The Directors: Emma Branderhorst
Emma Branderhorst is a 28-year-old film director from Amsterdam, known for her work addressing significant social issues through a personal and intimate lens. She graduated from the Hogeschool voor de Kunsten in Utrecht in 2019 with her short film "Onderhuids" ("Under the Skin"), which premiered at the Berlinale in 2020 and won numerous awards, including at the Cinekid festival and a Wildcard at the Netherlands Film Festival.
Branderhorst's notable works include "Spotless," a film about period poverty that won the Crystal Bear at the Berlinale and was the Dutch Short Film entry for the Oscars in 2023.
Her film "Ma Mere et Moi" ("My Mother and I") also premiered at the Berlinale and explores the complex dynamics of the mother-daughter relationship.
In addition to her short films, Branderhorst is involved in commercial projects and is represented by DIVINE. Her approach to filmmaking is characterised by extensive research and a focus on realistic storytelling from a feminine perspective.
Name: Emma Branderhorst
Location: Amsterdam
Repped by/in: FR, NL, UK
Awards: GRAND PRIX Cannes Lions 2024, three silver Lions in Cannes 2024, 2 Young Director Awards in 2023 & 2022, Crystal Bear at Berlinale Generation and Japan Prize 2023
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Emma> I'm currently working on my first feature film. We're in the early script-writing phase, and I'm incredibly excited to create a full-length film. My film explores the story of a friendship of two women in their twenties that gradually falls apart, and the grief that accompanies it. It's inspired by my own lost friendships and, through this story, I’m aiming to address a topic that isn't often discussed.
In terms of commercial work, I am prepping a shoot in London at the moment about domestic violence. I want to focus on narrative storytelling and want to tell beautiful and emotional stories that need to be told. After a wonderful, long summer break, I've just returned from vacation, and I'm eager to discover which stories I'll have the opportunity to tell for brands in the coming year.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Emma> Last June, we won a Grand Prix at Cannes for our film 'Piece of my Soul.' The film addresses shaming—specifically, the sharing and publicising of intimate photos. It's a three-minute music video, like a short film created to raise awareness among Gen Z about this behaviour. We're often warned that films need to be shorter because young people have less attention for longer content, with everything being adapted to a TikTok format.
However, our film has made a significant impact, reaching millions of young people and changing behaviour. I hope that our win at Cannes will inspire agencies (and brands) to take note of our campaign and realise that there's another way. People want to be moved by beautiful work, and that brings hope for me as a storytelling director.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Emma> For me, it's crucial that the film has a strong narrative and that there is a development with the characters. I want the audience to feel what the characters go through, or recognise the situation, even if just for a moment. I approach scripts as if they were short films, so I always write a screenplay. What makes a script even more appealing to me is when it has a social angle. Film is such a powerful medium, and brands have the ability to influence or even change behaviour.
LBB> How do you approach creating a treatment for a spot?
Emma> First, I have a conversation with the agency, finding out what they want to convey and the story they’ve envisioned to achieve that. I let their ideas flow in my head and see if the story gives me inspiration. Normally, when I like a script, scenes will pop up in my head in the following days.
Currently, I often end up rewriting the script to ensure it still meets the creative team's objectives. I try to view the treatment phase as a playground—a chance to explore and add to the story without discarding the original concept. I push boundaries during this stage, knowing that once we're in the shooting phase, there's less time for adjustments.
At that point, the story has already been presented to the client, making it harder to make changes. That's why I enjoy letting my creativity flow during the pitch process. If something isn't feasible or goes too far for the agency, we can always refine it through collaboration. But I focus on writing the film I want to create, a good narrative with believable actors.
LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Emma> I believe it’s always important to understand who you’re ultimately creating work for, so I definitely research this new market by watching their previous films to see if it aligns with my style. But in the end, I have to make a film. If the story is good and we’re on the same page about how to tell it, then I have full confidence, even if I’m not yet deeply familiar with the brand.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Emma> For me, the relationship with the agency is very important, especially with the creatives. We’re making the film together, and they’ve often been working on the idea for months, and are trusting me to bring it to completion.
When the creatives trust you as a director, you gain much more freedom, and they rely on your expertise. I think this is where things often go wrong, particularly for young directors. Creatives can be very protective of their ideas, and the directors might not feel free to explore. When that relationship is strong, you both dare to trust each other more, which leads to beautiful (and bold) work. I try to see the creatives as sparring partners without losing sight of my own ideas, which is of course very important.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Emma> As I mentioned earlier, creating work with a social message is very important to me. Much of my work is told from a female perspective; there are so many compelling stories that haven’t yet been told.
I’m also very interested in working with young actors, particularly in the coming-of-age genre. You can see this in a lot of my commercial and fictional work.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Emma> This is a tough question, and very personal. I often hear people say that everything seems to come to me easily, that I don’t face many challenges. I understand why it looks that way from the outside, and I realise and appreciate that my career has developed quickly.
But, just like any other director, and really, anyone, a lot of the time I do second-guess my abilities, and find myself attributing everything that’s gone so well the last few years to luck. Every time I get onto a set, the nervousness kicks in, and I don’t see that ever going away completely.
I can’t control when people judge me, but I can focus on my hope, which is to inspire others.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Emma> I think as a director, you constantly face challenges that need to be solved on the spot. But there’s one moment that really stands out to me.
This question takes me back to my graduation film, four years ago. We wanted to shoot a top shot of a group of synchronised swimmers in the water. We had rehearsed the choreography for weeks. The girls were supposed to float in the water, forming the shape of a star, for the top shot before the camera descended, to focus on the main character for the opening shot.
Once we arrived at the pool and set up the shot to rehearse, with all the girls in position, we realised that the girls kept drifting out of the shot. They couldn't stay in formation, centred under the camera. It turned out that the location (the pool) had a special system in the water that created a certain current.
In the end, we couldn’t shoot the opening as planned; we lost almost half a shooting day in a very expensive pool and walked away with no opening shot. Eventually, we got into the water ourselves and filmed the girls close up in the water. In the end much more intimate and focused on the characters than a super spectacular opening shot.
Everything happens for a reason right?
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Emma> Good question. I think an agency or client approaches you because they want your interpretation of the script. That's why I believe the pitch phase is so important; it’s when an agency chooses your interpretation.
I think it's always crucial to stay true to your vision and your film, while also involving the agency in a meaningful way. I always try to do a lot of research, have extensive conversations with the creatives, and still fight for my story. Agencies are, of course, influenced by the client, which is completely understandable.
Our goal as storytellers is to preserve the integrity of the story and the film and to fight for that. I always speak from the perspective of what’s best for the film because, ultimately, that’s what we all want.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Emma> Yes, of course! I entered the commercial world with no experience myself and was mentored by someone who had been in the industry for years. You learn so fast that way. You don’t necessarily need formal education to work in this field; meeting the right people and gaining experience on set is much more important.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Emma> Actually I don't want to know anything about AI techniques. When I say this, I feel like someone who’s not keeping up with the times, like an old lady, but I find it all hard to grasp and to be honest, I’m a bit scared of it.
Filmmaking is such a craft—directing and writing films with emotion is something only humans can do. I’m sure AI will have its place for certain things. I have to admit that I use ChatGPT, especially to help me translate stuff, but I truly hope we can preserve the craft of filmmaking.
That’s why I’m not fully embracing the AI trend just yet.
LBB> Which pieces of your work do you feel show what you do best – and why?
Emma> Piece of My Soul - commercial campaign about shaming. For this film I wrote the script and directed the film. Such a beautiful and important project to work on.
Short film Spotless - a short film I made two years ago. For this film I did a lot of research about period poverty. We won the Crystal Bear at the Berlinale in 2023.
Short film Ma Mere et moi - a short film I made last year. I took a road trip from Amsterdam with a very small crew to my favourite city, Marseille, a film based on my own experiences with my mum. Also premiered at the Berlinale.
McDonald’s campaign about a girl who falls in love with a guy camping. They need to find a way to communicate because the girl is deaf. I cast a real deaf girl for this role, everything was so pure and heart-warming.
