Screen Dai­ly reports on SERIAL EYES and the DFFB

Two alum­ni of our SERIAL EYES pro­gramme have been fea­tured in an arti­cle on the renowned indus­try web­site SCREEN DAILY (a branch of the British SCREEN INTERNATIONAL). Judit Ban­hazi from Hun­gary and Ivan Kneže­vić from Ser­bia are two of the five up-and-com­ing tal­ent­ed screen­writ­ers from South­east Europe.

“Germany’s lead­ing film and TV school, Berlin DFFB, offers Ser­i­al Eyes, a post­grad­u­ate train­ing pro­gramme for tele­vi­sion writ­ers and pro­duc­ers that is wide­ly regard­ed as the most use­ful such plat­form in Europe.”

Ben­jamin Har­ris, head of pro­gramme for SERIAL EYES, explains the unique char­ac­ter­is­tics of these South­east Euro­pean authors:

“We’ve been very lucky to have had great young tal­ents from the [South­east Europe] region in almost every train­ing cycle. There are dif­fer­ent sen­si­bil­i­ties from these writ­ers than what we are used to from West­ern Euro­pean writ­ers. For exam­ple, even though many of our writ­ers are too young to have expe­ri­enced Com­mu­nism per se, they were often there for the upheavals and immense change that were the 1990s, or are now expe­ri­enc­ing the after­math of those tran­si­tion­al years.”

“In the writ­ing there is often an open­ness for change and tran­si­tion, but with a cer­tain play­ful­ness,” he con­tin­ues. “The writ­ers are more will­ing to explore new things, new ideas, and even old issues with a new set of eyes. The sto­ries show an aware­ness of the seri­ous­ness of the social real­i­ties of their own cul­tures – crime, polit­i­cal cor­rup­tion, social inequal­i­ty – but these themes are often dealt with in unex­pect­ed ways. There is less inhi­bi­tion to mix gen­res and tones and stark, gris­ly dra­ma exists side by side with almost absur­dist com­e­dy.”

The arti­cle can be read in its entire­ty here.