Producers Jussi Rantamäki and Emilia Haukka are known for producing high-quality, critically acclaimed films, including the celebrated works of Juho Kuosmanen’s award-winning films that include “The Happiest Day in the Life of Olli Mäki” (2016) which won the Un Certain Regard prize at Cannes (2016) and “Compartment No. 6” which won the Grand Prix at the Cannes Film Festival (2021). On announcing FAMILY TIME as Finland’s Oscar submission the Finnish Jury described it as “an exceptionally original and masterfully told film, which shows how form and emotion can become a combination of cinematic virtuosity. Precise observations about Finnish ordinariness expand into a universal experience, as the film’s international success has proven.”Family Times premiered at Berlinale Encounters 2023 and won the Best Film Award at RIGA IFF, LÜBECK NORDIC FILM DAYS, and International Women’s FF SEOUL. At the Finnish Film Awards, the film won three Jussi Awards for Screenplay, Directing, and Film of the Year. The Match Factory is handling international sales.
CVinema Without Borders:What were the key inspirations behind the development of the narrative for FAMILY TIME?
Tia Kouvo: The theme of family has been with me for a very long time. I think in films it is too seldom realistically depicted as to what actually happens inside the walls of our homes. I wanted to depict a pretty ”ordinary” Christmas. We have so much idyllic imagery around Christmas, and my view of Christmas is not that it’s idyllic, so I think we lacked a more realistic depiction. I also wanted to depict how a family gathering looks like in reality and look at the people’s behavior in that social setting. “Family Time” deals with difficult topics but it is also made with a lot of love towards family.
CWB: FAMILY TIME balances dry, understated humor with moments of emotional restraint and sudden intensity. How did you navigate the challenge of translating this delicate interplay into the language of cinema?
TK: I love humor that happens in everyday situations when people just happen to say or do something funny without realizing it themselves. Often it is based on the situation; that the person doesn’t understand how they are perceived by others. It comes very naturally to me to write that kind of dialogue and situations. On the other hand, I take the questions that I’m dealing with with the utmost seriousness. I think life is both very serious and very funny. My language of cinema mirrors that way of seeing.
CWB: Audiences could one way or another identify themselves with the characters in FAMILY TIME. Did you draw from any personal experience in your own life in making this film?
TK: Yes, of course. I think anyone who sees the film understands that it’s drawn from reality. Not meaning I have personally been in exactly every situation in the film, but, for example, the interest to depict these kind of family gatherings comes from the fact that I’ve been in such situations myself, and I find them problematic, at the same time as I think that family is a really important thing, and so the question becomes: could we do something better in these kinds of gatherings?
CWB: The performances in your film are very realistic, how did you go about casting and working with your actors?
TK: I had quite a clear vision about the characters, so in a way it was pretty straightforward to choose the actors for the adult roles. The kids I found by doing castings in different schools. I think I work a bit differently with every actor, but mostly it’s about creating good communication, a good relationship where neither of us needs to be afraid to say or ask something. It requires some time to get to know each other and build that trust.
CWB: How did you decide about the visual style of the film?
TK: I made the short film Family Time (2018) with the same cinematographer, so our discussion about the cinematic style started already there. Through lengthy discussions, I felt this was the right way to shoot; keeping the camera a step away and letting the situations evolve in front of us. I’m not so interested in following each character’s emotions, but more in observing the situations and giving space for the viewer to interpret things at their own pace.
CWB: How do you feel about being chosen to represent Finland at the Oscars?
TK: It’s been really great, I was very happy when I found out about it. I’m aiming for international audiences so I’m happy about this international exposure even after the festival run.
CWB: How has FAMILY TIME been received by film critics and audiences so far?
TK: Mostly very well. For many Finnish people it has been a very meaningful film, I think because it tackles for example alcoholism in a way that hasn’t been done before in Finland, and I would say it’s a national trauma. But even internationally, I’ve received a very heartfelt response.
Title – FAMILY TIME
Country – Finland
Director – Tia Kouvo
Screenwriter – Tia Kouvo
Cinematography – Jesse Jalonen
Editor – Okku Nuutilainen
Composer – Sveinung Nygaard
Producer – Jussi Rantamäki, Emilia Haukka
Starring – Tom Wenzel, Leena Uotila, Elina Knihtila, Ria Kataja, Jarkko Pajunen, Elli Paajanen