All The Children But One/Director’s Statement

Childhood 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.

We 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)