Emerging Filmmakers: A Conversation with Jetske Lieber and Sammy Shefa Idris

Despite these differences, both directors explore intimate, emotional themes. Now, freshly out of their academic journey, they are stepping into a rapidly evolving film industry. What are their hopes and dreams when it comes to directing, and how do they view the future of filmmaking?

In her hometown Nijmegen, while playing a minor acting role in a short film, Jetske had a sudden realization: her place was behind the camera, not in front of it. Her directorial debut, De Krantenman (The Newspaper Man), earned her a spot at the Netherlands Film Academy, where she pursued the directing fiction program. She recently graduated with her film Januari (January), which follows a young person’s journey of self-discovery after a breakup, told through a series of staccato vignettes.

When he was only sixteen years old, Sammy’s best friend passed away. He made a film to cope with his grief. The short piece, a raw portrayal of the mourning process, was, as Sammy recounts, a necessity—a creative outlet to deal with the loss. That film became his ticket to the Netherlands Film Academy, where he completed the directing documentary track this July. In his graduation film Vaders zijn ook Zonen (Fathers Are Sons Too), Sammy reflects on losing another loved one: his very own father.

Can you describe your film-making style?

Jetske: I consider myself an associative director, meaning I craft scenes without first worrying about whether they perfectly serve the plot or fit into the larger narrative of the film. Instead, I write individual scenes, allowing the plot to emerge from them. My style is defined by focusing on the simplicity of everyday life. At the Film Academy, we’re generally taught that every aspect of a film must serve a purpose and be about something. But I’m drawn to moments that seem to be about nothing in particular—scenes that exist for their own sake. My work focuses on the everyday and the mundane, with unexplicit dialogue. I want conversation to be part of the ambiance, rather than directly spelling out what is happening.

Sammy: Themes in my work have so far always run parallel with personal, developmental themes in my life. In line with that, emotion always plays the main part in my work. I rely heavily on intuition, even if that sometimes means shedding the habits and patterns I picked up at the Film Academy. I believe that emotions can take on many different shapes and be translated into varying forms of art, not just into film. Before I developed a serious interest in film, I’d always been inspired by photography and music. I view film as an umbrella medium in which almost any other form of art can be incorporated. Poetry, fashion, dance, music: to me, they’re all beautiful elements to work with and be inspired by.

 What does the future of commercial filmmaking look like?

Jetske: I think it’s not so different from the future of filmmaking in general. As technology continues to reshape the industry, the emotional and human parts of storytelling should be the most important. I think it’s becoming crucial to inject commercials, and films in general, with personal touches. Moreover, in a landscape where so much has already been done, the need for commercial filmmakers to constantly reinvent themselves is more important than ever.

Sammy: I sense there’s a pretty radical shift in the commercial industry, partly because of the ongoing decline of mainstream television commercials and the rise of global, more digitally focused commercials. These commercials blend elements of documentary and fiction, creating a hybrid approach to storytelling. My own commercial dream consists of directing a high-end fashion commercial. I think of Dior, Kenzo, or Tiffany & Co, and imagine these brands offering directive space to create something quite abstract and emotion-oriented. I like the idea of selling a feeling or vibe, opposed to overtly selling a product.

What is your perspective on AI and digital innovation in the film industry?

Jetske: Honestly, AI makes me feel a bit sad. I still believe that humans create the most beautiful things. While AI can undoubtedly produce impressive work, I’m not sure I want to engage with what’s “cool” if it’s made by a machine. I see beauty in human vulnerability. That said, AI does offer certain advantages, particularly in the commercial industry, where it can speed up the production process. We live in a time where anyone with a phone can make a film of some sort, which opens up exciting new possibilities, but in my view, a compelling story will always be more important than the latest camera angle or technological innovation.

Sammy: I think AI is really cool. I notice that some of the filmmakers surrounding me are increasingly interested in ‘going back in time’ by using more analogue means of filming and editing. I firmly believe in the saying that for things to stay the same, they have to change again. I want to evolve along with the times and am definitely not against adapting AI into my work, as long as I remain in charge of the creative process. I believe it should be used as an inspiration tool, not a substitute for human creativity. Impacting humans creatively is best done by humans themselves.

What are your hopes and dreams when it comes to (commercial) directing?

Jetske: My ambition is to direct a feature film destined for the big screen. I’m also drawn to the idea of directing a series, because series allow for a deeper exploration of characters and themes—and, of course, series are incredibly popular right now. One particular dream of mine is to direct a children’s series for VPRO, because I loved those as a child. I’d also like to direct commercials, partly because I believe working on shorter projects keeps me sharp and motivated. My goal is to direct a peanut butter commercial for Calvé, because it’s such an iconic Dutch brand. I also want to create commercials with a broader societal impact, to try and make a small but meaningful contribution to the world.

Sammy: I like to dream big. I strive to win an Oscar and want to work with Beyoncé and Jay-Z. That’s partly because Beyoncé’s art kickstarted my ambition to get into filmmaking in the first place. I looked up to her interdisciplinary way of working and thought, if she can do it, so can I. Looking ahead, I’d like to direct many more documentaries, including one with a global scope, travel the world as a filmmaker, and create a fictional series. Lastly, I want to direct movies that feature underrepresented actors, without making their identity the central focus of the storyline. Growing up, I often missed seeing myself reflected on screen, and while that’s not my primary goal, I’d love to help change that for the next generation of viewers and creators.

What are you working on right now?

Jetske: I’m currently developing a short fiction film project, though it’s still in the early stages, so I can’t share too many details just yet. What I can say is that it’s quite experimental. Also, Januari has been selected for showcasing at the French film festival Poitiers! It’ll be my first film festival abroad, so I’m very excited. Beyond that, I’m eager to gain experience as a screenwriter, to explore film from a new perspective.

Sammy: I’m 22 years old, so I don’t want to stop learning just yet. Every now and then I go back and take a day class at the Film Academy. Next to that, I juggle a part-time job, frequently connect with production companies, and have started directing some small commercials. This era in my life is also a time to discover my own ambitions without feeling the need to rush, experiencing what my career feels like without the structure of being in school. In a way, I treat it like a fresh start.