All The Children But One/Director’s Statement
and death are closely related. When childhood ends, some part inside
dies with it and one’s body and spirit metamorphose into something new.
A portrait of childhood poses questions about time—questions about both
the past and the future and the special world of childhood—a world that
we almost forget exists once we become adults. This world of childhood
is a cinematic world.
wanted to discover Karcsi’s world and find the boy inside. Karcsi had
already disappeared from the grown-up world—or if he was there, he was
only there as a sense of mourning. The boy’s mother did not want to
speak about him and his grandmother simply could not—it was too
painful. We started with two documents: An amateur video showing Karcsi
in his sickbed prior to his death together with a small pile of
drawings sent to him from his classmates. Of course, his friends and
classmates have continued with their lives since his death and have
continued to develop. But since it is precisely this aspect that
interested us and it became clear to us that we would only ever be able
to discover Karcsi through his buddies. For us, Karcsi was something
like a blind spot. Through his very absence, he became omnipresent for
us. He remains invisible throughout the film yet he remains present in
everything we captured—in every action and every sentence.
(Andreas Bolm & NoŽlle Pujol)