Gert Hermans – Page 10 – European Children's Film Association

Gints Zilbalodis about FLOW

“If I could choose, I’d prefer to be the capybara”

The Estonian animated film FLOW proves that you can ignore existing success formulas, make a film that goes straight against the grain, and still be successful. A film with only animal characters, without dialogue, with lots of silence, set in a world we hardly recognise as our own. At least 60% of the film takes place aboard a boat! Still, initial box office results suggest the best. With his previous film AWAY, Gints Zilbalodis established his reputation as a loner. For FLOW, he is at the helm of a team of animators to create this epic adventure.

Mascha Halberstad about FOX & HARE SAVE THE FOREST

“A bad character is the nicest thing you can wish for”

Fox and Hare are a beloved IP in the Low Countries: parents read their stories at bedtime, children watch the series on television… But for their big screen debut, the merry fox and hare aspire to the international screens, together with their forest friends: the timid Owl, the powerhouse Tusk, the sneaky Jack, Mermaid and Pingwin… They find a common opponent in Beaver, who threatens to flood the forest with a dam surrounding his imposing beaver castle.

Klemen Dvornik about BLOCK 5

“If that girl can become a hero, every girl can”

12-year-old Alma and her father are moving to a new neighbourhood. Unfortunately, that new place is home to a gang of skaters led by Luna, Alma’s worst enemy. But when a building project plans to demolish the playground and park near their housing block, enemies have to join forces to preserve the green space. The team has only one week to save what is important to them. When their protest fails, they decide for more drastic measures, and the battle over a playground evolves into a conflict about unity and forgiveness, bringing different generations face to face.

Joren Molter about SUMMER BROTHER

“Only a monstrous director can do such a thing”

A boy swings his lightsaber through the tall grass. All around him is trash, a filthy, desolate place. That’s where 13-year-old Brian lives with his uncaring father in a trailer. When, during a sweltering summer, his disabled brother Lucien moves in with them – because of the extra fee – Brian has to look after him. Brian and Lucien find comfort with each other until father’s debts force them to make a tough choice.

Leif Lindblom about THE PINCHERS’ HIGH VOLTAGE HEIST

“The norm in society but the odd one in the family”

The Pinchers are a good-hearted family of thieves. At the urging of their son Ture, the family is trying to turn their lives around – become honest and abide by the law. But living an honest life can be so boring, and things get complicated when Ture is falsely accused of stealing a dog. Pursued by a suspicious policeman and scary twins, the Pinchers wonder if they should make one final move. Swedish director Leif Lindblom: “In a somewhat upside-down world, we twist and turn moral concepts, and look at them from another angle.”

Vivian Goffette about CLENCHED FISTS

“Being someone’s son can be hard to bear”

Lucien is the son of a monster! And he knows it. Because the whole world constantly reminds him of it. His father is locked up in prison for a terrible crime, and since then, Lucien, his mother and his brother have led a reclusive life; in a small village, they try to remain anonymous. Until fear and humiliation drive them to flee again. When Lucien regains contact with his father, he immediately becomes a plaything in the dealings of a manipulative villain.

Glória Halász & Balázs Hatvani about CIRCUS SIBLINGS

“When your child decides that he wants to work in a circus…”

In 2020, 12 Hungarian circus students are given the opportunity to continue their studies abroad. They prepare to leave their families and friends to start a new life. First stop: the Kyiv Academy of Circus Arts, with director Glória Halász and DoP Balázs Hatvani following in their footsteps.

Juliette Klinke about EVERYTHING IS TEMPORARY

“I didn’t exactly go unnoticed”

The pictures that Juliette Klinke shot in Myanmar were not supposed to end up in a documentary. They were meant as a report about her trip (with surreal images from her lockdown shelter), or a testimony of her friendship with 17-year-old girl Zu Zu, whose roadside food stall becomes Juliette’s second home from where she observes daily life. But that life takes a drastic turn when, on 1 February 2021, a coup d’état takes place, and Juliette Klinke decides to continue capturing the events around her in images. Always shining in focus remains Zu Zu, a girl bursting with a zest for life who has as many as 1,000 different faces to express her emotions.