65 Years of the Film Academy: Joren Molter

“I do have a few criticisms though: as a director, I think you don’t make enough films at the Academy. You should really get to practice way more often. For example, I’m only now getting the feeling that I’ve developed a style of my own. I’d argue for a compulsory gap year for directing students, where they have the create a short film every week, so you get more chances to learn from your mistakes and are better able to develop as an auteur.”

From now on, only films in standard Dutch, or only films in the Groningen dialect?

“Groningen! I don’t think the Dutch language is particularly beautiful, but that’s not the point. The point is, I love to dive into an unfamiliar world. I find the provinces more exciting in terms of stories than the Randstad, for example. I prefer to make films on the periphery; the stories are different there. What’s more, we’re making films with money from the government, so isn’t it only fair to also tell the stories from outside the Randstad? Whether in the area down by the Belgian border like in my film Zomervacht (Summer Brother), or in the countryside like in In Kropsdam is iedereen gelukkig. In fact, I kind of got labelled ‘that Groningen filmmaker’. At one time I thought that Zomervacht could easily be set in Groningen, but I’m glad I didn’t do that and that I’ve been able to shake off that label a bit.”

Which film would you like to remake?

“None! The films I like are good the way they are. What filmmaker would want to make a film someone else has already made? Of course, there are a lot of films I wish I’d made. For example, I’m a huge fan of Sean Baker and Ulrich Seidl.”

What would you say to new Film Academy students?

“Be bold! Dare to experiment. Be curious and dare to ask questions in your films that you don’t necessarily have to answer. Beware of moralism, seek out controversy! Make decisive, tough choices. Both in terms of the narrative and in your visual approach. Don’t let others talk you out of what you know is right! I’d rather you make a film in which you go all out for a certain idea, but totally miss the mark, than that you make dull choices because you’re afraid people won’t like it. For me, filmmaking is like making soup. Everyone likes that clear vegetable soup made with stock. But it’s a boring, safe soup. If I’m going to eat out, I want to taste a really unique, unusual soup – a soup that is maybe not to everyone’s taste – but that is really authentic and which transports me momentarily to a different culture or place.”