Michael Kofler Interview
“This was a history we were never taught — it lived on as silence, trauma, and unresolved anger.”
1. How would you describe your journey from South Tyrol to filmmaking?
In recent years, South Tyrol has become a highly attractive hub for both local and international film productions, thanks to its striking landscapes, a strong community of film professionals, and a very effective film commission. When I was growing up there in the 1990s, none of this infrastructure existed, so I knew early on that I would have to leave if I wanted to pursue a career in film.
I first moved to Germany, where I gained experience in film and television production at a Munich-based production company. I later worked at Universal Music Germany, producing video content while also making my first short films. After that, I relocated to London to study directing and graduated with an MA in Directing. London proved to be an important stepping stone, allowing me to collaborate with filmmakers from all over the world while developing my own projects.
After several years working with a leading UK production company, I developed my feature film ZWEITLAND (A LAND WITHIN), which I ultimately shot in South Tyrol. In that sense, my journey has come full circle. Today, the region offers many opportunities for filmmakers, and it’s exciting to see just how much has changed.
2. How has growing up in the Alps shaped your visual style?
Growing up in an alpine region like South Tyrol means being surrounded by extraordinary scenery—idyllic panoramic views, rugged mountains, deep valleys, and dense forests. Nature and its beauty are almost ingrained in your DNA. However, from an early age, I was less interested in simply portraying that beauty and more drawn to exploring it from a different angle.
I was always curious about what lies beneath the idyllic surface—the blind spots of a picture-postcard paradise. This perspective has become central to my visual language. In ZWEITLAND (A LAND WITHIN), which was shot entirely in South Tyrol, we deliberately present the alpine landscape in a darker, rougher, and more barren way. This visual approach became a tool to mirror the fractured inner worlds of the characters and the political turmoil surrounding them.
3. ZWEITLAND explores a tense historical era—what drew you to this story?
The film is set during a period of political unrest in South Tyrol in the 1960s. After years of growing political and economic frustration among the German-speaking minority, an underground separatist movement emerged and turned to violence in an attempt to gain independence from Italy and reunite with Austria. What followed was a decade of escalating violence—both by the separatists and by Italian state authorities.
I grew up in South Tyrol about thirty years after these events, and at that time this chapter of history was still largely taboo. We barely learned about it in school, and when I asked people about it, there was a noticeable reluctance to talk. It felt like a wall of silence—a collective trauma that remained deeply present.
As a teenager, I couldn’t fully grasp it, but the subject never left me. Years later, while living in London, I began to realize how relevant the underlying themes still are today: individual political responsibility, radicalization, and toxic masculinity. That’s when I decided to tell this story as my debut feature. I strongly believe that historical films, in particular, should speak directly to the human condition of the present.
4. What part of making ZWEITLAND challenged you the most?
As a debut feature and a historical film, one of the biggest challenges was securing a budget that went well beyond what is typically available for a first feature. The project had to be structured as an international co-production between Germany, Italy (South Tyrol), and Austria in order to bring the financing together.
From the beginning, it was very important to me that the film be shot in South Tyrolean dialect, a local German-speaking dialect. From a purely commercial perspective, this can be challenging, but everyone involved—from the producers to the broadcasters and funding bodies—was incredibly supportive of this decision, which was deeply encouraging.
On a practical level, the shoot itself was demanding. We had a large number of night scenes, and only a few could be achieved as day-for-night. For artistic and logistical reasons, most had to be shot during actual nighttime, which added significant pressure to both the schedule and the team.
That said, I was surrounded by incredibly supportive partners, an amazing crew, and a fantastic cast led by Thomas Prenn, Aenne Schwarz, Laurence Rupp, Francesco Acquaroli, and Andrea Fuorto. Together, we overcame every obstacle. What made the experience especially meaningful was the collaboration itself—people from German- and Italian-speaking regions working side by side, from countries that had once been on opposing sides during the South Tyrol conflict. Over time, we truly became a film family, and witnessing that unity was one of the most rewarding aspects of the entire process.
I’m very happy that ZWEITLAND (A LAND WITHIN) has already been released in Austria, South Tyrol, and Germany, where it is currently playing in cinemas. Hopefully, more countries will follow soon.
5. How do fiction, commercials, and music videos each influence your craft?
I work across all of these formats, and as a director and writer who develops my own scripts, everything always begins with story. Story is what moves us, entertains us, and engages us—it’s the foundation of all my work.
In shorter formats like commercials or music videos, there’s often more room to experiment visually, to create associative or visceral sequences, or to explore more experimental approaches. Still, it always comes back to story. Whether it’s a micro-narrative, a simple twist that grabs attention, or an associative montage that sparks connections in the viewer’s mind, every piece of moving image relies on some form of storytelling at its core.
Stories have shaped humanity from the Stone Age to our complex modern world, and I hope they continue to do so as we navigate an uncertain future. While I enjoy exploring the dramatic, visual, and aesthetic possibilities of each format, the search for a story—even a small or elemental one—is the common thread running through all my work.
6. What key lesson did you take from Berlinale Talents and Racconti Lab?
Being selected for both programs was an extraordinary opportunity. Filmmaking is fundamentally about collaboration, networking, and connecting with people who share a creative drive. Berlinale Talents offered an incredible chance to meet filmmakers from around the world, learn about their projects and approaches, and build relationships that continue to this day.
The program also included a wide range of panels, workshops, and masterclasses with distinguished film professionals, all within the inspiring framework of the Berlinale—one of the world’s most important film festivals. Being part of the Berlinale Talents community is truly a lifelong opportunity to draw knowledge and support from a unique international network.
Racconti Development Lab, an initiative by IDM Film Commission South Tyrol for emerging writers and filmmakers, was equally transformative. ZWEITLAND (A LAND WITHIN) was selected at a very early stage and even received first prize. The lab allowed me to develop the project under the guidance of internationally renowned script consultants, which not only strengthened it creatively but also attracted producers and helped launch its development—and eventually its production.
The key lesson from both experiences is simple but invaluable: seize every opportunity to build your network. You learn enormously from your peers, and those connections can be crucial in bringing your ideas to life.
7. ZWEITLAND competed at KIFF in the International Competition: Innovation in Moving Images category. What does this recognition mean to you?
It was a tremendous honor to present ZWEITLAND (A LAND WITHIN) in the International Competition at this year’s Kolkata International Film Festival. Being nominated for Best Film and Best Director alongside such an outstanding group of filmmakers from around the world was a real highlight in the film’s journey.
India has an incredibly rich cinematic heritage, and I was both excited and humbled to attend one of the country’s oldest and most prestigious festivals—especially to screen my film in Kolkata, the home city of Satyajit Ray. Experiencing the premiere at Nandan in front of such an engaged audience was truly extraordinary.
What struck me most was the positive response from both the audience and the press, and how deeply the story—a reflection on a minority conflict—resonated with an international audience. It was a very reassuring experience, creatively and in terms of the film’s international potential. International distribution rights are still available, and this recognition has reinforced my belief in the universal power of the story.
8. How was your experience attending KIFF and exploring Kolkata for the first time?
It was my first time in India, and both the festival and my visit to Kolkata were exceptional experiences. Everyone was incredibly welcoming, and there was a deep appreciation for cinema and the arts everywhere I went.
The festival offered a wonderful opportunity to connect with filmmakers from across the world, and especially from India. I made many new friends, and there may even be future collaborations ahead. Exploring Kolkata itself was breathtaking—the city’s energy, cultural richness, and the dynamic interplay between history, the present, and a forward-looking future were truly inspiring.
I was able to visit different parts of the city, each with its own distinct character, making the experience unforgettable. There’s still so much left to discover, and I sincerely hope to return very soon.
9. Fun one—what personal Easter egg would you hide in one of your films?
I’d probably include a small, personal detail—like a favorite book or a subtle reference to my hometown. It would be a quiet secret for attentive viewers, a hidden signature that connects the story to my own life.
Bio:
Michael Kofler is a filmmaker born and raised in South Tyrol in the Italian Alps. After gaining professional experience in television and the music industry, he moved to London, where he earned an MA in Directing for Film & TV. He is also an alumnus of Berlinale Talents, the prestigious talent development programme of the Berlinale.
Michael spent several years working with a leading UK television production company, while his short films and video works have been screened internationally. His screenplay for his debut feature film, ZWEITLAND (A LAND WITHIN), won First Prize at the Racconti Development Competition organised by IDM Film Commission South Tyrol.
The period drama was nominated for the CineCoPro Award for Best International Co-Production at Filmfest Munich 2025. It also competed in the International Competition at the Kolkata International Film Festival 2025, where Michael received nominations for Best Film and Best Director. A LAND WITHIN is set to have its North American Premiere at the Palm Springs International Film Festival 2026.
Interviewed by: Shantanu Singh
Edited by: Shantanu Singh
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