Finding the Human Complexity: Mariëtte Rissenbeek’s Approach to Producing Character-Driven Films
- Cristina Sandu
- Aug 10, 2024
- 7 min read
A leading figure in the film industry, Mariëtte Rissenbeek is renowned for her passion for character-driven films that immediately resonate with her, enabling the creation of films and TV series that explore human complexities and deeply connect with audiences
Mariëtte Rissenbeek unfolds her cinematic journey in a truthful conversation with Cristina Sandu.
The human complexity in a character-driven film is accentuated by their multifaceted personalities. These characters display a mix of strengths and flaws that vary in different situations, and they often grapple with internal conflicts and moral ambiguities that drive their decisions. As the narrative develops, the characters evolve, and their growth reflects the impact of their experiences.
Recently returned from Vietnam, where she was on the Da Nang Film Festival jury, Mariëtte Rissenbeek is a leading figure in the film festival industry and a notable producer of character-driven films. Rissenbeek has demonstrated a remarkable ability to bring complex narratives to life, exploring human complexity with professionalism, reflecting her proficiency.
Over time, the character-driven films and series she has produced have consistently evoked deep emotional responses, emphasising the profound complexity of the human experience. Connecting on a deep emotional level with these projects, Rissenbeek reflects on the films she has worked on over the years and her impressive productions that focus on human complexity.
"Character-driven projects talk to me from the beginning, and I can easily respond to them."
In this context, Rissenbeek refers to "Solo für Klarinette," the 1998 film directed by Nico Hofmann, which tells the story of a detective who falls in love with a woman who has committed a crime in which he is the sole witness, only to later discover that she is also a victim. She notes that the concept for this project was inspired by the short story of the same name.
Moreover, ensuring the complexity of the characters remained a priority, as seen in the 2000 film "Highway Society," directed by Mika Kaurismäki, which follows a mechanic trying to escape his criminal past. "NDR wanted a film with a well-known cast, while the director, Mika Kaurismäki, was thinking of a very talented but unknown actor who worked mostly in theatre. In that sense, it was a tremendous challenge to balance the interests of the major stakeholders," she says, referring to her close collaboration with the writers and directors during the development and pre-production phases.
In choosing a project to produce, Rissenbeek values the importance of being relevant to the public, but at the same time, "A project should reach out to the audience and not be too simple," she says. She appreciates good entertainment that provides depth, enjoying how a comedy with complex characters can entertain and offer insights into the world. This balance is crucial in her decision-making process, and she remains open to tackling unlikely topics if they present an opportunity for rich storytelling. "At the same time, though, a film can sometimes positively surprise you," she adds.
When trust is a visible element on set, remarkable things can happen unexpectedly. Mariëtte Rissenbeek reflects on this while discussing the 1996 film "Erotic Tales: The Waiting Room" by writer-director Jos Stelling. The film captures passengers' curiosity in a large train station, where the confident main character discreetly undresses with his eyes a blonde woman dressed in blue, all while his wife is away and under the watchful gaze of onlookers. "My trust was significant that Jos would turn the script's story into a great film," she says, remarkably trusting Stelling's vision despite having little control over his work.
This trust paid off, as "Erotic Tales: The Waiting Room" went on to win a Golden Rose, the Press Award in Montreux, a Golden Gryphon in St. Petersburg, and Jos Stelling's fourth Gouden Kalf, the Dutch film award. "Jos Stelling's work is quite timeless. His films have no dialogue; they are delicate and charming. I did not feel we had to follow a trend, but I was sure it would work for the audience," she adds.
As challenges arise, Rissenbeek tackles them with the professionalism that defines her. Reflecting on the film "Dream a Little Dream," directed by Antonis Kokkinos, the story follows architect Yannis, who is haunted by dreams of a seductive woman as his wedding day nears. In reality, his fiancée Anna is sweet and down-to-earth. Just as Yannis becomes certain he's made the right choice, his dream materialises on the wedding day. Rissenbeek recognises the difficulties of balancing creative and logistical elements, especially in character-driven narratives. Despite these challenges, in-depth discussions about the script and framework ensured the film's vision was preserved.
Furthermore, key partnerships have significantly shaped Rissenbeek's career. Working with directors like Mika Kaurismäki and German filmmakers such as Margarethe von Trotta and Maren Ade has been instrumental. Her role in promoting their films internationally has provided invaluable experience. Additionally, her ongoing work on the legacy of avant-garde filmmaker Ulrike Ottinger has introduced her to new dimensions of filmmaking. "When working in distribution, I greatly appreciated working with Milos Forman and Stephen Frears. I am now working on the legacy of German filmmaker Ulrike Ottinger, who was avant-garde in the 1970s and 1980s and still is. Through this collaboration, I dived into a part of filmmaking that I was still getting familiar with, which was very exciting," she says.
Mariëtte Rissenbeek is spearheading the promotion and distribution of "Sturmzeit," a TV series directed by Bernd Böhlich. The show chronicles the life of Felicia Domberg, whose experiences reflect the tumultuous changes in 20th-century Germany. From her privileged East Prussian roots, her apolitical life is disrupted by her love for the politically engaged Maxim Marakov. The story spans wars, failed marriages, and a Nazi-era struggle to protect a Jewish colleague, culminating in Felicia's reunion with Maxim in Berlin.
In this context, Rissenbeek addresses the challenge of balancing creative control with historical accuracy and budget constraints, particularly in depicting the impact of WWI on an aristocratic family. "We started casting the main character very early, as she had to be a powerful woman for many decades. Casting the main character made me dive into the story's complexity while casting the other characters, later on, was also fascinating," she says.
For television productions like "Sturmzeit," ZDF, a German television broadcaster, played a crucial role in promotion and international sales. Understanding the unique characteristics of the German film market has allowed her to effectively position and promote films. Specific productions in the German film industry stand out for their approach to character development and thematic complexity.
On the other hand, the 1996 film "Beckmann und Markowski - Im Zwiespalt der Gefühle" exemplifies this rich narrative approach. In an era when transsexual topics were scarcely shown on television, this film dared to introduce such subjects, offering a groundbreaking exploration of identity and transformation.
“’Beckmann und Markowski - Im Zwiespalt der Gefühle’ is complex. We made the film in the '90s when transsexual topics were not yet common on TV. It was great to explore the possibilities with the director, Kai Wessel, who was then still young and open to new ideas. Working with the lead actor, Gottfried John, was remarkable because he had previously collaborated with Rainer Werner Fassbinder and played the antagonist in the film 'GoldenEye' with James Bond."
Regarding her role as the executive director of the Berlin International Film Festival from 2019 until this year, 2024, alongside artistic director Carlo Chatrian, Mariëtte Rissenbeek explains that her experience at the Berlinale has significantly deepened her appreciation for film festivals and their role in promoting independent cinema. "Without a festival, medium-size and smaller films do not have real visibility," she says, highlighting the critical importance of festivals for filmmakers.
"I knew how important festivals are for the promotion of independent films. That was also the reason why I accepted the job offer at the Berlinale—it is the most important festival for the independent cinema scene."
At this year's Berlinale, the 74th edition of the festival, two films profoundly impacted Mariëtte Rissenbeek. Reflecting on the standout features of the festival, Rissenbeek highlighted "From Hilde, with Love," directed by Andreas Dresen and Abderrahmane Sissako's "Black Tea." The 2024 film "From Hilde, with Love" tells the harrowing story of a young woman resisting the Nazis during WWII, who, after being arrested and discovering her pregnancy, faces execution after giving birth. "This film deeply touched me," Rissenbeek remarked.
Also, she expressed her admiration for "Black Tea," which follows a young African woman who leaves her home to marry in China but instead immerses herself in the local culture. "The protagonist adapts and works in a tea shop, slowly learning everything about the tea ceremony from the owner. As they talk more, they grow closer. This story is extraordinary to me because I have some knowledge of China and love the idea of an African woman immersing herself in this different culture," Rissenbeek says, noting her personal connection to the film through her own experiences with Chinese culture.
Looking ahead, Rissenbeek envisions continuing her support for filmmakers through workshops and conferences worldwide. Her recent involvement with a Kurdish filmmaker's project spotlights her dedication to nurturing diverse narratives. Despite a societal shift toward more straightforward storytelling, she remains optimistic about the future of films.
Rissenbeek's journey in the film industry highlights her passion for exploring the intricate subject of human complexity. She values the depth and authenticity of multifaceted personalities—characters who grapple with internal conflicts and moral ambiguities, reflecting a rich atmosphere of personal dilemmas and evolving growth. Her ability to balance creative vision with practical considerations and her collaborative spirit ensures that her influence on the industry will continue to resonate deeply with audiences, promoting well-defined narratives on character-driven themes.
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