Rosanne Pel received her master’s degree at the Netherlands Film Academy. She directed the award-winning short films “Ult Zicht,” “Newroz,” and “Heraut.” “Light as Feathers” is her feature film debut.

“Light as Feathers” will begin screening at the 2018 Toronto International Film Festival on September 9.

W&H: Describe the film for us in your own words.

RP: “Light as Feathers” is set in a Polish community surrounded by farms. The film tells the story of Eryk, a boy who we follow from his time as a teenager through adulthood. He lives with his mother and grandmother — both of whom are strong and dominant women — in one house. The boy is stuck in a codependent relationship with his mother.

Eryk develops feelings for his neighbor Klaudia, who is two years younger than him. He treats her with both tenderness and brutality, as he doesn’t recognize the line between affection and abuse.

The story is fictional but all of the actors are first-time actors who play versions of themselves. There are many scenes from the film which were actually happening while we were shooting. Real life’s intervention with the film led to some unexpected moments.

W&H: What drew you to this story?

RP: Most films represent sexual violence as blind rage coming out of nowhere, leaving the spectator without any way of understanding what has happened. This conventional form of representation often seen through the eyes of the victim is connected to the notion of sexual abuse as an excessive and exceptional act of violence. But unfortunately, sexual abuse is not exceptional. Instead, it is a very common phenomenon often taking place over longer periods of time and resurfacing. It is its ordinary character which makes it so shocking.

Because of this, I think it’s important to understand the conditions which lead to certain acts. I don’t approve of the harmful behaviors of the main character. What interests me is not the violence in itself, but the circumstances that lead people to inflict harm upon others.

W&H: What do you want people to think about when they are leaving the theater?

RP: I hope that people will be startled for a moment, questioning what to think or feel. We often make such quickly formed opinions. But I think sometimes, something is more complex, and we need a bit of time to think and settle our feelings.

W&H: What was the biggest challenge in making the film?

RP: It was a challenge to find a way of shooting which could work for everyone on the project. What we did was very different from conventional shooting methods.

We had a very small crew and cast, and each day consisted of lots of training and talking, with only three or four hours of shooting. We shot on 16mm film and only did one or two takes each. When a scene didn’t work, we would change it. There was a very high level of concentration.

On top of this, I worked with producer Floor Onrust, who was highly engaging and supportive. It was one of the smoothest films I have ever made.

W&H: How did you get your film funded? Share some insights into how you got the film made.

RP: I made the first part of the film as a tryout during my master’s studies at the Film Academy in Amsterdam. Floor was part of the exam committee at the time and took on the project after I graduated.

Due to the success of the first part of the film, we were able to make a proposal to continue the film with the Film Foundation in the Netherlands. The film fit into a program they had for young Dutch filmmakers to encourage more experimental methods of shooting and exploring cinema. I think it’s absolutely fantastic that we have this kind of support in the Netherlands.

W&H: What inspired you to become a filmmaker?

RP: I have dyslexia. As a child, it helped me to form very strong associations with images. I gravitated toward film from a young age, and my parents encouraged me.

W&H: What’s the best and worst advice you’ve received?

RP: The best advice came from my teachers during my master’s program at the Film Academy. I was doubtful and scared to go to Poland to set up “Light as Feathers” by myself and didn’t know anyone when I started. My teachers gave me a little push and told me that if I failed, it would be a fantastic learning experience anyway. With this permission to fail, I had the approval to go beyond what I thought I could do.

W&H: What advice do you have for other female directors?

RP: I think it’s important to surround yourself with a handful of people whose opinions you trust who are able to be critical. When they give you advice, listen. This works very well for me.

W&H: Name your favorite woman-directed film and why.

“35 Shots of Rum” by Claire Denis. It’s rare that a film is so tender and gives so much space to let its characters slip into your heart. Nothing obvious or dramatic happens in this film, but the film is full of drama because it shows dazzling human relationships.