/ R&A Media
Shorts-trailerin päähenkilöt

Anna Brotkin, the director of the 2022 shorts trailer, says she wanted to see if a trailer, often based on serious visuals, could be a funny scene instead. The result is a trailer with razor-sharp dialogue at its heart. 

Trailer 2.0

The protagonist (Elias Salonen), dressed in a colourful jumpsuit, prepares for the shoot. At the same time, he begins to reveal his character’s background to the make-up artist (Erina Giuseppe Francesco). The heads of the crew begin to turn as the protagonist’s monologue begins to take on darker and darker tones. Anna Brotkin, the trailer’s director, producer and screenwriter, says she has noticed that trailers are often based on a serious visual mood. This gave rise to the idea of directing a trailer with dialogue as its core.

“I started with an actor protagonist, and the idea that this could be a meta level of making a commercial trailer,” says Brotkin.

The trailer is set on set, in the moment before the final touches of powder and the impact of the klaxon. Brotkin says she considered a few possible scenarios for the location, but settled on the first one. The film crew acts as an audience for the self-important protagonist. The comedy is created through the interaction between the protagonist and the audience. In Brotkin’s characteristic style, the dialogue is sharp-eyed and permeated with allusions.

Perhaps we all know someone in our circle of acquaintances who is a provocative person who likes to say something a little controversial and see how others react, and perhaps enjoys the reactions.

A swank or a murderous villain?

In previous interviews, Brotkin has said that she eavesdrops on people for potential dialogue. The question arises, who is the main character in the trailer based on?

“Maybe we all know someone in our circle of acquaintances who is a provocative person who likes to say something a bit controversial and see how others react and maybe enjoy the reactions.”

Brotkin describes the protagonist as annoying, just annoying enough to be tolerated for a minute trailer. Brotkin also says she wanted to leave the viewer feeling a little conflicted.

“I wanted to play with the question of whether the character could be funny and a bit hot at the same time. So that the viewer would wonder if that could really chop someone up… I guess it’s a joke? Is it a joke?”

The trailer moves on several different levels, both in the character of the main character, in the shooting situation and in the final result of the shooting.

The colourful overalls of the protagonist add another level to the overall picture.

“We wondered if it could have been a really basic outfit, but then I had the feeling that it might be even funnier that the protagonist refers to his own character, that “this is just a normal outfit”, but he is wearing a “look at me” jumpsuit. So that’s not quite true either.”

It’s not every day that someone becomes a fan of a festival.

A reality-moving film experience

Brotkin describes her relationship with Love & Anarchy as warm. Her short films have been part of the programme and she has also served on the jury of the National Competition. Brotkin also says she has attracted the attention of the festival’s loyal fan base:

“Surely that solid fan base is a sign that something special has been achieved. It’s not every day that someone becomes a fan of a festival.”

Brotkin also says that she herself has seen many good films at the festival. Love & Anarchy is a kind of guarantee of quality and surprise. The surprising nature of the programme gives the viewer a sense of appreciation.

Looking back on her festival experiences of the past, Brotkin reflects on the possibility of film to move reality into a slightly different position.

“I remember going to see Ruben Östlund’s The Square (R&A 2018). When I came out of there, the world looked a slightly different. Sometimes that happens when you see a really good film. This was one of those films. Those are wonderful moments. You feel like you’re a slightly different person than you were before the film. It looks or sounds different outside, or the light is different somehow.”

Welcome to the cinema.