Sustaining An Ongoing Commitment to Justice, Equity, Diversity and Inclusion Through Active Collaboration - Imaginable Futures fireside chat

On June 28th, 2023, I (Mildred Achoch) attended a virtual fireside chat titled “Sustaining An Ongoing Commitment to Justice, Equity, Diversity and Inclusion Through Active Collaboration” organized by Imaginable Futures. At the end of this very insightful and educational session, I asked a question related to mental health and activism (minute 46:20). Imaginable Futures summarized the panelists answers at the end of their post about the event. You can read their responses HERE and watch the entire session HERE.

"Show me your budget and I'll show you what you value." (Minute 45:54)

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 3)

ROFFEKE: In part 2 of the interview, you said: “…something often overlooked in creative processes is that experimenting with mistakes often leads to entirely new ideas, possibly even the best ones!” Please share any examples either from “The Heaviest Order” or any other creative work of yours where mistakes took you in new and interesting directions.

PETER Böving: In my first "life," I was a musician – 25 years on live stages and in a constant process of learning. There, I recognized the approach of "Error as Opportunity" and quickly cultivated it. Whenever tonally thrown off track while improvising, I noted that mistake – or, more sympathetically, the blue note – in the corresponding context and firmly integrated it into the further arrangement from that moment on. Ideally, one then weaves unpredictable turns in their improvisation on these detours. The crucial aspect is to "sell" what one is playing outwardly and always know where the emergency exit is, if in doubt... In filmmaking, I experience these moments much less frequently. A surefire way to create surprising moments is to "overlay" music or sounds onto one's films, ones that one would never have thought could fit together or complement each other. Approaching such a process openly ensures that one can certainly hear where a "match" can occur.

 

ROFFEKE: In part 2 of the interview, you also mentioned that your parental home influenced you to prevent food waste. In what ways did your parental home influence you in terms of creativity and the arts?

PETER: In addition to a few obligations, I was allowed to be a child. I would say that I played disproportionately much – often with things that were not necessarily age-appropriate. I essentially disappeared for years. Once, when my parents went on a summer vacation with my brothers, I chose to stay alone with my grandmother. During that period, I built ancient Rome from Kellogg's Cornflakes packages. When my family returned after weeks of relaxation, my fingers were sore, I was chalk-white with a happy face, and most importantly: Rome was completed!

ROFFEKE: “The Heaviest Order” has been featured in many film festivals all over the world. What advice would you give regarding making a film’s festival circuit successful?

PETER: This is something that probably few filmmakers are truly deeply involved in. My films also vary too much for me to create a guide to success.

A good idea or story, combined with originality and unique features, in my opinion, form a solid foundation for a film to gain attention at festivals. Impressive visuals and witty dialogues can also contribute, but in my opinion, they only bring something when the first point is fulfilled as well. Festival short films are, in any case, the ideal playground to experiment. Courage is often rewarded in the festival scene more than one might assume. Even if things don't go well at festivals, at least there is enjoyment in the production process.

What has personally helped me often: In addition to festival regulations, I also review photos from past screenings. If the atmosphere appeals to me and I feel I would enjoy being a guest there, it serves as a deciding factor for me to submit my work.

 

ROFFEKE: In “The Heaviest Order” there is a scene where the words “Something not right in Denmark” appear. I searched Denmark and food waste and came across a 2017 BBC article which said: “Around 29,000 tonnes of bread and cakes are discarded every year in Denmark, mainly because it is sold in portions larger than people need….” The article also says: “Yet Denmark now has more initiatives tackling food waste than any other country in the world.” It seems Denmark is tackling the food waste problem, so I’m curious, what were you referring to in that scene? :-)

PETER: "Something is rotten in the state of Denmark" is just a saying originating from William Shakespeare's play "Hamlet." In Germany, it is often used to point out discrepancies, corruption, or general issues in a situation. In reality, it doesn't have much to do with the "present-day" Denmark. On the contrary, the Scandinavian countries are always one step ahead of other European states in terms of environmental protection, quality of life, innovation, and technology. So, dear Danes: No hard feelings, but you are also a bit to blame. This example vividly illustrates that not only does the internet not forget...

 

(The BBC article is "The country where unwanted food is selling out" by Prathap Nair, 24th January 2017. Look out for part 4 of the interview. You can read part 1 HERE and part 2 HERE)

 

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 2)

ROFFEKE: There are new artificial intelligence tools that, with a prompt, someone can create animated music videos or short films within minutes. What are your views on artificial intelligence? As a stop motion animator, what are the ways you see artificial intelligence being of use? What would you never use artificial intelligence for when it comes to animation?

PETER Böving: My sense is that AI will play a significant role in the creation of computer-generated animations. It seems like there won't be a stone left unturned. I can't elaborate much further as I have given my heart to the analog approach. The greatest strength of stop-motion animation lies in its analog nature, allowing one to potentially smell the materials and adhesives used in a film. Naturally, AI is gradually finding its way into my film and audio software without me actively installing anything.
However, something often overlooked in creative processes is that experimenting with mistakes often leads to entirely new ideas, possibly even the best ones! This only works when one has previously tinkered with the controls oneself. AI works largely flawlessly and doesn't reveal any vulnerabilities. But there are aspects of AI that I already wouldn't want to do without: the potential in the area of image scaling and restoration.

I will consciously keep artificial intelligence away from sound and music production, though. The evolution in this field has taken peculiar turns even before the era of AI: Instruments are being played live less and less, and arranging is often done using modular systems. However, in music, my observation is that it's not as easy to deceive as in the film medium. Those who merely 'claim' or hide behind 'effects' will be exposed much quicker by the human ear!

 

ROFFEKE: What are you doing in your own life to prevent wasting your food?

 

PETER: The whole program, I think: Planned shopping, making use of leftovers, proper storage, and minimizing waste or composting. However, I also know no other way: My parental home has greatly influenced me in this regard. We threw out little, whether it was money or food. Despite having the financial means, at our home, recycling came first before considering buying something new (of course, food was not recycled:). Probably, the post-war years, which strongly influenced my parents, still play a role here.

What I have newly discovered for myself, though, is the 'regrowth' of vegetable scraps. In our kitchen, there are little water glasses in every corner where leeks or vegetable onions grow again. That a harvested plant sprouts again is almost a miracle! After 4 weeks, there are fully grown, harvestable plants in the glasses again. Anyone who has ever grown leeks in their garden would have reason to doubt now. After 4 weeks, not much has happened in the home garden bed with a young plant, to be honest.

 

(Look out for part 3 of the interview. You can read part 1 of the interview HERE) 

Interview: Peter Böving - Writer, Director, Producer of The Heaviest Order (Part 1)

ROFFEKE: Stop-motion animation takes a lot of time. How long did it take you to create "The Heaviest Order" and what challenges did you face?

PETER Böving: My biggest challenge is always the same: the start of shooting! After spending weeks on set design and characters, a large, imaginary wall builds up. Instead of being happy to finally get started, it always takes a bit of time before I really get going. Perhaps this is because stop-motion animation is like a live performance with a big unknown. However, once I've started, I usually stick with it – at least 28 days a week, continuously. It took 8 months for this film. However, I switch between tasks during that time: lighting, sound, editing, music, VFX – more or less in a bio-rhythmic manner. When one activity tires me out, I switch to another that challenges me on a different level. As long as I don't get sick, I usually maintain this 12-hour workload for months. But if I do interrupt the work, I run the risk of bringing the aforementioned problem into the studio: the start of shooting!

ROFFEKE: You have managed to creatively bring to light the serious topic of food waste, a topic that many people are either not aware of or are not interested in tackling. What advice would you give creatives who want to use their art to talk about serious societal issues?

PETER: I'm not sure if I'm in a position to give advice on this. Honestly, I'm just relieved every time I come up with a trick to present the respective subject in a creative way. Overall, the challenge might be to find a balance between a humorous story and infotainment to make an environmental film work. A personal dramaturgical touch is to keep the audience in the dark about my intentions for as long as possible.

In my current film, I admittedly went a bit overboard. The punchline would have worked even if the film had been only half as long, as originally planned in the script. However, during production, I found joy in 'stretching' the story. An example of this is a scene in the film where one of the over-the-top protagonists gets the idea to drill a tunnel in a giant cake to run his model train through. This was not in the script; during filming, this absurd turn of events seemed inevitable to me. After all, I practically 'lived' in the set and understood the perspective of my protagonists a bit better every day.

This is both the blessing and curse of productions where one person does everything. The desk-bound planner becomes an activist, creating space for adjustments while risking getting hopelessly bogged down. In the end, I stopped pushing it further simply because I didn't want to exceed a runtime of 10 minutes. As a rule of thumb, films longer than 10 minutes are a criterion for exclusion at many festivals.

ROFFEKE: Speaking of food, what are your thoughts on the ongoing German farmers strike?

PETER: A highly charged topic: I fully agree with the farmers and their demands. However, I believe that there are also many other issues being unleashed right now, issues that have been building up over decades. On the other hand, I'd like to point out that currently, we have an Agriculture Minister who is about as good as it gets. I hope that this realization will permeate the broader public. (As we know, it took a while even for our former Chancellor Schmidt to be recognized.)

(Look out for Part 2 of the interview with Peter Böving)

Of "African" Products and "Mzungu" Music

In an entrepreneurship forum I recently attended, one participant was quite vocal about the need for entrepreneurs to provide African goods and services. This brings up the question I always ask myself whenever I come across concepts such as “Kenyan film” or “Kenyan story” or “buy Kenyan”.

Are Kenyan or African goods and services those created and sold by Kenyans/Africans or are they only those that are uniquely Kenyan or African? Is an African entrepreneur who deals with smartphones made in China, providing African goods and services? Does the foreign nature of the goods/services he provides disqualify him from being categorized as an African entrepreneur? What about an African agri-entrepreneur who deals with genetically modified seeds? What about an African pharmacist who largely sells products created outside of Africa?

What about the European, American and Arab slave traders who were dealing with African “goods”? Were they African entrepreneurs?

African slaves were exchanged for foreign goods:

Trade Relations among European and African Nations.

The business of barter on the pre-colonial Gold Coast.

What about rock ‘n’ roll, whose roots can be traced to the slave trade mentioned above? Is rock ‘n’ roll an African product? Is rock ‘n’ roll made by an African still “mzungu” music? 

(Written by Mildred Achoch.)

Coda: "Jean-Baptiste Say pointed out in his own writings that it was entrepreneurs who sought out inefficient uses of resources and capital and moved them into more productive, higher yield areas. Simply put, entrepreneurs seek opportunities for profit and, by doing so, create new markets and fresh opportunities. By constantly disrupting the balance of competition, entrepreneurs prevent monopolies from forming and create a wide diversity of products that keep consumers consuming and producers producing."Source: Who Coined the Term 'Entrepreneur'? by Andrew Beattie. 

ROFFEKE and LTMHK WORLD SUICIDE PREVENTION DAY event - Programme

PROGRAMME

5:00-5:30 Registration, Refreshments, Entertainment (Entertainment by DJ Hueskillz).

5:30-5:35 Introduction/Welcoming Remarks by Mildred Achoch (Founder, ROFFEKE)

5:35-5:45 Speaker Session: "Emotional pain fuels suicide" by James Kinyala Nyiva (Actor and filmmaker)

5:45-5:55 Short Film/Music video Screenings
Wonton Raptor directed by Robert David Duncan
Contagious directed by Neil Haeems and Raviv Haeems
Broken Lullaby directed by Stella Rosen and Bill McGarvey

5.55-6:00 Spoken Word Session by Jefferson Kinuthia (Filmmaker and poet)
A girl commits suicide. Her ghost discovers people’s opinions of the suicide.

6.00-6:05 Speaker Session: "Environ-Mental Health" by Emma Ochieng (Founder of “Towards a better earth” initiative)

6.05-6:10 Speaker Session:
Why are suicide cases on the rise among youth?
What are the leading reasons for this increase in suicide cases?
Mitigation?

by Kelvin Mabonga (Founder, Mabbo Creative Ltd, creative director of WATTS-UP magazine)

6.10-6:15 Speaker Session: EMT Experiences by Jacktone Tamba

6.15-6:20 Speaker Session: "Reaching out: Being a friend no matter what"
Mary Kiio, director of Roshani Consultancy Services (Roshani CS) will speak on the impact losing a friend to suicide had on her and what she is doing in her own small way to reach out to others so that no other friend is a suicide statistic. Mary Kiio

6:20-6:40 Short Film Screening
Nevermind directed by Jean-Marc E. Roy
Tap directed by Joseph Ochieng

6:40-6:50 Speaker Session: "Psychological reprieve approach to minimize suicide" by Dr. Shevvy Mugweru (A and E psychiatry/EMT)

6:50-6:59 Short Film Screening
PHAT Girl performed and directed by One Single Rose aka Rosemarie Wilson (Filmmaker/Poet)

7:00-7:25 Panel Session followed by Q and A

7:25-7:30 Vote of Thanks, Speed Networking, Guest leave

Register HERE

Review: Sustainable Futures, Survivor Girls

ROFFEKE is honoured to welcome Rahma Rashid as a new intern. She graduated from Egerton University with a Bsc in Natural Resources Management. Rahma's personal statement can be read after her first ROFFEKE review below.

Director: Nicole Watson
Duration: 8 minutes 44 seconds
Location: Kolkata, India.
Reviewer: Rahma Rashid

Sustainable Futures, Survivor Girls is an inspiring story of hope and resilience, directed by Nicole Watson. It focuses on the issue of human trafficking and the contribution that people can make in societal matters.

India is a heavily populated country with not enough consideration on SDG 10 which focuses on equality. Economic status, caste, color etc... inequality in India - just like in many other countries - is a major issue. For a society existing within strong cultural morals, it is indeed a shame that man uses this as an opportunity to sexually exploit the girl child. The most painful bit is that this is done to a minor, using what would seem to be very 'righteous courses'. An 8 year old who has not even attained puberty! It angers me as much as it makes my heart weep.

In Nicole's short documentary, we also get to see how a centre like Sanlaap, commendably contributes to the rehabilitation of these girls and SDG 16. In a world where praise and support is granted to unworthy politicians, people do need to get their priorities straight and show support where it's due.

The film talks about the use of solar power as a form of renewable energy and its advantages, like it's facilitation in the accessibility of clean water, thereby contributing to both SDG 6 and 7. At a time when the world is mourning the loss of the Amazon Forest, it's a good assurance that people are paying attention to the environment. And hey, for anyone who didn't get the science behind the working of solar panels, this is your chance! A briefing of the same is made in the film! You are welcome.

All in all, it is amazing to learn that good still exists in this world. For women like Nicole, Sindhura, Indrani and Priyanka, we learn that aid comes from a single soul. It starts from the little input one gives. Let's not be ignorant of our surroundings. Just like the Survivor Girls, no situation is permanent, we all need a stretched out hand to give us hope where there is none.

***

RAHMA RASHID'S PERSONAL STATEMENT

Rahma is a result oriented female interested and ready to transfer her academic knowledge and professional experience into a challenging work setting while contributing to her own personal growth. She has a background in Natural Resource Management that makes her better understand the principle of sustainability to achieve the set sustainable development goals.

Reviews: The Riveters by Kate Felix

On 13th and 14th May and 20th and 21st May, I was privileged to conduct a Basics of Screenwriting Masterclass at Talanta Institute. On the 13th, we covered Differences between screenwriting and other types of creative writing, types of protagonists, types of antagonists, the logline and S.M.A.R.T goals. We went through the students’ loglines and critiqued them.

On the 14th, we begun by watching #ROFFEKEOFFICIALSELECTION2018 “The Riveters”, which was written and directed by Kate Felix.

"Fed up with her 'lame duck' status, The Upstart decides to face The Patriarch in a 1940's feminist throw-down"

DIRECTOR STATEMENT

"We have created this film to explore the barriers, historic and contemporary, to women making films. It was written, produced, and edited by an all-woman crew. All women, only women, start to finish (with the exception of the two male actors!). With it' s short run time and powerful, unapologetic message, this film would be an ideal piece to introduce or conclude a shorts program.

This is the Director/Screenwriter's first film. She is a mother of 3 with another full time job who still somehow manages to get awesome ideas on to the screen. All of the women in this production collaborated both in and outside of their traditional professional roles to make this program a success. This film is a testament to what women can do when they give themselves permission to go out and kick ass."

We used "The Riveters" to recap what we had learned on Day 1. I later asked the students five questions related to the short film. Below are some of their answers:

1.What did you like about the short film?

It was short and precise, straight to the point.
- Edminah Kanana M.

It was Clear and precise ,the protagonist, antagonist and goal was clearly brought out.
- Fredrick Kimani.

It was brief and to the point.
- Moses a.ka. Pinto.

I liked the short film on how they managed to tell the story in less than two minutes.
- Denzon Mau.

There is the protagonist, antagonist and one is able to know the goal because it's clear.
- Carol Kanyora.


2.What didn't you like about the short film?

They did not show us what next, what she planned to do when her proposal was rejected.
- Edminah Kanana M.

The suspense it left me with.
- Moses a.k.a Pinto.

I didn't like how the film ended. If one is not keen enough he/she may not know the protagonist’s final decision.
- Denzon Mau.

I didn't get know if she became a filmmaker.
-Fredrick Kimani.

Nothing. To me it's perfect.
- Carol Kanyora.


3.What does this short film remind you of?

The film reminds me some of the challenges that some film makers go through because not everyone especially the parents appreciate film as a career.
- Denzon Mau.

The day I told my parents that I wanted to engage myself in acting, out of the love I had for it. I wanted to be the next Natalie Portman (world famous actress) but they wanted me to be an engineer. It was a hectic time to convince them.
- Carol Kanyora.

My friend whose parents chose an engineering course for her, and that was not her passion. She did the course and took the certificate to them. She started hustling to help herself study for art and design.
- Edminah Kanana M.

There must be a protagonist,antagonist and a goal.
- Fredrick Kimani.

The lecturer on Act 1
- Moses a.k.a Pinto.

4. On a scale of 1 to 10, with 1 being very poor and 10 being excellent, how would you rate this film?

8/10...very good.
- Edminah.

On a scale of 1 to 10 I give it 5 because it was fair
- Denzon.

A 9
- Fredrick Kimani.

5
- Carol.

8
- Moses a.k.a Pinto

5. Any other thoughts you would like to add about the short film?

They should at least have shown us what they were going to do next now that the man had refused.
- Denzon Mau

Even though we can predict through her smile what will happen next,they should have shown us what happened maybe.
- Carol Kanyora

Act in 21st century style, to make it more attractive, capture attention.
- Edminah Kanana M.

It was interesting.
- Fredrick Kimani.

I enjoyed it.
- Moses a.k.a Pinto

'The Riveters' touches on SDG 5

Interview: Alec Herron - Producer of "The Music Stops Here"

ROFFEKE: What lessons did you learn from carrying out the Kickstarter campaign for "The music stops here"?

Alec: I learned to allow people to buy into the project, rather than just donate money. By this, I mean we hosted events where donors and potential donors could see the work in progress, feeling a part of an ongoing project that they could see and help progress and be a part of. It's also important to keep the donors updated on your progress, not just take the money and say 'thanks, cya'. You have to remember that were it not for their kind donations, your film wouldn't be going beyond your laptop screen.

ROFFEKE: In the BBC radio Manchester interview, you admitted that you were "losing money" because of this project. What priceless things have you gained from making this documentary?

Alec: This is our first documentary, both for myself and (Director) Adam Farkas. Technically we learned a lot about film-making and production, though this is quite obvious, I guess. From the Star and Garter I learned that culture means much more than anything else in this city. Manchester is a passionate city and at the heart of that passion are two things: football and music. I gained an even greater love for my city and for the people that make it so special; the unique characters, the creatives, the down-to-earth spirits and most of all, the people who keep enjoying the city's nightlife and don't give up on the music.

ROFFEKE: Which scenes would you have loved to be included in the final cut of the documentary?
Alec: There is a scene about the 'Smile' indie disco, which many will claim is the longest running indie disco in the city that, essentially, can claim to have invented indie rock. We just couldn't fit this into the shorter version of The Music Stops Here, but we will look to include this in a later form. There are also some great scenes which go into the local political situation that has led to the due closure of The Star and Garter, which add real depth, but might be a bit too overwhelming for a casual non-Manchester viewer.

ROFFEKE: If the "soul" of the Star and Garter could speak, what do you think it would say?

Alec: "Turn it down!"

ROFFEKE: Advice for aspiring documentary producers?

Alec: Just pick up the camera, find the right story and go for it. Don't worry so much about the technical side. People will forgive some dodgy camera angles or sound glitch, but they won't forgive a boring story. Also, when people say "No" to speaking on camera, try again another couple of times. Some of the best interviews you'll do are with initially very reluctant subjects. Equally, some of the worst interviews will be with people who have too much to say!

(Like Placebo:Alt. Russia, The Music Stops Here touches on SDG 11 and SDG 16: "Make cities and human settlements inclusive, safe, resilient and sustainable" and "Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels." Under SDG 11, target 11.4 stands out: "Strengthen efforts to protect and safeguard the world's cultural and natural heritage.")

Review: The World is Dancing

The World is Dancing
Director: Stefano Bertelli
Producer: Ekat Bort (Artist)
Duration:3mins 53 secs
Country of Origin: Italy
Reviewer: Josephine Koima

Since ROFFEKE has been exploring Films with Sustainable Development Goals’ related themes, this song by Ekat Bort reflects SDG 2: Zero Hunger.Ekat describes her music as ‘explosively sensual'.She displays energy and vigour not only in her video but also in her sound.

This lively video is in a desert setting. The elements of dried up trees, rocky terrain, somewhat desolate environment speaks volumes of what the song is about. She highlights the needs of children in the world, who despite their hunger and crushed dreams, they still manage to find little meaningful happiness in play, laughter and dance. They are innocent and full of hope. We see that through the projections of videos of children on buildings, even though the houses and streets seem deserted.

The lyrics say so much of what should be done to help ‘A lot of children… Live without care,love. They must grow up too fast...We’re tired…we’re hungry, but we’re still dancing. Together we have hope and don`t forget to smile’

You will probably want to watch it more than once, as I did, if you feel that everything’s going too fast. And if you usually like to draw fine distinctions, the video will definitely captivate you, from the drumbeat sounds, to the dancing, to the costumes.

Interview: "Elemento" director Nina Paola Marin Diaz (Colombia)

Synopsis:

El hombre y el agua un solo elemento./Man and water one element.

ROFFEKE: What inspired you to make this short film?
NINA: The decrease in the flow of a large river in Colombia, which had enough water and in a summer time, practically dried up and remained a thread of water, that inspired me to make the short film and environmental reflection
ROFFEKE: What challenges did you face in the making of "Elemento"?
NINA: Make cinema from an environmental reflection and try to give every moment voice to the water.
ROFFEKE: What was the best part of directing this movie?
NINA: Sensitize me with the environmental theme, understand that we are part of the environment and above all we are who can transform things in a positive or negative.
ROFFEKE: What was the worst part of directing this movie?
NINA: None, everything was a joy, a delight, was a personal challenge.

SDG 6: CLEAN WATER & SANITATION
Ensure availability and sustainable management of water and sanitation for all

Rockumentary - Placebo:Alt Russia

When I watched Placebo:Alt Russia, I wasn't that surprised to see how passionate Russians are about rock music. According to the analytics, this ROFFEKE blog is mostly viewed by Americans. Russians come in second and Kenyans take third place. Rish, a Kenyan female rocker told me that her songs are mostly downloaded by Russians. A member of Kenyan metalcore band Last Year' Tragedy gave me similar statistics.

What I love about Placebo:Alt Russia is that it is very human, meaning that anyone from any country (Every You Every Me :-) - and especially the creatives - will relate to the sentiments expressed throughout this rockumentary. Rock 'n' roll is just the backdrop, the framework on which various issues are hang upon: censorship, architecture, guerrilla art, politics, crowdfunding, tradition versus modern, cultural exchange, religion, photography, artistic activism....

This year, ROFFEKE will be highlighting the Sustainable Development Goals (SDGs). Placebo: Alt Russia touches on SDG 11 and SDG 16: "Make cities and human settlements inclusive, safe, resilient and sustainable" and "Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels." Under SDG 11, target 11.4 stands out: "Strengthen efforts to protect and safeguard the world's cultural and natural heritage."

Documentaries are a great way of making people aware of the natural and cultural heritage that is in danger of being made to disappear. In Placebo: Alt Russia we learn of historical buildings in danger of being demolished and two very punk artists who are doing their part to creatively document these buildings for future generations.

I dare say that this fascinating film can be summarized by the three F's in the ROFFEKE motto: Friendship.Fun. Freedom.