18/07/2024 - The director of the Czech project that won the Eurimages Co-production Development Award at KVIFF discusses her documentary background, humour and how to infuse pop aesthetics into a social dramedy

The Czech project Antonie recently won the Eurimages Co-production Development Award in the Karlovy Vary International Film Festival’s industry strand, KVIFF Eastern Promises (see the news). Cineuropa met up with the film’s director and writer, Rozálie Kohoutová, who is also known for her documentaries FC Roma [+see also:
trailer
film profile] and Jenica & Perla as well as her documentary series for Czech Television.

Antonie marks Kohoutová’s first venture into fiction filmmaking. In the interview, she explains how her documentary background is having an influence on this work. She also discusses the gender and childcare prejudices addressed in the story, her decision to avoid creating another typical Eastern European social-realist drama, and how she finds humour in challenging topics.

In addition to the Eurimages award, the project won the Rotterdam Lab Award at Karlovy Vary. This means that the film’s producer, Martina Knoblochová, will participate in the professional training programme for producers at the Dutch lab.

Cineuropa: What inspired you to create Antonie?
Rozálie Kohoutová: I wrote the story when I was on maternity leave with my first child, which made me realise the deep conservatism in Czech society regarding childcare. While on leave, I continued working and met a family that inspired the screenplay for Antonie. The wife was a pole dancer, and I was intrigued by how a man on parental leave, with a wife earning more than him, would be perceived in a conservative setting. This led to me writing the screenplay. The settings were familiar from my documentary work, making the process easier. I also included a subplot about Anton’s Romani neighbours, reflecting my interest in this community. Participating in the MIDPOINT Institute’s courses with my producer, Martina Knoblochová from Punk Film, has been crucial in shaping the screenplay.

How did your background in documentary filmmaking influence your new project?
For a long time, I've wanted to work on fiction projects, and after completing a recent narrative series, my interest in directing fiction was solidified. At FAMU, I made a short narrative film based on Karel Čapek’s stories, which was my first foray into narrative filmmaking. My documentaries, including those with Tomáš Bojar and those from FAMU, are quite scripted. For Antonie, I’ll use a documentary approach, filming on location in Jirkov with a small crew and local non-professional actors. The lead actor, Sláva Pecháček, primarily a cameraman, brings a unique dynamic to his role. Directing a three-year-old girl adds its own set of challenges and opportunities.

Since you said you do not plan to shoot a gloomy social-realist drama from Eastern Europe, how do you intend to incorporate humour into your films?
Humour is essential, especially when dealing with heavy topics. Anton's character, with his laid-back, almost indifferent attitude, naturally brings out humorous situations. Even in serious documentaries, I find ways to include lighter moments. When I was on maternity leave, I imagined scenes where a character like Anton, a casual weed dealer, navigates the world of mothers and babies, adding an absurd yet relatable layer of humour.

What are the references for your project?
Sean Baker’s The Florida Project and Andrea Arnold’s Fish Tank [+see also:
film review
trailer
interview: Andrea Arnold
film profile] are two major influences on the project. These films balance vibrant visuals with compelling social narratives, something I'm aiming for in my own work. The apartment blocks where we will be shooting are very colourful. We specifically chose one that's strikingly orange and yellow. We're also planning to use vibrant interior designs and costumes reminiscent of the 2000s, which are still very popular in the Romani community. So, we're embracing a pop aesthetic.

Is the project envisaged as a three-way co-production between the Czech Republic, Slovakia and France?
Co-producing with Slovakia and France makes a lot of sense in this case. Currently, the producers are discussing the best possibilities for cooperation with Slovak and French partners.

What’s your ideal timeline for development, production and release?
I’d love to film over an Indian summer, ideally next year. Post-production would likely take about a year, so we’re looking at a 2026 premiere. We want to ensure the editing process is thorough. We’re considering a French editor, as I’m intrigued by the idea of someone focusing on the visual narrative, rather than just the dialogue. I will be continuing to work with my main cinematographer, Šimon Dvořáček, who has been my long-term collaborator. I can’t imagine making this film without him. Regarding sound, Adam Levý will handle the sound design. Given the documentary nature of the project, our team will remain small and intimate, working closely with the local community.

How do you see this film resonating with international audiences who might not be familiar with the Czech context?
Initially, I thought the film's themes, particularly gender roles in parenting, were very Czech-specific owing to our extended maternity leave. However, I’ve found that these issues resonate across Europe. In France, for example, women return to work much earlier, yet the balance of caregiving remains a significant topic. Moreover, with the rise of far-right politics across Europe, there’s a shared relevance in discussing these gender roles and expectations.