The same happened with those Hol- and youth every year, while it is still time I hope Giffoni will become more
unemployment and organised crime lywood stars. After Giffoni many of a struggle to find one Italian title for and more a place where youngsters
are casting a dark shadow over the them returned here and called me to our children’s sections. from all over the world can meet, not
region. What role can a festival play say how happy they were to discover just to watch films together but also
in the lives of young people growing all these wonderful places. What is the common thread to discuss their needs, their rights and
up there? throughout the festival’s program- their ideas for a better future.
Gubitosi: The festival has an important Italy has an interesting production ming? What makes a film “a true Gif-
impact on multiple levels. Economi- tradition for young audiences, but foni film”? We wish you good luck with these am-
cally all the festival funding returns the results are seldom seen in the Gubitosi: Quality and honesty. A Gif- bitions, and congratulate you on your
to the region multiplied in different international scene. Can the festival foni film should have visual qualities 50th festival anniversary!
ways (taxes, impact on tourism etc.). have an impact on the visibility of and an authentic story that can open
Culturally the festival changed the Italian production? a cultural horizon for our jurors. A –
idea about the South with all the gen- Gubitosi: We do our best to promote film that motivates them to think, Gert Hermans
14 | Journal 01 | 2021D OX S P O T
CABINETS OF WONDER
CABINETS OF WONDER is an immer- draped over their depictions. In a jun-
sive experience of the virtual truth. gle of cat people and glimmering blue
We embark on a journey to find the bugs, the children retreat to a secret
answer to the question: If childhood place, inaccessible for adults.
were a place, where would it be?
German director Susanne Kim ac-
The multi-platform project CABINETS companies her protagonists roaming © Expanding Focus
OF WONDER consists of a documen- around and playing with friends. She
tary film accompanied by a VR expe- offers them a safe space to tell their riences of displacement, cat people immersive experience for, by and with
rience series and media literacy pro- stories. Using a collage of animations, and shiny blue beetles. It is exciting to children.
gramme for schools and educators. In photos and props, she emphases cer- realise, through VR our practices for
the feature length hybrid documen- tain aspects of their narrations, illus- depicting the real are no longer con- Director: Susanne Kim
tary, four children aged 9 - 12 take trating the inner conflicts hiding be- tained by the aesthetics of a 2D can- Producer: Alexander Herrmann for
us on a journey into their world, and hind the metaphors. While the overall vas. The audience can step into and Expanding Focus GmbH
share their hopes, dreams and fears. tone is playful, Kim never shies away become part of the world previously World sales: Expanding Focus GmbH;
Each of them has a different story to from more serious topics. “Do you seen on a screen, creating a feeling alex@expanding-focus.de
tell about exclusion and expectations, know that it’s really hard when… For of really “being there”. We can con- www.expanding-focus.de
belonging and friendship. Wisdom example, when you go to another land nect with Wisdom, Elias, Roya and Jo- Germany 2020, 80‘
speaks of his grandfather, the lion as a foreigner…” Roya is interrupted: line on a more personal level. VR can
slayer. Having grown up in Germany, “You shouldn’t call them foreigners. serve as a strong empathy building
his Cameroonian heritage is still an im- There is no such thing as foreigners.” tool while teaching media literacy and The Doxspot column is published
portant part of his identity. In Roya’s When the children share private ac- addressing social issues with audienc- with the help of the doxs! festival
accounts, she becomes a mermaid counts, it comes across as natural es of all ages. for children & youth documenta-
and overcomes her fear of drowning. and authentic. The camera lens never ries in Duisburg and other cities
Elias prefers to speak with Rose, an feels invasive, but more like a sup- Susanne Kim’s team, together with in the Ruhr Area. www.do-xs.de.
intelligent voice system he befriend- portive friend. the children developed a world for
ed. In Joline’s world, she is not only each protagonist – an audio-visual mix
battling letters doubling and mixing The VR experience serves as an inter- consisting of 360 stereoscopic pho-
up, but people’s expectations she is active pairing to the documentary, tos, documentary footage, drawings
afraid not to meet. A veil of mystery is making you discover lion fights, expe- and 3D models, creating an uncanny
15 | Journal 01 | 2021F i lms o n the H o r i z o n
Dear Future Children Prod.: Joann Sfar’s Magical Society, Moonbound
Documentary, Germany, UK, Austria, Panache Prod., Studiocanal, … Animation, Germany, Austria, 2021
2021 World Sales: Studiocanal Director: Ali Samadi Ahadi
Director: Franz Böhm Phone: ++33-1-71-35-35-35 Prod.: Little Dream Entertainment,
Prod.: Nightrunner Prod., Schubert www.studiocanal.com Brave New Work, Coop99
Film, Lowkey Films, … World Sales: Sola Media
World Sales: Magnetfilm Phone: ++49-711-96-89-44-40
Phone: ++49-16-38-01-07-53 post@sola-media.com
info@magnetfilm.de Kids Cup www.sola-media.com
www.magnetfilm.de Documentary, Norway, 2020
Director: Pavel Mirzoev My Dad is a Sausage
Prod. & World Sales: Medieoper-
atørene
info@mop.no
www.mopfilm.com Martin and the Magical
Forest
Feature Film, Czech Republic, Slova-
kia, Germany, 2021
Director: Petr Oukropec
The Fam (aka La Mif) Prod.: BFILM.cz, Leitwolf Filmprod., Feature Film, Belgium, Germany, 2020
Feature Film, Switzerland, 2020 Negativ Film Prod. Director: Anouk Fortunier
Director: Frédéric Baillif World Sales: Attraction Distribution Prod.: A Private View, The Film Kitch-
Prod.: Freshprod, RTS Phone: ++1-51-43-60-02-52 en, Leitwolf Filmprod., …
World Sales: Freshprod info@attractiondistribution.ca World Sales: Studio Hamburg
fb@freshprod.com The Lesson www.attractiondistribution.ca Phone: ++49-40-66-88-53-51
www.freshprod.com Documentary, Germany, 2020 info@studio-hamburg-enterprises.de
Director: Elena Horn www.studio-hamburg-enterprises.de
Gagarine Prod. & World Sales: Open Citadel
Feature Film, France, 2020 julia@open-citadel.com Nelly Rapp – Monster
Director: Fanny Liatard & Jérémy www.open-citadel.com; Agent
Trouilh www.thelesson.film Feature Film, Sweden, 2020
Prod.: Haut et Court Director: Amanda Adolfsson
World Sales: Totem Films Little Vampire Prod.: SF Studios
hello@totem-films.com Animation, France, Belgium, 2020 World Sales: Reinvent
www.totem-films.com Director: Joann Sfar sales@reinvent.dk
16 | Journal 01 | 2021F i lms o n the H o r i z o n
www.reinvent.dk Padrenostro info@attractiondistribution.ca Prod.: Flare Film, SWR, ARTE, …
Feature Film, Italy, 2020 www.attractiondistribution.ca World Sales: Totem Films
Director: Claudio Noce hello@totem-films.com
Prod.: Lungta Film, Pko Cinema, Ten- Sihja, the Rebel Fairy www.totem-films.com
dercapital Prod., … Feature Film, Finland, The Nether-
World Sales: Vision Distribution lands, 2020 The Whaler Boy
Phone: ++39-06-99-58-51 Director: Marja Pyykkö Feature Film, Russia, Poland, 2020
catia.rossi@visiondistribution.it Prod.: Tuffi Films, Windmill Film, Den Director: Philipp Yuryev
www.visiondistribution.it Siste Skilling Prod.: Rock Films, Man’s Film Prod.,
World Sales: Dutch Features Orka Film
Night Forest Remy and Juliyat Phone: ++31-6-42-40-69-22 World Sales: Loco Films
Feature Film, Germany, 2021 Feature Film, the Netherlands, 2020 sales@dutchfeatures.com Phone: ++ 33-7-62-99-49-19
Director: André Hörmann Director: Tessa Schram www.dutchfeatures.com info@loco-films.com
Production: Kurhaus Prod., NDR, RBB Prod.: NL Film www.loco-films.com
World Sales: Kurhaus Prod. World Sales: Dutch Features Spring Blossom
Phone: ++49-7-22-13-02-19-06 Phone: ++31-23-88-80-168 Feature Film, France, 2020
office@kurhausproduction.de sales@dutchfeatures.com Director: Suzanne Lindon
www.kurhausproduction.de www.dutchfeatures.com Prod.: Avenue B Prod., Eskwad, Bang-
umi
On the Water The Scary House World Sales: Luxbox
Feature Film, Estonia, 2020 Feature Film, Austria, 2020 Phone: ++ 33 171-37-99-34
Director: Peeter Simm Director: Daniel Geronimo Prochaska info@luxboxfilms.com
Prod. & World Sales: Filmivabrik Production: Mona Film Prod. www.luxboxfilms.com
Phone: ++37-25-16-36-41 World Sales: Sola Media
filmivabrik@filmivabrik.ee Phone: ++49-711-96-89-44-40 Stambul Garden
www.filmivabrik.ee post@sola-media.com
www.sola-media.com;
www.dasschaurigehaus.at
School Garden More information on all these
Documentary, the Netherlands, 2020 films you will find on our web-
Director: Mark Verkerk site:
Prod.: EMS Films www.ecfaweb.org/european-chil-
World Sales: Attraction Distribution Feature Film, Germany, 2020 drens-film-network/feature-films
Phone: ++1-51-43-60-02-52 Director: Ilker Catak
17 | Journal 01 | 2021M eet the M e n t o r s
THE ‘MEET THE MENTORS’
DIMITRIS SPYROU (Greece) Q&A
Dimitris Spyrou, Artistic Director of the
Olympia International Film Festival for
Personal impression by Xiaojuan Zhou Children & Young People
When something goes above body languages to communicate director of the first children’s You have dedicated a big part of your
our heads, the English expres- effectively over the years. In his film festival in his country - so life to quality children’s cinema. How
sion could be: It’s all Chinese to eyes you still see the charming many hats that always land on did it all start?
me. To find someone complicit actor he once was and above all the garden for children! Good Spyrou: My encounter with cinema for
in such an endeavour, the Eng- his sincere soul that cares about days or bad ones (think the 2008 children and youth happened kind of…
lish language offers an alterna- children’s cinema. We have financial crisis), he has been randomly. Until 1990, although I was an
tive: It’s all Greek to me! Now grown to be like an old couple, steady and stubborn in his life- active filmmaker – I had directed a num-
imagine a Chinese interview understanding each other with long pursuit of presenting the ber of documentaries and short fiction
with a Greek! Dimitris does not a mere glance. I know what he best films to children in Greece films, I had written scripts for TV series,
speak English nor Chinese and wishes to say and he always re- (including the ones in refugee I had been an actor in theatre and films
his mother tongue is on the to- turns with his best efforts. camps). He comes across as a – I had no idea about the very existence
learn-list of my next life... With man with a gentle heart, a clear of “young audience films” as a genre. In
the help of a diligent translator, I have not yet been to Greece, mind and a firm hand. To a man Greece, children’s cinema equaled Disney
here we are! but to me Dimitris represents who adores the Chinese film films. Then I made a feature called THE
the best of his ancient country. THE KING OF MASKS, I call him a FLEA, a film for all ages with a 12 year
Language barrier aside, Dimi- He’s a filmmaker, actor, educa- King of Children’s Cinema, well, old boy as lead actor. All producers I con-
tris and I have learnt to use our tor, distributor and founder and at least in Greece. tacted refused the project and urged me
to forget about it. “Who will go to see a
film about a boy publishing a handwritten
newspaper in a small village?” they would
say. I believed in the film and produced it
myself, risking everything. I submitted it
to the Thessaloniki Film Festival, the only
Greek film festival at that time, where the
selection committee rejected it for com-
petition. It was screened in a side-sec-
tion where the audience welcomed it
18 | Journal 01 | 2021M eet the M e n t o r s
What are the objectives of an inter-
national festival like Olympia?
Spyrou: Over the course of 23 years,
Olympia Festival has promoted films
that contribute to a mutual under-
standing among people from differ-
ent cultures, cultivate empathy, de-
velop critical thinking and take down
stereotypes. We do not treat children
purely as entertainment consumers,
but launched several programmes
that stimulate them to become cine-
with enthusiasm. Then THE FLEA was philes, understand film language,
awarded in Berlin, Chicago and other learn how to cooperate with one
international festivals. Thus, traveling another and become creators them-
with the film, I met many colleagues, many others. selves.
child-
film directors, and representatives of Dimitris Spyrou (right) with
ECFA, which had just been formed. I hood friend (1969) Who, fictional or real, inspired you What in your view makes a good
was charmed by this type of cinema the most? film for children?
and the atmosphere among people. The support of Felix Vanginderhuysen Spyrou: In cinema and literature I am Spyrou: I believe that a film focused
There was good sportsmanship in- was crucial. I consider him to be not amazed by situations described in on childhood can also be interest-
stead of harsh competition; it was a just a supporter but a co-creator of an original way, with an interesting ing for adults. The “objective gaze”
friendly environment, with mutual the festival. I will never forget how in plot and a nice dramaturgical devel- on childhood and youth (that is, the
love and support. And there was one September 1997 he came from Brus- opment. I like credible characters, adult gaze) rarely leads to good films.
important parameter that I was really sels to Cologne, on his own expenses, protagonists or antagonists. Surpris- On the contrary, when a filmmaker
interested in: the educational aspect! with the exclusive purpose to discuss ingly, although my gospel truth is manages to become a child him/her-
This is how I decided to get involved, with me the details of the 1st festival Aristotle’s Poetics, I have learned a self, seeing the world through the
dedicating all my energy to the devel- edition that was planned for Decem- lot from Bertold Brecht, who tried to eyes of a child – as if it was for the
opment of production and distribu- ber. He is a member of the Olympia deconstruct Aristotelian aesthetics. In first time – to discover the truth that
tion of cinema for children and youth Festival family and a beloved friend my daily life I am inspired by people a child hides under innocent lies, to
in Greece. For instance, by launching forever. We also got substantial sup- who take a stand against any form of be surprised by what seems mundane
the Olympia Int’l Film Festival for port and encouragement from ECFA’s injustice, who sacrifice their personal to an adult, this will make a film more
Children & Young People. Without then President Elke Ried, from Char- interests for the sake of society and real, more poetic, more interesting
ECFA, I wouldn’t have dared to do it. lotte Giese, Reinhold Schöffel and who struggle for ecumenical ideals. for children, and charmingly nostal-
19 | Journal 01 | 2021M eet the M e n t o r s
gic for adults. Any theme can be in- tus said that “Nature loves to hide”.
teresting, when addressed properly. I The same goes for societies; they are
believe that childhood and youth are not easy to unveil. They like to play
creative challenges for a filmmaker. hide and seek to keep their secrets.
What’s the secret to your success, Can you name a few things on your
personal character, study and trav- bucket list and how you plan to ac-
el, hard work, good luck or simply complish them?
good genes? Spyrou: I have so many loose ends. I’d
Spyrou: I haven’t reached the point rather let you know when I get to set-
yet to make my final balance. I don’t tle some of them.
know what to consider a “success”
from what I’ve done until now. I feel How do you wish to be remembered?
happy to be in a permanent dialogue Spyrou: Socially, among children and
with young people and by conse- youth, with good friends from around
quence I have extended my own child- the world. Professionally, like setting
hood by a few decades. And if there’s THE FLEA up a complex and demanding film
one important thing I’ve learned, it sequence, when after I’ve said “cut”,
is to let childhood mature at its own cinema is applied properly, using a on television or through other distri- actors, crew and extras applaud with
pace and not to be in a rush to turn Socratic method, we can draw forth bution channels. Professionals have satisfaction.
children into adults. the thoughts and sentiments of chil- the opportunity to meet and discuss
dren and discuss them, in order to ed- collaborations. A festival is not only
The children and youngsters who ify, sensitise and help young people. a cultural, but also an economic and
may go through difficulties, bully- Once more: cinema for children and social event.
ing, family separation, sickness, war, youth should also contain an element
poverty, covid-19 etc., what do you of education. Some say that what’s national is
wish to tell them through the films also international. Do you agree?
you present at Olympia? You were a good filmmaker as well. Spyrou: If we define properly what
Spyrou: It is important to know what What can festivals mean to the ca- is considered national, then yes, it is
every child is deprived of, what makes reer of a film and its maker? also international. But “national” is
them sad, what scares them, what Spyrou: In festivals, films reach their not defined only by external, superfi-
hurts them, what discourages them. initial purpose: making contact with cial characteristics; it is a deeper and
It is crucial to track down in time why the audience and the experts. Festi- more complex matter. It is difficult to
a child becomes aggressive, hates the vals set a film on a path towards larg- grasp and express it in an authentic
“others”, detests the differences. If er audiences, either in cinema venues, way. The Greek philosopher Heracli-
20 | Journal 01 | 2021You can also read
