In 2009 the Mainz film man Justin Peach (39) shot a moving documentary about street children in Nepal with “Kleine Wölfe”. And thus won at the up-and-coming film festival in Hanover. Now we come full circle. At the end of November, Peach is a member of the jury that is looking for Germany’s most talented young filmmakers. A conversation about small hats, big movies, smooching in the cinema seat and a digital festival in times of Corona.
Justin, in 2009 you did the documentary “Kleine Wölfe“, in which the fate of Nepalese street children is traced, at the up-and-coming at the start. What made you apply for the festival back then?
Justin Peach: Little Wolves was my graduation film at the Mainz University of Applied Sciences and we didn’t really have any great ambitions, except that we needed a grade. I then submitted the finished film everywhere and hoped that it would be shown. First of all, you are little with a hat, apply and see if the film gets through and festivals show it at all.
It was shown in Hanover. And then you even won the German Young Talent Award. The hoped for Booster ffor you as a filmmaker?
Clear. That was goosebumps. Awesome. I still remember driving back to Mainz with a friend and suddenly the news was on the radio that I had won. It was immediately clear to me what the implications were and that the whole of Germany was aware of it. And that’s how it turned out – good for my career. As a young cameraman and filmmaker, it is important to get your foot in the door first. From that moment on I was introduced everywhere with the words: this is Justin, he won the German Young Talent Award. I am very grateful because I definitely benefited.
And now you are part of the jury. A circle closes. What are you most looking forward to when you think about the festival days from November 22nd to 28th?
It is a huge honor for me to be there. Maybe I can give something back now. As a young filmmaker you make your art, submit it everywhere and wait. Apparently I now have enough gray hair for the other side and that I can now judge. I’m looking forward to just watching movies for a week. It’s like Christmas and Easter together.
What makes the up-and-coming film festival in Hanover a special festival?
It is simply impressive to see how many participants and winners later enrich the industry in the long term. The festival is organized very professionally and with great attention to detail. I can remember 2009 well. There were great presentations, but also nice little parties in the evenings. Of course, everyone is there for one reason, namely to watch films. But you also chat and network. This is a meeting place. That’s what matters.
Difficult this time. There was no pandemic in 2009. Celebrating with lots of people, spending the evenings together, socializing – all this is only digital this timeöresembled. Does that make you sad?
Yes. Naturally. That makes me sad. Film ends are like high school graduates – we all really just want to smooch in the hall. Our things are made for the cinema, for this dark room. For crackling. Unfortunately, that’s not going so well at the moment. In this respect, a digital festival is the best way to still enjoy films and at least nibble something together on the sofa. Even if it is of course not the same when our strips are viewed on the laptop or smartphone and people also answer an e-mail or cook on the side. But I had Corona myself, I know what it does to a healthy person. I think we’d be well advised to be careful. But yes, I am happy if we can all celebrate a festival on site again.
Corona has hit the cinema industry, which is already battered by streaming services, hard. Do you think that classic movie theaters will experience a renaissance after the pandemic?
I very much hope that the cinema industry will survive this. There is nothing better than going to a sneak preview and experiencing this dark room, popcorn and good films. We don’t even have a TV at home, but of course we also use Netflix and Co. I just really hope that this will run in parallel in the future, that the added value, this simply awesome feeling in the cinema, will carry over into the long run.
“Little Wölfe “is still running today and has been viewed more than 5.3 million times on YouTube since 2017. Do you have any tips for talents? What does it take for a good documentary?
A good documentary stands or falls with the protagonist, who opens up, who has a story to tell, who trusts the filmmaker and reveals his feelings and most intimate thoughts. Life is much more blatant than any script. Everything else, technology and such, may also be important. But everything starts with the protagonist. When you have that, just get started. With respect, of course.
It’s easier today than it used to be. Hanover’s film festival started in 1982, the year you were born, as a school film event. The common standard was Super-8. Pretty much everyone is filming on their cell phone these days. Barriers have fallen. A good development that makes it easier for talents? Or watered them down Arts?
A good question. We are talking about a curse and a blessing at the same time. I think it’s good that it’s getting easier and easier to make a great movie with your mobile phone. To be able to cut it at home too. Excellent! I don’t need millions for a good film. The curse is that there is a deluge of nonsense and every fart is filmed. This hurdle, this concentration on filming is important – that is lost with the thought “then I’ll just do another take”. But real talents will find their brushes and work with them, ultimately it depends on what comes out. Personally, I don’t think the quality of the camera is that important.
With “street line” you have a continuation of “Kleine Wölfe ”. The premiere was in April. All ErlöThis film is intended to benefit street children in Nepal. How and where köcan we see the movie?
Exactly, “street line” is finished, we are now submitting it to festivals, planning a small cinema tour. In Mainz it will run on the big screen, in Wiesbaden, Leipzig and Munich that is also planned. Anyone who knows an interested art house cinema is welcome to get in touch. In the long term, of course, we want to show the film on YouTube, because a large fan community has grown worldwide. When we found Sonu, our protagonist from “Little Wolves” after ten years, it quickly became clear to us that we had to help. We have founded an association called “Little Wolves”, a social worker works for us, and there are already school sponsorships for street children.
What kind of kids are they?
They are basically the children of the Little Wolves from back then. Sonu now has a daughter. The next generation is coming in his neighborhood and we just want to make sure that it doesn’t all repeat itself. Education, education education. School, school, school. That is the key to making a difference. We want to offer a little light at the end of the tunnel. That also takes money.
Do you already have plans for the coming months? What is your next project like?
Of course we want to shoot a third part of the “Little Wolves”. A trilogy suggests itself. We do that when Sonu’s daughter Sona is as old as he was when we first met – then we come full circle. Otherwise, I’m a freelancer and I’m booked. There are exciting projects, but of course there are also jobs with which I just earn my money. I have recently been asked for a cinema documentary. A report for ZDF Zoom is also pending.
And what was the last really good movie that you saw?
I was in the cinema in a very classic way for Hollywood, saw “Dune”. I found it mega, totally exciting. First division in all areas. Camera divine, actors, sound – I was totally captivated for two and a half hours. That’s what it’s about to create a world of images that takes you away.
Interview: Andreas Daebeler and Ilona Lütje
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