FOUR | SPRING 2015

How do you come to be at deMENSEN?I’d worked with them on a programme called Zomer 2008, and when they decided to move into fiction a contact there suggested calling me. I was busy with Clan, and they asked if I wanted to start a fiction unit. I thought: why not?

How did the unit start?First of all I was on my own, then I had an assistant, Marijke Wouters, who looked after production. We started a few projects and now, three years later, we are very busy and Marijke has become a great executive producer. At the beginning I didn’t think I was going to direct so much, but the projects that came up were either my own or irresistible. So now there is also Pieter Van Huyck, who takes an overview of reality and fiction productions.

What is your role when you don’t direct?I’m there if the directors have questions, but I’ve chosen to take a back seat. Maybe in the future I will start projects and then pass them on to other people.

What kind of projects are you looking for?deMENSEN has both commercial and arthouse projects, and we are going for quality rather than quantity.

What was the first thing you commissioned?The first project that came in was Spitsbroers (Strikers), directed by Gijs Polspoel and Jeroen Dumoulein, which was already in development when I came along. It’s about football, with two brothers who share the same dream, but which only one can realise. The series is finished and airs in 2015 on vtm. It’s a really well-made commercial project.

What projects are you directing yourself?I’m directing Beau Séjour, with Kaat. That is about a dead girl who is going to look for her killer, with help from the five people who can see her and communicate with her. For the genre, I’m thinking of Top of the Lake, plus there are a few really surrealistic things, like Twin Peaks. Kaat and I had the idea of setting a murder story in the hotel Beau Séjour, which is a real place in Lanklaar, Limburg and a great location. Then Bert Van Dael, who co-wrote Clan, and Sanne Nuyens came up with the idea of the dead girl. That will shoot until the end of April, and will be broadcast in 2016 at prime time on VRT’s één.

NATHALIE BASTEYNS DIRECTED SHORT FILMS, DOCUMENTARIES AND TV SERIES BEFORE JOINING PRODUCTION COMPANY DEMENSEN IN 2011 AS CREATIVE DIRECTOR, DRAMA. THE DARKLY COMIC MURDER MYSTERY CLAN, WHICH SHE CO-DIRECTED WITH KAAT BEELS FOR CAVIAR, IS CURRENTLY BEING REMADE IN THE USA.

NATHALIE BASTEYNS

talk

TEXTNICK RODDICK

PORTRAITSARAH DE BISSCHOP

What comes after that?Chaussée d'Amour is a series about a woman who leaves her husband and inherits a brothel. At first she wants to sell it, but then she starts to enjoy herself. On top of that, there is also a murder story. It’s a female-driven series, where the women fight like lionesses for their cubs. The idea came from Pieter Peyls, a researcher at deMENSEN, who gave me an article about the embarrassing accidents that happen on Chaussée d’Amour, which is a real street lined with brothels in Sint-Truiden. We just had a gut feeling that we had to do a series in this setting. I’m going to film that with Kaat and with Pieter Van Hees (Waste Land), from May to October 2015, and it will air on Telenet in 2016.

This will be video-on-demand. Does that change the way you work?If anything we can go further, because it is for pay TV. If you are on a public broadcaster at prime time you cannot show a lot of naked bodies, but because Chaussée d’Amour is about prostitutes it makes sense for us to show more.

What else are you working on?We have developed a feature film, Façades, which is about a woman in her forties who moves back to the family home to look after her father, who has dementia, when his wife leaves him after he lets slip a dramatic secret. It’s a story about secrets and lies, full of emotion and very well written by Jan Pepermans, who is also working on Chaussée d’Amour. I’ll direct that with Kaat. Meanwhile deMENSEN has bought the rights to Saskia De Coster’s book Us and Me. Saskia asked if Kaat and I would like to direct it, so we will see.

What is making series such as Clan so attractive in the American market?The good thing about Flemish series is that we have a long writing time. One of the things I say at deMENSEN is that I want to take time with scenarios. If it takes two years, then it takes two years. I think that’s a quality the Americans like in our series. And some series, like Clan and Beau Séjour, lend themselves to being remade because they are universal. I can imagine that the football and especially the bond between the two brothers in Strikers, would also work in America, Denmark or France. We are thinking more universally now than before.

µTABULA RASA A psychological thriller written by Malin-Sarah Gozin,

the originator of Clan, actress Veerle Baetens (The Broken Circle Breakdown) and Christophe Dirickx (The Misfortunates). Caviar produces.

µTHE DAY A striking series about a hostage situation in a bank,

which promises a refreshing and innovative narrative structure. Written by Jonas Geirnaert (Flatlife) and Julie Mahieu. Produced by FBO.

µB A futuristic satire from director Pieter Van Hees (Waste

Land) and writer/comedian Joost Vandecasteele, tracking the social unrest prompted when Belgium is given the same financial rating as bankrupt Greece. deMENSEN produces.

µTHE BARBERSHOP Following in the footsteps of Gas Station, documentary

filmmaker Luc Vrijdaghs observes life in barber shops around the world. Spijkerdocs produces.

NATHALIE’S LIST OF NEW SERIES FROM FLANDERS

BEAU SÉJOUR

STRIKERS

demensen.be/en

Nathalie Basteyns on imdb.com

Strikers on flandersimage.com

Clan on flandersimage.com

emmy: no buts for what if ?

TEXT NICK RODDICK

PHOTO © SHELTER

prime

For someone who once claimed to have a “gigantic ego”, Tim Van Aelst is surprisingly modest about winning his latest prize: the International Emmy for his comedy series What If? The Flemish writer/director/producer is used to getting gongs, having previously won a Golden Rose of Montreux for the same series, and scored numerous nominations for two other series: Safety First (of which he is now working on a big-screen version, due out next Christmas) and Benidorm Bastards (which also won an Emmy and was reformatted for the US market as Betty White’s Off Their Rockers). But if it was all beginning to seem a bit familiar, Van Aelst hid it well on the night (November 24, at the New York Hilton): press coverage of the Gala shows him brandishing the statuette and leaping happily in the air with cast members Ruth Beekmans and Gunther Lesage.A few days later, however, he seems slightly puzzled by the whole affair. “We enjoyed it,” he says, “although to be honest it was pretty much unexpected. We lost with this show with the first series and that’s why we thought we wouldn’t win with the second. Obviously we were wrong – luckily – but I don’t know why the judges picked us. I know how to explain the success of the show, but I don’t know why we won!”One reason, he suggests, could be was that his was the only show that was a straightforward comedy – no social awareness, just laughter. “Maybe we just wrote some really funny jokes!”

IN NOVEMBER, TIM VAN AELST PICKED UP

AN INTERNATIONAL ‘BEST COMEDY’ EMMY

FOR HIS SKETCH SHOW WHAT IF? HE ADMITS

HE’S NOT SURE WHY THE JUDGES PICKED IT,

BUT HE KNOWS EXACTLY WHY IT’S A HIT

WITH AUDIENCES.

WHAT IF BARBIE WAS REAL (TOP) - WHAT IF NOT EVERYTHING WAS PERMITTED IN WAR TIME

TIM VAN AELST: TIM VAN AELST ON THE SET OF SAFETY FIRST

What If? has now run for three seasons on Flemish broadcaster vtm, and is one of those shows which delivers exactly what it says on the tin: a series of sketches based on a simple formula: ‘What If Barbie Was a Real Woman?’, ‘What If Doctors Talked the Way They Write?’, ‘What If Jesus Was a Politician?’…That, says Van Aelst, is the key to its success.“The first element is that, like the other shows we do, we always start from a very solid baseline. Every question starts with ‘What if’ and every sketch is an answer to that question. It’s very straightforward, which makes it very universal as well. You can come up with tons of ‘What If’ questions that everybody around the world can relate to.”The other element is making sure the production values are higher than those of your average TV sketch show. “We have a very solid production team and the way it’s shot as well is very cinematic,” says Van Aelst. “Most sketch shows are just very straightforward shot after shot whereas we try to make it a little bit edgy. Plus we just write very good jokes. It’s as simple as that…”Which of course, is not as easy – or as straightforward – as it sounds. “On this show, we have four writers and we’ve been writing for six months. We have all kinds of stages that we go through with the sketches, throwing a lot of them into the garbage before they actually make it through to our testing panels. After that, they go to our actors who sit down with them and the whole cast can give their opinion about them. If they don’t like it, we don’t shoot it.”

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make people laugh Van Aelst won’t reveal the make-up of the testing panels – “That’s our little secret,” he says – but it’s pretty obvious that they represent the viewers: people from the real world, not the closed (and often self-congratulatory) world of TV comedy. “It all comes down to feedback, which we take very seriously, even if it’s the guy next door. If people laugh at your stuff, they’re right. If they don’t laugh, it’s not funny.”Van Aelst admits to growing up watching classic TV shows like Fawlty Towers, Cheers and, yes, The Cosby Show. But he didn’t plan to go into television. “I grew up in a big family with lots of funny brothers,” he says, “a very lovely family, lovely parents. I actually have a degree in history because I wanted to be just like my older brother, who is a university professor. But when I got the degree I was, like, ‘How boring can I get?’ I wanted to make people laugh: that was exactly the goal that I set for myself and that’s exactly what I did. I’m very lucky to work with a lot of talented people who taught me a lot and, as a quick study, I managed to realise a couple of things for myself.”Before the string of TV shows that made him an established part of the Belgian TV scene, Van Aelst tried his luck in the US. But, through no fault of his own, he got stuck in development hell. “For a long time we had a deal with a big American network,” he says. “But the distributor and the network couldn’t agree on the readymade version - the US version that would probably sell around the world. And because of the rights issue we got stuck with a network without being able to shop the show around.”The Emmy may open a few new doors, he thinks, “but it ‘s pretty harsh these days to get a simple sketch show across without storytelling or whatever. There’s not a lot of that kind of show running in the US at this time, so I don’t know whether it’s the right moment for us.”

no ambition to performOne door that did open was an approach from HBO to direct a new comedy series. But things were going so well with the three Flemish shows that Van Aelst didn’t want to leave. Indeed, if his career has revealed one clear element, it is a fierce certainty about what he doesn’t want to do – or not yet, anyway.“For one thing, I have no ambition to perform,” he says, “but there again my biggest idols are directors like Stephen Merchant, and he ended up doing stand-up as well. But that is definitely not my biggest ambition: I really want to create some funny movies and stuff.”

PORTRAIT BART DEWAELE

For this, he has an ideal base in his production company, Shelter. “It’s a very, very small company,” he says, “and over the years a chemistry has developed that I really cannot explain completely. There are certain rules that we always stick to, and one of them is how we run through the process of creating a show, editing it, and staying dedicated from A-Z. Even when the show is on air, we stick with it when it comes to marketing, when it comes to almost everything. Everything has to do with the show. It’s all about the content.”Which brings us to the other thing Van Aelst really, really doesn’t want to do, not now, not ever: run a TV channel. “They asked me before and I said no. Never. There’s a couple of reasons. First of all, I enjoy myself too much on a set: I love working with actors and I would miss that too much. And two, I don’t think I would be very good at it. Whereas I’m pretty good at what we do!”

shelter.tv/en

The collaboration between Timmers and Grid goes back to a house call in 2010. Mark Mertens, then producer at Skyline Animation, visited Timmers to talk about a possible adaptation of his book Deep-Sea Doctor Derek. He was already a fan of the artist’s style. “It’s the strong visuals,” he explains. “You feel you are looking at something unique, something artistic but open to the audience, very pleasing to the eye. That’s the uniqueness of Leo’s universe.”At that time the book rights were tied up, but the pair clicked. “On my way out I said to Leo: ‘It’s really a pity, perhaps we should think about doing something else together.’ And he said – I was almost out the door – ‘I’ve got an unpublished story in my desk. It’s about animals on their way to work in the zoo…’”

secret livesThe simplicity of the pitch hooked Mertens immediately. “The idea that these animals have a life just like human beings, and then every day they commute because they have a nine-to-five job, pretending to be wild animals... It’s a great concept!” It is also a classic Timmers storyline. “I really like that notion that maybe things are not how we think they are,” the writer says. “That’s a topic that comes up in many of my books.”They set to work thinking about how this simple idea could be turned into a series. “That took some time,” Mertens recalls. “Then around 2012 we teamed up with a French director, Tanguy de Kermel, and an English scriptwriter, Rachel Murrell, and that was the real starting point.”

all aboard the zoo tram...

MARK MERTENS (L), LEO TIMMERS AND JAN GOOSSEN (R)

ZIGGY AND THE ZOO TRAM BRINGS LEO TIMMERS’ WORLD OF BRIGHT, FRIENDLY ANIMALS TO THE SMALL SCREEN FOR THE FIRST TIME. PRODUCER GRID ANIMATION HOPES THIS SERIES FOR PRE-SCHOOL CHILDREN WILL BE THE FIRST IN A FRUITFUL PARTNERSHIP.

TEXTIAN MUNDELL

PORTRAIT BART DEWAELE

kids

www.grid-vfx.com

By this time Mertens had become Jan Goossen’s business partner in Grid. He brought the project with him. Skyline remained involved as a co-producer, a role that continues under new owner deMENSEN.

opening up the bookThe key to opening up the book was the journey: every time the tram leaves the village where Ziggy the crocodile and his friends live, something happens that leads to an adventure. But whatever takes place, they still have to get to the city in time to start work in the zoo.Timmers has been closely involved in the process, creating all the main characters and the tram, which goes through amazing transformations. “I did the design and all the colour studies,” he says. “That was really important, because we want to make it look like my style and not some generic series.” He has worked closely with art director Tom Olieslagers on the set design, and with Murrell on the scripts. He will also keep an eye on production, both at Grid and at partner company Fabrique d’Images in Luxembourg, where animation will be supervised by co-director Federico Milella.

off the pageThe transition from flat images on the page to three dimensional animation has proved challenging, as has the large cast of characters. “It’s an on-going process,” Mertens says, “finding the right balance between remaining loyal to the original universe and the needs of an animation series.”For Timmers it has been a liberating experience. “In a picture book you don’t have that much time or space to work on characterisation. It’s really compact. Now I can go much further in analysing every aspect of a character: how he walks, how he talks.” At the same time, he admits that sharing his characters with other writers and artists has sometimes felt odd. “That’s not always easy, because I have very strong views about what the end result should be,” he says. “But many times I’ve really been surprised by what I’ve got back. That’s the fun part.”

BRANDING TIMMERS The first series of Ziggy and the Zoo Tram, comprising 26 eleven-minute episodes, should be finished by the end of 2015. In the meantime work will begin writing a second series, and developing an adaptation of Deep-Sea Doctor Derek, the project that first brought Mertens and Timmers together. “Now that we have these two projects, it is a great opportunity to work on a brand,” says Mertens. “We hope that one plus one is more than two.”

putting images firstTimmers trained in graphic design and worked for many years as an illustrator for other authors before deciding to try writing for himself. Or to be more accurate, he wanted to put the images first. ‘I think it’s important that stories start with very strong visual ideas,’ he says, ‘not so much ideas that you can write down, but ideas you can look at.’ The result was Who Is Driving? Four animals are shown walking towards different cars, and children have to look for clues in order to match cars with drivers. “That was the first time that the different elements in my work appeared for the first time: all the animals, the sense of fun, the cars…” It has also been an international success, with translations into more than 20 languages.Although Timmers also draws human characters, he particularly likes animals who behave like humans. And he likes transport, from cars and trucks to trams and submarines. These are set out in strong shapes and vivid colours, with a humour that is welcoming for children. “It’s quite a gentle world, I think. There are no baddies.” There is also very little talk. “Most of my books have little or no text, or just one word.” In Bang! for example the title word tells you all you need to know about a world of vehicles in collision.

important stopThis project is an important step for Grid Animation, building on the recognition it received when it was named European Animation Producer of the year at Cartoon Forum in 2013. “This is the first time we have been in charge of creating and developing a brand, and that is very challenging,” says Goossen. But it is also the way forward. “We are building up a portfolio of projects which we believe could make their mark in the world.”

ZIGGY AND THE ZOOTRAM

'The idea that these animals have a life just like human beings, and

then every day they commute because they have a nine-to-five

job, pretending to be wild animals... It’s a great concept!'

Wyns started out as an actor, but has become a kind of Renaissance man of Flemish television, writing, directing and producing his own series while continuing to appear in front of the camera. With Crimi Clowns, he set out to make a series that would be all his own.“I wanted to make something that had no control, that was very individual and liberated in its thinking, that had nothing to do with the ready-made formats we already know,” he says.Having a target audience of one – Luk Wyns – turned out to be an advantage. “There is just one person who says: I like this. There is no censorship, no thought about whether anyone else will understand or if it is going too far. Never mind! Just do what you like!”

bad clownsHe came up with the story of a clown troupe that has turned to crime, partly to overcome personal setbacks but also because clowning has become deeply unfashionable. “Clowns are the least respected and most frustrated species in the entertainment business, and that is interesting. They are not heroes, but anti-heroes.” A criminal setting also appealed to Wyns’ love of gangster movies. “Something magic happens when you combine the expressive make-up and the theatrical side of clowns with the criminal nightlife of gangsters.”Above all, the series would be dark. “I’m not at all interested in feel-good television. I already feel good, and seeing other people feeling good doesn’t give me a kick.” His inspirations were Quentin Tarantino, Guy Richie and David Lynch. planning the jobAs a pitch this was sure to make broadcasters nervous, so the budget had to be as low as possible. So Wyns set about reinventing the production process. “I hired six young guys, between 20 and 25 years old, and started to train them so that we could do pre-production, production and post-production with the same people,” he explains. They even composed and recorded the music. Reducing the crew made creative as well as financial sense. “I always found it frustrating that, when you get to the editing room, the editor knows nothing of the previous work. You lose so much nuance because these are two different people.”

LUK WYNS CONCEIVED CRIMI CLOWNS TO APPEAL TO HIS OWN DARK SENSE OF HUMOUR, AND HIS TASTE FOR SEX AND VIOLENCE. AFTER TWO SUCCESSFUL SEASONS ON TV, A FEATURE FILM AND NOW A REMAKE DEAL IN THE USA, IT SEEMS THAT HE IS NOT ALONE.

send in the clowns

TEXT IAN MUNDELL

PORTRAIT BART DEWAELE

prime

Then he decided to shoot the series on a Canon 5D camera, using regular photographic lenses. “These cameras are very light sensitive, so I was able to cut out all the expensive lighting, all the grips, the cranes and dollies. It’s just a guy with a little rig for the camera, with no focus puller or assistant.” The very raw images produced require more treatment in post-production, but result in a style that is much more edgy than reality TV. “It has to have ten times the feeling of reality, it has to be enlarged to an artistically interesting level.” leading from the frontWyns cast himself as Ronny, aka Clown Norry, the leader of the gang and father of Wesley (Johnny De Mol), a frustrated film student who is documenting the life of the clowns. But he was not expecting to be the star of the show. “I thought I was writing a series for an ensemble, but then the role of Ronny became bigger and bigger,” he recalls. “Sometimes the writer doesn’t choose, the script chooses its own way.” Initially he was nervous about balancing such a big role with directing, but it turned out to be a perfect match. “It’s easier to direct when you are standing in front of the camera. You are in the middle of the action, you can see everything, and just by acting you are directing.”

Crimi clowns on flandersimage.com

Luk Wyns on flandersimage.com

sold to AmericaThe first season of Crimi Clowns was a hit. Wyns followed it with a feature film and then a second season. The series started to get international attention in 2013 with two nominations at the Monte-Carlo TV Festival. Then a scout for American producer Alon Aranya saw the series in the Netherlands and approached Wyns about buying the English-language remake rights.“It’s way too freaky, weird and explicit for a network, but amazing stuff for cable,” Wyns says. “In the United States, that’s the new thing: everyone wants to see weird, artistic stuff, and not the same format all the time.”They pitched to three major studios in LA, with the result that Fox Television Studios quickly optioned the remake rights. Wyns will be consultant and executive producer on the series. “For me that’s a clear sign that they understand the series and that they want to make sure their version stays very close to the original.” back to workIn the meantime he is working on season three of Crimi Clowns, plus a second feature film based on the series. Then there will be a new sitcom for commercial broadcaster vtm, which is still under wraps, and Lust, a feature film adapted from a book by Luc Deflo. He will write and direct in each case.“I’ve reached the limit when it comes to filling my diary,’ he says, ‘but if projects like Crimi Clowns go international, then maybe there is more I can do beyond being executive producer and consultant.” But he does not want his company to become too big. “With two projects a year I can put my stamp on everything we make. I want to be the father of a family.”

CRIMI CLOWNS

CRIMI CLOWNS

four for flandersTHE 10-PART CORDON, FEATURING A DEADLY PLAGUE OUTBREAK IN THE MIDDLE OF ANTWERP, IS THE LATEST LOCALLY PRODUCED TV SERIES TO FIND FAVOUR WITH BBC FOUR, HOME TO “INTELLIGENT, INNOVATIVE AND SURPRISING CONTENT” – WHERE IT WILL AIR THIS YEAR.

Extreme wide shot. Night. Lights, reflected in the dark water, twinkle from the tops of cranes or in the windows of buildings around the harbour. Two men with flashlights, speaking an Asian language, sprint between the stacked shipping containers. A security patrol drives past in a 4x4. The two men flatten themselves against the steel side of a container. The danger over, they run to the front of a container, check the number and raise the lever to open the door…The night-time gloom, the bleak urban setting, the flashlights, the urgency… it could be the opening scene of the latest ‘Scandi noir’ series seeking to keep viewers pinned in front of their sets for weeks to come. But the harbour is not in Scandinavia: it is that of Antwerp, the business and trading heart of Flanders. And the scene opens Cordon, the latest Flemish TV series to attract the attention of the BBC’s home of cutting-edge drama, BBC Four.When they open the container to free a family of Asian migrants, the two men unwittingly release a deadly virus which will soon paralyse Antwerp, leading to sections of the city being cordoned off under strict quarantine – using, ironically, stacked-up shipping containers to make the barricades. Those on the inside will remain isolated from their city and their loved ones, bringing out the best in some, the worst in others. It is a story given added urgency by the recent Ebola outbreak. And, inevitably, politics – and prejudice – play their role.

TEXTNICK RODDICK

NXT

No air date has yet been set for Cordon – a 10 x 50 minutes drama series produced by Eyeworks Film & TV Drama. It was first shown on Flemish channel vtm in March 2014, and recently won a prize for cinematography at a festival in São Paulo. When it airs, says the BBC’s head of acquisitions Sue Deeks, it should prove a worthy successor to Salamander, a politics-cum-bank heist series, also from Flanders (produced this time by Skyline Entertainment), which was broadcast on the channel in February 2014.“BBC Four viewers really responded to Salamander, a pacey, edge-of-the-seat conspiracy thriller,” says Deeks, “and we hope that they will be as taken by the equally gripping but very different Cordon when we air it. Both series are perfect examples of high production values, terrific performances and compelling, intelligent storytelling. Furthermore, they both have beautiful European city settings, which we know BBC Four viewers find a real pleasure to see in such detail.”Cordon will air in a slot effectively created for – and by – the Danish godfather of modern crime series The Killing, the first episode of which aired on BBC Four on 22 January, 2011. It was subsequently described by then Editor Richard Klein as “a game changer”. Not only was it hugely popular – Series 2 and 3 regularly played to audiences of over a million on a channel whose viewer profile had previously been described as ‘niche’. More to the point, it put paid to the belief that British televiewers wouldn’t accept subtitles. Saturday night on BBC Four will never be the same again.Although generally seen as a home for crime series in general and ‘Scandi noir’ in particular, the Saturday night slot, says Deeks, is governed by “no policy or preference. We are looking for high quality, compelling drama, whichever country it may come from. Although several of our series are from Scandinavia, we have also shown series from France, Italy, Australia… and of course Belgium.”BBC Four, the current channel Editor Cassian Harrison recently told The Guardian, “has a unique place in the BBC portfolio offering intelligent, innovative and surprising content with a distinctive depth, wit and verve”.Both Salamander and Cordon, he says, “are brilliant examples of televisual storytelling and a real testament to the growing skills and standards of the Belgian television community”.

CORDON

SUE DEEKS

Cordon on flandersimage.com

TAKE 4 / SPRING 2015

COVER / Tim Van Aelst by Katrien Van Giel

EDITOR / Christian De Schutter

DEPUTY EDITOR + ART DIRECTION Nathalie Capiau

CONTENT / Ian Mundell, Nick Roddick

COPY EDITOR / Jo Roddick

ART DIRECTION / Karin Pays

DIGITAL Saidja Callewaert / Mathieu Van Neck Jo Roddick / Nick Roddick

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SPECIAL THANKS TO / Albert Bimmel, Dirk Cools, Myriam De Boeck, Pierre Drouot, Siebe Dumon, Katrien Maes, Erik Martens, Karla Puttemans, An Ratinckx, Jan Roekens, Koen Salmon, Dirk Schoenmaekers, Katrijn Steylaerts, Liesbeth Van de Casseye, Tom Van der Elst, Karen Van Hellemont, Barbara Van Lombeek, Marijke Vandebuerie, Leen Vanderschueren, Sander Vanhellemont, Helga Vinck + all the filmmakers and producers who helped on this issue.

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