The feature animated film Tales From the Magic Garden, which appeals to audiences beyond just young viewers, explores how storytelling can help cope with difficult life situations. A co-production between four countries – the Czech Republic, Slovakia, Slovenia, and France – with equal creative input, the film was crafted by four directors, one from each nation. Before the premiere of this omnibus stop-motion film at the Berlinale Generation Kplus competition, we spoke with Slovak director Patrik Pašš and producer Juraj Krasnohorský from the company ARTICHOKE.
The film adapts the imaginative children’s stories by Czech writer and playwright Arnošt Goldflam. What drew you personally to his work?
Patrik Pašš: Arnošt Goldflam’s book is a small collection of short stories that explores the search for hidden beauty beneath the veil of everyday life, and I believe it speaks to more than just children. The melancholy of irretrievable loss resonates with both young and old alike. Goldflam offers healing hope by showing that even the most seemingly ordinary and insignificant objects contain fragments of memories – beautiful, magical moments or connections to loved ones. I’m grateful that the film is based on such exceptional literature.
Juraj Krasnohorský: The stories from the book Of Unwanted Things and People are written for children, but Arnošt Goldflam has the gift of a storyteller who can speak to the child within adults of any age. I was captivated by his style, in which he addresses children as equal partners while maintaining a keen sense of their imagination and worldview, blending humor with just the right touch of magical realism.
As a parent, I’ve often grappled with how to properly discuss difficult topics with children, knowing that life isn’t just about joy but also includes challenging moments. Goldflam’s approach resonated with me in this regard – it feels both authentic and appropriate. This is why transferring his stories to film was so important to me. While there are plenty of animated films focused purely on entertainment, as a producer, I wanted to offer something more meaningful, knowing that children can handle and indeed need more substance. They’re naturally curious about complex topics like death and grief. Goldflam manages to maintain his humor while addressing these subjects without diminishing their gravity.
Patrik, how did you decide which story to work on?
Patrik Pašš: I joined the collaboration on Old Apple Cores, the Slovak segment of the film, when it had already been in production for several years. The Slovak part was initially developed by director Ivana Laučíková and later by Martin Smatana, before producer Juraj Krasnohorský invited me to rewrite the script, create the storyboard, and direct it. While I couldn’t choose the short story since the project was already underway, I was fortunate because Old Apple Cores suited me perfectly. It was dramatic enough to captivate young viewers with its adventure while being rich in motifs that allowed me to develop themes important to both me and the production.
Was it the original intention to create the film as a four-country co-production, with directors from each country handling their respective stories?
Juraj Krasnohorský: We began working on the film in 2016 with Czech producer Martin Vandas. At that time, the idea of creating a feature-length animated film in Slovakia felt almost unimaginable – both due to financial constraints and the limited number of professionals in the country with expertise in animation. Our Slovenian colleague, Kolja Saksida, faced a similar challenge. Together, we devised a plan to unite four countries in producing four short films, always with the vision of ultimately merging them into a single feature. The short stories from Arnošt Goldflam’s book provided the perfect foundation. The turning point came when we won both the audience award and the main prize at the CEE Animation pitching forum. Encouraged by the feedback to strengthen the narrative cohesion, we brought in French co-producer Jean-François Le Corre to help shape the project. Nearly a decade later, I can confidently say that this has been the most rewarding and creatively fulfilling collaboration of my producing career.
How was it working on such an international project? Were you in contact with the other directors?
Patrik Pašš: From pre-production to completion, the film took ten years to complete. Throughout this time, numerous in-person and online meetings took place between producers, screenwriters, and directors. I joined the project in its final three to four years, primarily focusing on the Slovak story. However, I also participated in several online discussions where we refined the overall concept and dramaturgy. These meetings were conducted in a friendly and collaborative atmosphere, where directors had an equal advisory role alongside producers. It was inspiring to see how teams from different countries could work together so effectively while preserving their individual creative visions. That said, I never had the chance to meet the other directors in person – only now, at the Berlinale, will I finally get to shake their hands.
Since each story in the film was directed by a different director with their own team, maintaining a cohesive overall aesthetic was essential. To what extent did the individual directors have creative freedom in their approach, and conversely, what limitations did you have to navigate?
Patrik Pašš: Visual and dramaturgical unity are crucial in a feature film as complex as this one. To ensure consistency, the character and setting designs were created by a single artist – the brilliant Patricia Ortiz Martínez. The French segment became an exception, introducing a distinct artistic style. However, since this story serves as a realistic bridge between the fairy tales, it didn’t disrupt the overall aesthetic. On the contrary, it reinforced the contrast between the real and the fantastical – an interesting nuance, given that even the “realistic” elements in the film are brought to life through puppet animation. The film’s cohesion was further enhanced by Adéla Špajlová’s editing and the original score by Lucia Chuťková.
Juraj Krasnohorský: Everyone instinctively understood that asserting one’s own ego would only be detrimental to the project. The atmosphere was incredibly friendly, and we ensured that wherever one team left off, the others could seamlessly continue. Despite the natural diversity of styles, we knew certain elements would unify the film: Patricia Ortiz Martínez’s artistic vision, Lucia Chuťková’s music, the editing, sound design, and the distinctive universe of Arnošt Goldflam. We also paid close attention to countless details – using the same cameras, lenses, animation techniques, set materials, and colour palette. The directors trusted the producers, and the producers continuously shared feedback. It was a deeply collaborative process. I am convinced that the general audience won’t even realize that each story was created by a different team – and that was exactly our goal.
Patrik Pašš: Each team adapted its story with its own screenwriters, but how these adaptations would fit together was carefully discussed in joint meetings. Assembling a film from independently created segments while maintaining a cohesive structure and narrative rhythm is a significant challenge. That’s why I’m especially pleased that our initial concerns about the film feeling disjointed did not come true. I believe this success is largely due to in-depth dramaturgical discussions and a shared willingness to adapt for the sake of the overall vision – often requiring extensive script rewrites. I deeply appreciate that the production team managed to preserve the creative spark of each individual team while ensuring everything served the larger whole. From a production standpoint, this was undoubtedly one of our biggest challenges.
The film is made using puppet stop-motion animation, a technique that brought international recognition to Czecho-Slovak animation in the post-war period. Why did you choose this approach?
Juraj Krasnohorský: Precisely because this technique is so deeply connected to the animation tradition of Czecho-Slovakia. To me, Arnošt Goldflam embodies the spirit of the so-called First Republic – I associate him with the positive values of our history. That’s why his literary world naturally lent itself to traditional puppet animation. What’s interesting is that this connection resonates not only with audiences here but also abroad. The first thing the film evokes for international viewers is the rich tradition of Central European animation. It’s a well-established “brand” that’s worth building on – something that people worldwide instinctively associate with our region.
What was the experience like for you as a director?
Patrik Pašš: This was my first time working with puppet animation, and it was Juraj Krasnohorský and Marek Jasaň, the lead animator for the Slovak segment, who encouraged me to step into the director’s role. Afraid of letting them down, I prepared for the shoot as meticulously as possible. However, thanks to the incredible professionalism of my colleagues at Barletta animation studio – Monika Houdková, Matouš Valchár, Václav Fronek, Alan Soural, Václav Krejčí, and many others – I was able to seamlessly integrate into an already well-structured creative and production process. It was an incredibly rewarding experience.
Although the film is aimed at a young audience, it also explores difficult themes such as death, aging, and family conflicts. How did you approach these topics?
Patrik Pašš: I believe the themes explored in the film are among its most valuable aspects. At my age, I have experienced the loss of several loved ones, so I understand the emptiness that remains. Unfortunately, children are not spared from such experiences either, which is why it’s important not to pretend that death doesn’t exist. The film offers them a kind and reassuring hand, conveying the message that even in these moments, they are not alone. At the same time, it shows parents that conversations about loss and acceptance can be approached with hope.
Juraj Krasnohorský: From the very beginning, we relied on Arnošt Goldflam’s text, as he masterfully found the right language and tone to address these difficult subjects. During development, I came across psychological research on how children process trauma, and I was particularly intrigued by studies on the role of storytelling in healing. Simply put, difficult emotions are generated in the right hemisphere of the brain – the center of creativity – while the left hemisphere helps us name and understand experiences. When painful emotions remain unnamed, they can become overwhelming and destructive. However, by verbalizing them – essentially moving them to the left hemisphere – we gain clarity and control. Storytelling plays a crucial role in this process. This is exactly what the characters in our film do – during difficult moments, they tell each other stories, initiating the healing process. It’s important for the film to resonate with audiences emotionally. My ideal vision is to see grandparents and grandchildren coming to the cinema together – a film that bridges generations and encourages shared storytelling.
Tales From the Magic Garden
Generation Kplus
Screenings:
February 15 | 17:50 | CinemaxX 1 (market screening)
February 16 | 9:30 | Zoo Palast 1 (world premiere)
February 17 | 16:15 | Cubix 6
February 18 | 9:45 | Filmtheater am Friedrichshain
February 20 | 9:30 | Zoo Palast 1
February 22 | 10:00 | HKW 1 – Miriam Makeba Auditorium
