‘Bad Sisters’ original maker Malin-Sarah Gozin on ‘Dead End’

Looking for an original crime series? In “Dead End”, a potential striking thing about this week’s Canneseries, SlaTh Ed Bex can catch a glimpse of the last moments of a dead person by licking a small part of their corpse or eating even better. He spends a lot of EP. 2 Try to steal a toe of murder victim 2 from the mortuary and store in his parental home for a moment that he nibbles a little.

Very tasty for crime drama connoisseurs of a director of Walter Presents, who bought her “Tabula Rasa” for the UK, “Dead End”, produced by Lompvis and Caviar, has just been taken over by Federation for International Distribution.

It could not be described as comfortable crime. Playing in Canneseries Main Competition on April 27, “Dead End” will probably be more the reputation of maker Malin-Sarah Gozin, whose “Clan” (2012) was adapted in the “Bad Sisters” of Apple TV, while the Follow-up “Tabula Rasa” (2017) was stolen by network.

Just like ‘Clan’, a comic murder thriller and family drama, Dead End ‘weighs like a multi-genre blender, who again braids comical crime mystery with a mid-life crisis drama while ED 50 is wondered about his life purpose and saddled with an Macabre gift that he never asked for early.

Produced by caviar and lumpfish, supported by Free-to-Air Service Play4 and streamer streamz from Flanders, “Dead End” stars Peter van den Begin (“1985”), Rentiging with Gozin after “Tabula Rasa” as the Hang-Inspoken Bex and Elise Sympathiek is Covercover “Undercover”)) Work. Bending on Play4 and Streamz in February, has signed Bullish and sometimes cheerful reviews: “Finger Licking Good”, Knack Focus announced.

Variety Gozin caught before she will be the subject of a meeting with a conversation in Canneseries on 27 April, together with Brett Baer and David Finkel, “Bad Sisters” Co-Makers and writer producers of “3O Rock” and “United States of Tara” and executive producers of “Dead End” together with Bert Hamelinck and Dimelinck and Dimelinck and Dimelinck and Dimelinck and Dimelinck and Dimelinck and Dead. Gozin focused with Hans Vercauter.

“Dead End” is a Genre-Blender-one of your characteristics also a show for social editions that tackles the consumption of animal food. Do you feel that there is a continuous line with “clan” and “tabula rasa”?

Malin-Sarah Gozin: When I was writing ‘Dead End’, it felt like I was visiting ‘Clan’ again in terms of the specific genre mixture. It has the mystery, thriller combined with drama, psychological depth and character study such as “Tabula Rasa”, but it felt really good to visit the quirky dark comedy again – which is a great tool for tackling social problems.

But does “clan” have such a social issue ahead? ‘Dead End’s’ early pieces are starting to suggest that this is a murder mystery, but perhaps the real murderers, although they do not realize it, are people who eat animal meat or fish …

It is actually the question I want to answer: “What if we are the serial killers of our planet?” I don’t want to tell people: “Stop eating meat!” I am not vegetarian myself. But Ed’s gift is like a metaphor for what is happening in the world. In the past few years we have become more aware or we have to become more aware of our food and its impact on animal welfare and on our climate.

Ed himself has the feeling to be forced….

If I wanted to explore something, this was the theme of the expiry date, such as an expiration date. As a funeral adviser, Ed follows the last moments of people, but the show asks if our planet has an expiry date, or is there an expiration date about relationships? Ed is stuck in a dead end in his marriage and he uses his special gifts to catch a murderer, will have a serious impact on his marriage.

You could call Ed Odd and indeed Belgian shows are praised because of their peculiarity, but I wonder if that is because the beam is lower in terms of expressing the idiosyncratic peculiarity of most people?

The beam is lower in terms of culture. We just say what we think. Belgians are, only in our genes, quite quirky. We are the kind of people who came with “De Smurfen” [which began as a Belgian comic franchise]. If you look at our culture, our art, Magritte, it is a bit surreal. We flirt with more like the irrational things, try to explain the irrational, I think.

Do you have a statement that Belgium has five series in the official selection of Canneseries, more than any other country in the world, including the US and France? Clan was made available on request from the British Omroepkanaal 4 as part of his Walter Presents Service. Then there was a lot of talk about the Belgian Noir in 2016 series Mania with “Hotel Beau Séjour” and “The Break”. But is there a new wave now?

Talking about Belgian Noir started, I think with “Clan” and thanks to Walter Iuzzolino who has explored our industry, the obstinacy but also the quality. We don’t have a big budget, so we try to get the most out of it. The more you invest in story and characters and writing, the better material. Most shows you mention shows specifically that their time has really taken in story and character development, and not just writing one version of the script, but improving and trying to say many interesting things in a very economic way.

In terms of direction it is preferably like Pedro Almodóvar Aki Kaurismaki meets a kind of Gedempte Pop -Out -Eesthetics …

It is very intentional. In “Dead End” we not only wanted a cinematic quality, but also a certain kind of aesthetics. The themes and the story are quite dark, it’s about death. But it is also very inspired by food. I like the aesthetic quality that food has, it is very colorful. “Dead End” is a show with hope, with colorful characters. They are all worried but a bit strange and funny.