email print share on Facebook share on Twitter share on LinkedIn share on reddit pin on Pinterest

FUTURE FRAMES 2021

Ninna Pálmadóttir • Réalisatrice de All Dogs Die

“On sent un puissant sentiment d'urgence à créer après cette période submergeante d’isolement, à rester assis avec ses pensées”

par 

- Tandis que la réalisatrice islandaise se prépare à participer au programme Future Frames de l'EFP, organisé dans le cadre de Karlovy Vary, on en découvre plus sur son court-métrage

Ninna Pálmadóttir  • Réalisatrice de All Dogs Die

Cet article est disponible en anglais.

After growing up in Iceland, Ninna Pálmadóttir graduated with an MFA in film directing ad screenwriting from NYU Tisch School of the Arts in 2019 as well as a BA in Film Studies & Literature from the University of Iceland.

After her popular short Paperboy (2019), she is unleashing All Dogs Die (Iceland/Croatia/USA, 2020) a tender and meditative exploration of aging, grief and isolation as solitary elderly man Gunnar faces the death of his closest companion. When his granddaughter comes to see him, he is forced to confront his feelings.

(L'article continue plus bas - Inf. publicitaire)

We talked to Pálmadóttir about the film and its Icelandic location as she prepares for its International Premiere in European Film Promotion’s Future Frames, as part of Karlovy Vary.

Cineuropa: Where did All Dogs Die evolve from?
Ninna Pálmadóttir: The script evolved from a place of processing grief and death in general. Living abroad - far away from my friends & family - I put my thoughts and emotions into writing. I had also been wondering a lot about the generational gap in Iceland when it comes to dealing with difficulties and pain. The old way of emotional survival and ‘toughness’ sometimes has its effect on whole families and I wanted to tell a story about breaking down that wall - even if just for a moment - and letting someone in you love.

Tell us about how you brought the film funding together as I believe it was pitched at several events.
The funding was a mix of a few elements. I was fortunate enough to be awarded the Spike Lee Production Fund in my final year at NYU. As it was my thesis film I also got a school allotment and the rest was financed personally and through the generous support and love from people in my life that wanted to help. The script was pitched at ‘European Short Pitch’ in 2019 where I met my co-producer Matej Merlić from Croatia and he and his wonderful team of talents at Castor Multimedia came on board.

The location of the film plays a crucial part in its success.
Icelandic nature plays a very big role in how I want to tell stories. It has such a deep meaning that sometimes it’s hard to explain it and a certain fear it will lose it’s true purpose because of the spectacles and beauty. I’ve always seen it as a sort of a mirror. We can reflect ourselves in nature and our emotions in the ever changing weather, daylight (or the lack of it). So I believe it to be a good metaphor for people’s scale of emotions, wishes and fears. It’s also a metaphor of survival: struggling through a barren landscape, the harsh winters and the unpredictable fog we can’t completely see through. And in a blink of an eye the sun may come out and clear our head in an instant.

You’re heading to Karlovy Vary for Future Frames. Can you let us know what you’re expecting from it?
It’s always exciting and rewarding to show a film for an audience. Being that short films are made from the hard work of a close group of friends and colleagues you feel you can finally celebrate that hard work everyone did. And then I am extremely excited to meet the other Future Frames directors and all the people involved at KVIFF and EFP and make new connections and friendships. Being surrounded by talented and hardworking people is a boost of inspiration as always.

What are you working on next?
I am set to direct my first feature film hopefully in the next couple of years as well as writing another feature script. Later this year I hope to shoot a little documentary short film independently and a couple of music videos. There’s a powerful urge to create after these overwhelming times of isolation and sitting with your thoughts. Something must come out of it.

(L'article continue plus bas - Inf. publicitaire)

Vous avez aimé cet article ? Abonnez-vous à notre newsletter et recevez plus d'articles comme celui-ci, directement dans votre boîte mail.

Privacy Policy