Interviews – Page 10 – European Children's Film Association

Michael & Andrew Van Ostade about THE GHASTLY BROTHERS

“Our fights are based upon 30 years of training”

Suffering from ghosts, poltergeists or paranormal plague? The Ghastly Brothers will help you out. Where monsters lurk – in the closet, basement or under the bed – these professional ghost hunters will catch them and lock them up for good. But when Lilith and her friends in boarding school track down a supernatural phenomenon, the Ghastly Brothers take on the most dangerous task of their career; catching the monster hiding inside all of us.

Juliette Klinke about DANS LA SILENCE D’UNE MER ABYSALLE

“Film history presents cinema as an all-male industry”

“Who decides what is worth remembering?” Although women have been shaping cinema since its very beginning, they’re often completely overlooked in official film historiography. In her documentary essay DANS LA SILENCE D’UNE MER ABYSALLE Juliette Klinke compiles film clips that were made by women between 1896 and 1940 and brings back a buried legacy to the present cultural memory.

Giorgio Bosisio about A YOUTH

“The almost existential state of waiting”

Together with his group of young Afghan friends, Peyman finds himself stuck in Athens. Their hope is to reach mainland Europe and reunite with their loved ones, but that could take years; and it might never happen. Living in limbo, but armed with a new-found freedom, they kill time by aimlessly strolling around the city, sharing jokes, rap battles, stories from the past and dreams for the future.

Gudjon Ragnarsson about RAISE THE BAR

“I felt like walking into an NBA game”

If controversy is the mother of a good documentary, RAISE THE BAR is of good breeding, burdening you with sky high dilemmas. Whichever side you choose, you never know whether you have chosen well. RAISE THE BAR may disguise itself as a sports movie, but constantly tests your guilty conscience as we follow the development of an Icelandic girls’ basketball team. Their training programme is intense, and they are led by an overqualified coach who constantly raises the bar. This team is ready to change the world, but is the world ready for them?

Lee Ji Won about KIDS ARE FINE

“When the fence is broken, kids can grow up”

Da-yi’s mother is in the hospital. But why? Da-yi doesn’t know, as his father didn’t say, in fact, he doesn’t say much at all. But when mom is transferred to another hospital, Da-yi is determined to go and visit her, even if he has to head out on a trip to an unknown destination, in the company of some new friends and classmates.

Anouk Fortunier about MY DAD IS A SAUSAGE

“With a silly title like this, the content had to be extra strong”

When dad decides to give up his steady job as a banker to become an actor, the family is perplexed and not exactly pleased. Is it a burnout? A midlife crisis? His youngest daughter Zoë is the only one who believes her dad is an aspiring star, and joins him in his quest. Even if that makes her skip school. While father and daughter are constantly out and about together, the confusion about their role and responsibilities in the family grows out of hand.

Majid Majidi about SUN CHILDREN

“Dreams flying up in the sky like pigeons”

12 year old Ali is handling his business in the streets of Tehran, walking and talking like a grown man. With his nose in so many (slightly criminal) cases, he is like a juggler keeping too many balls up in the air. One day he and his friends are hired for a mission: it is said that a treasure is hidden in the underground river, underneath a school building. Only by enrolling into that school, they might have a chance of getting their hands on the valuable goods. For a boy like Ali, school might be an even more challenging environment than the city streets.

Arvin Kananian about I, JULIA

“Don’t talk about it to others; this is a family matter”

In the Swedish short film I, JULIA, a 14 year old girl seems to be living a normal life, but there is a darkness growing, as her father controls the family with physical and mental abuse. What enabled director Arvin Kananian to capture so precisely the mechanisms behind that suffocating terror?