02/07/2024 - The Dutch director breaks down his second feature, revealing the biographical connection to its plot

(© Film Servis Karlovy Vary)

We sat down to speak to Peter Hoogendoorn, whose second feature, Three Days of Fish [+see also:
film review
trailer
interview: Peter Hoogendoorn
film profile], has just premiered in the Crystal Globe Competition at the Karlovy Vary IFF. He analyses the psychological profiles of his characters and explains some of his aesthetic choices.

Cineuropa: Your previous film, Between 10 and 12 [+see also:
trailer
interview: Peter Hoogendoorn
film profile], was based on your own experience, so I was wondering if this intimate and minimalist story of difficult communication between father and son is somewhat personal, too? 
Peter Hoogendoorn: Between 10 and 12 was referring to the death of my sister in a car accident and the process of telling the closest people about such a terrible event. My work is often described as autobiographical, but I find that definition limiting. While the events are based on my experiences, it's rather about my perception of them. I wanted to make it universal, so I changed many details. Three Days of Fish is also influenced by my father's marriage to my stepmother from Cape Verde. They've lived in Portugal for health reasons, specifically for his lung condition, which is also a plot point in the film. When I was graduating from film school, my father was in the Netherlands for a week for practical reasons. This situation inspired the idea of a road movie, not with beautiful landscapes but with ordinary events. We intended to have a meaningful three days together, but I kept questioning why I should make a film about it. While developing the script at the TorinoFilmLab, I realised the film's core was the human condition – how we interact with our loved ones and the expectations we place on them.

How did you approach the characters' psychological profiles?
Both the father and the son start with good intentions but end up disappointed. This reflects my own fears, especially after losing my mother and sister. The constant awareness that our time together isn't guaranteed adds pressure to behave well, which often leads to frustration and conflict. The generational differences also play a role – they love each other but struggle to express it. This tension and the absence of the mother figure are key psychological elements in the film. The son's immaturity and craving for attention stem from the loss of his mother and his father's pragmatic, emotionally distant nature. This dynamic is highlighted in the scene where the son's failure to renew the grave's contract results in losing his mother's grave, symbolising his sense of permanent loss and guilt. The father's practical response, giving his teeth to the son in the church, underscores their different approaches to dealing with loss and memory.

You are breaking the stereotype about happy and well-off Northern Europeans – the middle-aged son is demotivated to do whatever with his life, while the father escaped to the more modest south, seemingly for good. 
Living in Amsterdam, I see many unhappy people despite the city's image of high living standards. In general, people are most unhappy in big cities. It's especially difficult nowadays for those of us in the creative industries. I live in a small house with a woman who owns it; otherwise, I wouldn't be able to do my work. I would need to make commercials or series, and I don't want that. The uncertainty of funding for films and the high cost of living make it challenging to pursue creative careers.

How long did it take you to complete the film?
About five years, not working on it every day, but coming back to it repeatedly to refine the story. The development stage was lengthy because I wanted to ensure everything was perfect, from the script to the casting. Finding the right actors was crucial since the film heavily relies on their performances. My producer handled well the funding process, but the creative development took time to get it right. Making sure that the characters were relatable and that their love for each other was evident despite their flaws was particularly challenging.

The city of Rotterdam, where the film takes place, has a much more contemporary look. Why did you choose to situate your story in its old-style neighbourhoods?
Rotterdam holds personal significance for me. Many scenes were shot in places from my childhood, like my grandmother's house which appears in the film exactly as it was when I was three. This authenticity added depth to the narrative. The setting wasn't just a backdrop but a character in itself, reflecting the ordinary yet poignant moments in life. It’s also very much about the past, about memories.

Perhaps that's why the image is also in black and white, like old family photos? 
That was one of the reasons. The other is that Dutch cities are not particularly cinematic with all their colours and messy charm. We wanted to focus on the characters, capturing the world as they walk through it without external distractions. The cameraman Gregg Telussa turned the image to black and white to connect with the interior design and it worked – you immediately could see it's about those two people.