Interview with Maren Ade, President of the Short Films and La Cinef Jury

This year, you’re presiding over the Short Films and La Cinef Jury. In your opinion, what makes a first cinematic work successful?

That’s not an easy question to answer. There are so many people around young filmmakers who claim to have the recipe for success. I don’t think there is one. For me, a good film — whether it’s successful or not — is always linked to a director or team that has taken risks and many good first films, whether short or long, are also deeply personal.

You entered the world of cinema through film school in Munich. Do you think there’s a difference between films made in film schools and those made by self-taught filmmakers?

Of course, film schools provide a great environment where you can meet other people and forge connections and bonds that could last a lifetime. I’ve also taught from time to time in recent years, and I’ve realized that there’s also a lot of pressure and competition among students. Film schools are closely linked to the industry, which is helpful, but can also be a source of pressure. I always hope that students at film school find their safe space where they can experiment and allow themselves to make mistakes. I think that if you’re self-taught and come from a completely different background, the outcome may be more playful and free. There are many ways to become a filmmaker today.

Looking back, how do you view your very first short film today, Ebene 9?

I started studying production but I already had the secret dream of becoming a filmmaker myself. So when I started at film school I was a bit depressed seeing my fellow students going to directing classes. So I asked my friend, Jeanine Jackowski, who was studying with me, if she could produce a film of mine, hoping they would let me change to the directing class. So we produced a film outside of film school and we founded Komplizen Film. So these first experiences you have together sometimes last a lifetime. And luckily they let me change class.

You’re also a producer. In your view, what role does production play in the birth of a project, particularly when it comes to a first film?

I think the most important thing is that both sides are interested in each other’s roles. It’s also important for directors to understand what a producer does and where the money goes — these are all creative decisions. It’s always good when people who are at the same stage of life work together. My advice to film students is to stay with your friends from university and grow together.

Short films are often described as a space for experimentation. What’s your take on that idea?

Short films are a unique art form. A whole community of short filmmakers reaches a worldwide audience now. I feel that shorts offer more narrative possibilities and allow for a more dynamic or playful approach to filmmaking. They are also more free from the film industry and its often narrow rules. 

Is there anything you know now about filmmaking that you wish you had known when making your first feature? 

I was surprised that it’s challenging every time. With every project, you have to find a new approach. It’s always a struggle to stay true to yourself in the development of a film. It’s not just about what you want to tell, but also how you want to work, who you want to work with, the conditions you want to work in and the people you want around you. What makes a good film is also so much about the circumstances.

Almost ten years have passed since Toni Erdmann. What has kept you busy these past few years?

Honestly, I took a break after it because I needed to recharge my creative batteries. I always need to feel an urge to make a film. And after the success of the film, I told myself that, at least for once, I wanted to write at my own pace and see where it could take me. And now, I have a finished script and will start financing it soon. I’m really looking forward to working as a director again.