THE POSSIBLE LIVES OF MY MOTHER by Jorge Dorado is in production
Development & Production News December 2025
In development
Screen Flanders
Screen Flanders, the Flemish regional audiovisual investment fund, has selected 15 projects, both films and series, for its latest support session. Among them:
- HUNTERS by Mathieu Mortelmans, producer: EAVE graduate Jacques-Henri Bronckart
- LOOK WHO’S VISITING TUMMY TOM! by Joost van den Bosch, producer: EAVE graduate Peter Bouckaert
- RED LIGHT EMPIRE, co-producer: EAVE graduate Léontine Petit
FFA
The German-French Co-production Committee supports 3 films by EAVE graduates.
- DIE STADT by Helena Wittmann, producer: EAVE graduate Julia Cöllen
- HISTOIRE D’AMOUR EN 10 CHANSONS, 3 MARIAGES ET 1 BAISER by Faouzi Bensaïdi, producer: EAVE graduate Nicole Gerhards
- PRAJD, by Elvire Muñoz, producer: EAVE graduate Jamila Wanske
In production
- THE POSSIBLE LIVES OF MY MOTHER by Jorge Dorado, producer: EAVE graduate Alexandra Hoesdorff is in production. The film is the rediscovery of a woman and, through her, the rediscovery of a whole century’s worth of emotions, silence and memories. In 2011, my mother took the wrong lane when taking a detour on a dual carriageway, and she drove the wrong way for several miles. I got scared, so I took her to various doctors, and they all agreed on the diagnosis: Alzheimer’s, an illness that she had gone to great lengths to hide from me and my siblings. As she couldn’t live alone any more, we had to clear out her house. Among the documents that ended up in my possession were photo albums and a floppy disk with a handwritten label that said: ‘Biography’. “At that moment,” the director said, “I found out that she had led an intense life, full of crossroads, brave decisions and contradictions. At the age of 22, she became a single mother in Paris after fleeing her parents’ house while pregnant, as she led a stifling existence there. During the 1960s and 1970s, she lived through impossible love affairs, political struggles, social changes and a constant yearning for freedom. In Paris and Madrid, she met artists, actors, soldiers and intellectuals who strove to change the world… I never imagined that she could have borne witness to the history of Spain by – sometimes unintentionally – forming part of some of the most important events of that era.” THE POSSIBLE LIVES OF MY MOTHER is a production by Adrià Monés for Fasten Films and Borja Pena for Vaca Films, together with Alexandra Hoesdorff and Desirée Nosbusch for Deal Productions (Luxembourg). It boasts funding from the ICAA, ICEC, Creative Europe – MEDIA and Film Fund Luxembourg, as well as the involvement of RTVE, Movistar Plus+ and Netflix.
- GOOD MOTHERS by Amalie Næsby Fick, co-producer: EAVE graduate Lizette Jonjic is in production. Set in a quiet, suburban community, the 90-minute drama follows successful real-estate agent Anne Sofie, whose world is upended after the alleged sexual assault of a teenage boy by two peers. When she discovers that her own son may be more deeply involved than she imagined, Anne Sofie becomes determined to protect him and safeguard the family’s reputation. As accusations spread across the town, she finds herself at odds with the other boys’ mothers, Sarah and Ulrikke. Under mounting pressure, she shifts the blame onto one of the other boys – a decision that fractures her relationships and sends her into a moral spiral, ultimately forcing her to make a life-altering choice. GOOD MOTHERS is being produced by Louise Vesth for Zentropa Entertainments ApS in co-production with Zentropa Sweden, and Film i Väst. The film is backed by the Danish Film Institute Market Scheme and the Netherlands Film Fund, and made in co-operation with DR – Danish Broadcasting Corporation, SVT, September Film and Nordisk Film Distribution A/S. The project is also co-funded by the European Union.
In post-production
- EACH OF US by Neus Ballus, Anne Zohra Berrached, Anna Jadowska, Stina Werenfels, producer: EAVE graduate Maria Blicharska is in post-production. Filming on Each of Us wrapped at the end of October after four weeks of shooting in Navarre, where the interior sequences were captured, following exterior work in Poland and Germany. This European film project – which is currently in post-production – gives a voice to the forgotten women of the Ravensbrück concentration camp, the only one in Nazi Germany designed exclusively for women. Co-directed by Spain’s Neus Ballús, Germany’s Anne Zohra Berrached, Poland’s Anna Jadowska and Switzerland’s Stina Werenfels the film interweaves four stories of women who, in the midst of horror, find empathy and solidarity to be their form of resistance. Each filmmaker has directed one actress, bringing cultural, linguistic and emotional authenticity to the narrative: said thesps are Diane Kruger (Germany), Carla Juri (Switzerland), Aida Folch (Spain) and Ninel Geiger (Germany). The film, penned by Eva Pauné and Mirjam Ziegler, draws on real testimonies and documented facts to recount a story of empathy as a form of heroism, shining a light on humanity in times of barbarity and female solidarity as resistance. Neus Ballus said: “Beyond the horror, this is a story about humanity, about how a gesture of solidarity can change a life.” For her part, Stina Werenfels affirms: “We wanted to show how women, even those surrounded by sheer hell, were able to care for one another.” In Anna Jadowska’s view, “This film springs from the real testimonies from Ravensbrück. They were the true heroines.” And for Anne Zohra Berrached, “Empathy is our form of heroism.” EACH OF US is being produced by Norbert Llaràs for Spanish outfit Alhena Production, in co-production with Planeta Espectáculo 2025 AIE, Maria Blicharska for Poland’s Blick Productions International, Amir Hamz and Christian Springer for Germany’s Bon Voyage Films, and Anita Wasser and Michael Steiger for Switzerland’s Turnus Film. It boasts the participation of RTVE, 3Cat and ARTE, and is backed by the ICAA, ICEC, Creative Europe - MEDIA, Eurimages, Claims Conference, the Polish Film Institute, the Swiss Federal Office of Culture (BAK) and Medienboard Berlin-Brandenburg.
- REVIVAL by Jivan Avetisyan, producer: EAVE graduate Kestutis Drazdauskas is in post-production. Murat Arakelian (27), a brilliant engineering student at the Polytechnic Institute of Marseilles, is developing OR.CH.I.D. (ORganizer of CHaotic Input Data), an innovative AI project, under the supervision of Professor Jean Perbost (65). Poised to compete in a prestigious palliative AI care exhibition organised by the university, the project is on the verge of securing a major investment from Rossun Corporation. But Jean’s hopes are derailed when Murat abandons the project to investigate a haunting mystery surrounding his father’s death. His search takes him to Armenia during a war outbreak, against the backdrop of a global pandemic, prompting OR.CH.I.D.’s evolution into a self-aware AI. OR.CH.I.D. forces Jean to confront a dark truth: Rossun’s entanglement in war crimes. Jean stands at a crossroads: safeguard his university’s legacy or expose the devastating truth uncovered by OR.CH.I.D. “As the Cypriot producer of this project, I am proud to support a film that carries deep emotional resonance and highlights the global significance of the Artsakh tragedy. Growing up alongside the Armenian community in Cyprus, one of the island’s oldest minorities, showed me how closely our histories and experiences are connected. The film explores universal themes of resilience, loss, and hope, echoing Cyprus’s own collective memory after 1974. By bringing this story on screen, we help preserve voices that might otherwise be forgotten and foster a deeper sense of empathy and understanding. For Cyprus, this collaboration is both a creative partnership and a moral commitment to shared remembrance. The film stands as a powerful testament to how cinema can unite nations with parallel histories”, Cypriot producer Constantinos Nikiforou told FNE. This project has been in the making for the past seven years, and it is produced by LifeTree Pictures LLC (Armenia), Fish eye Art Cultural Foundation (Armenia), Caretta Films (Cyprus), ARTBOX (Lithuania), and Aikštės filmai (Lithuania) with the support of the Deputy Ministry of Culture – Department of Contemporary Culture – Republic of Cyprus, the Cinema Foundation of Armenia, as well as Armenia’s Ministry of Culture, and in association with ARTsakh Arts and Cultural Foundation (USA), and Background Production (Armenia). The production partner is also Assante & Bimonte Productions (USA). The film was also financed by private investors. A crowdfunding campaign was launched on Kickstarter as well as Indiegogo InDemand. NFTs were also sold as part of the fundraising effort. Additionally, private screenings of the director’s films were held within Diasporan communities worldwide to help raise further funds. The production used the Lithuanian tax incentive.
- THE WOLF WILL TEAR YOUR IMMACULATE HANDS by Nathalie Alvarez Mesen, co-producers: EAVE graduate Anne-Laure Guegan, PUENTES graduate Géraldine Sprimont is in post-production. Set in the 1880s Pacific Northwest, the plot of the gothic-horror feature centres on a British widower (played by Skarsgård) who hires a Native American governess, raised in a Christian mission school, to educate his two daughters. As she prepares the eldest for an arranged marriage, something within the young woman begins to awaken, calling into question everything she has been taught. The director described the core themes of the film as deeply connected to questions of liberation, heritage and embodiment: “The story discusses how to break free from patriarchal structures and whether you can decolonise your own body – if not for yourself, for the sake of future generations.” THE WOLF WILL TEAR YOUR IMMACULATE HANDS is being produced by Hobab, and is co-produced by Resolve Media (USA), Quiddity Films (UK), Need Productions (Belgium) and Still Vivid (Iceland). The film draws on an extensive patchwork of European and international funding sources, including Film i Väst, SVT, VOO, Be TV, Proximus, Shelter Prod, Northern Ireland Screen, the BFI’s UK Global Screen Fund, Eurimages, Creative Europe, the Swedish Film Institute, the Wallonia-Brussels Federation, screen.brussels, the Icelandic Film Centre, the Icelandic Tax Credit and the Nordisk Film & TV Fond.
Page published 19 December 2025.
