European Children's
Film Association
Association Européenne du Cinéma
pour l'Enfance et la Jeunesse
The Industry Days serve as a perfect platform for the Zlin Film Festival to update on current film production in the Czech Republic and neighbouring countries. This programme for professionals includes the Central European Children’s Film CoProduction Forum and the Kids Kino Lab as some of its most significant elements.
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All Kiki the canary has ever known is his little cage and the old lady who feeds him. He dreams of being outside, twirling with the free birds. When finally the door of the cage remains ajar, Kiki discovers the great outdoors in which he must know how to fly. Being a free bird might be a bit scary after all.
The Cactus International Children’s & Youth Film Festival in Aosta, Italy, has handed out its first ECFA Short Award. The prize went to the French short THE RIGHT WORDS (HAUT LES COEURS, Adrian Moyse Dullin).
The 8th edition of SIFFCY – Smile Int’l Film Festival for Children & Youth – this year came with more titles, more renown jury members and an interesting ECFA Award winner: THE CLUB OF UGLY CHILDREN (Jonathan Elbers, the Netherlands).
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In the Ciné-Jeune de l’Aisne Festival the ECFA Short Award went to the French film A POINT (THE RIGHT TIME, Aurélie Marpeaux).
When the circus comes to townThe Kids Kino Lab might look like a circus, setting up its tents in different European festival cities. But rather than circus artists, the participants live like monks, dedicating their days to writing, evaluating, and discussing. We brought together the participating Czech teams, asking them for a look behind the scenes. What makes this Lab so relevant? How do they like this monastic life? And what role can events like the Zlin Film Festival play in giving visibility to their work?
“We’re obsessed by trying out new stuff”The LUCAS International Festival for Young Film Lovers in Frankfurt is different from most festivals you might know. In the way they organise things differently (like mixing children and adults in one jury), set different goals (in compiling their programme) and invest in participation. “Towards participation our approach is radical. It is not implemented in specific parts of the festival, it is implemented throughout the entire festival structure, spreading out like a mushroom field,” says festival co-worker Wilke Bitter.
“This is how we spent our summers”There is one thing that all representatives of HOW I LEARNED TO FLY seem to have in common: director Radivoje Andric, producer Maja Popovic Milojevic and actress Klara Hrvanovic have mischievous lights of excitement twinkling in their eyes. Perhaps because they are proud about a Serbian children’s film that is embraced so unanimously. Or perhaps because they are happy with the excellent box office figures that this Central European co-production scores in Serbian cinemas.