SHE-PACK heading to The Berlinale
SHE-PACK is one of the selected short films for the 69th Berlin International Film Festival, 07 - 17th February 2019, and a part of the Generation Plus section of the programme.
As the Berlinale puts it: "a comprehensive programme of contemporary films exploring the lives and worlds of children and teenagers. Berlinale Generation enjoys a unique position as the instigator of a convention-breaking young people’s cinema. The section is a home for outspoken young audiences while also casting its spell on open-minded adults."
Director Fanny shares her excitement with us in an email:
“The fact that the film has its international premiere at the Berlinale is very promising for its future participation in other film festivals. It’s a perfect beginning. It’s extra cool that we’re competing in the Generation section and the first time that the film is shown to a young audience. I can only imagine how many unforeseeable questions the children might come up with, and I’m very excited about the Q&A’s after the viewings!”
Lotte Sandbu, SHE-PACK’s producer, is also thrilled to be a part of the festival programme:
“The Berlinale has always been one of the most important film festivals in Europe, in my opinion, and to get the opportunity to show SHE-PACK at Generation Kplus which is targeting children and youngsters, is just wonderful! We are already a few in the team who's planning to travel to Berlin for the premiere on Febuary 11th”
We wish the SHE-PACK team best of luck competing at this immensely influential film festival
About the film
SHE-PACK is a graduate film from the Norwegian Film School, and it premiered at the Haugesund film festival in 2018, and later even moved on to the Bergen International Film Festival. The idea behind the plit sprung from a group of women who discussed their similar experiences growing up as a girl. All of them had been a typical “good girl” but they also shared strong recollections from testing their limits and sometimes even a bit too far. The team were curious about how an audience would react to see small girls take up space and even act immoral, girls who’s not innocent, careful and pleasing in front of the camera. The film became a tool to face and overcome their own “good girl” hang-ups, and they also made sure to hire women for the production, at least as far as they could.
From the very beginning, director Fanny Ovesen wanted the film to be subjectively enhanced in its form and content, almost like magical realism. It was a way to fully enter a child’s perspective - a girl perspective - and enhance her experience audio-visually. The origin of the “girl perspective” injected both photography, scenography, visual effects, editing and music.
Director FANNY OVESEN
Screenwriter MAREN SKOLEM
Producer LOTTE SANDBU
Director of Photography MAGGA VALA
Production Designer LENA KVAMMEN HETLEFLÅT
Editor ANNI TIAINEN
Sound Designer ANNA NILSSON
Composer JUNO JENSEN
Special Effects Supervisor RUBEN ANDRE LORÅS
Casting LUISE NES