Slovak filmmakers Andrej Kolenčík and Anna Ďurišíková presented their new documentary Animals of the East, currently in production, at Bratislava Industry Days. The coming-of-age doc set in an animal sanctuary in eastern Slovakia explores, through the eyes of teenagers and rescued farm animals, the interwoven themes of environmental consciousness, social marginalisation and the subtle resistance shown through the act of caring. Kolenčík, who is also the film’s producer, and Ďurišíková talked to Cineuropa about the project after winning this year’s Cineuropa Work in Progress Award (see the news) in the industry strand of Febiofest Bratislava (see the report).

Cineuropa: What inspired you to follow this story, and why focus on teenagers in particular as a primary audience?
Andrej Kolenčík: This age group, roughly 12-16, is still shaping its worldview. We wanted to speak to, and through, this demographic because they’re unusually receptive to social and environmental issues. The film centres on how they relate to animals, particularly farm animals, not as property but as fellow beings. That shift in perception is what drew us in.

Anna Ďurišíková: The sanctuary is in a small village and serves as a refuge, for both animals and people who don’t quite fit into the mainstream. When I first discovered it on social media, I was struck by its atmosphere. It felt like a parallel world: a home built out of care, in defiance of indifference.

So it’s not strictly an “animal rights” film?
AĎ: While the relationship between people and animals is a central thread, we also explore the social realities these kids face. The shelter is home to large animals like cows, pigs and goats, which are not typically seen as pets. And the people caring for them are creating a kind of alternative family structure. It’s a form of resistance, in a place that doesn’t fully understand them.

AK: The film is also about the disconnect between modern life and nature. For many people, food just comes from a shop, so kids lose touch with the fact that it comes from animals. This place reconnects them to the land, to responsibility, to empathy. It’s not preachy; it’s lived experience.

How did you discover this community?
AĎ: I’d been following animal shelters for a while, and one day, I stumbled upon this one; it was completely different. Not just because of the animals, but also the way the people interacted with them. It felt like a quiet revolution in a rural village. They weren’t doing it for attention.

AK: The shelter is sustained almost entirely through public donations, mostly via social media. What’s striking is that donations spike for cats and dogs, but not for cows or horses. It says a lot about the emotional hierarchies we place on animals.

How did you choose the protagonist?
AĎ: We’re following a boy who spends most of his free time at the sanctuary. He’s about to leave for secondary school, and the film traces that transition.

AK: It’s a classic coming-of-age arc, but one that unfolds within this rare setting. We’re shooting through all seasons to capture the slow transformation.

The film’s visuals are quite stylised for a documentary. Where did that come from?
AĎ: It came from the shelter’s own Instagram feed. The kids and Blanka, the young woman who runs the place, they all share these beautiful, warm images. Sunset tones and earthy colours. We didn’t want to impose a visual style; we wanted to reflect theirs.

What does the production timeline look like?
AK: We’re still filming but also editing in parallel. We aim to finish filming by autumn 2025, then move fully into post-production. If everything goes smoothly, we’re aiming for a release in early 2026.

Have you taken the project to any forums or markets yet?
AK: Yes; we’ve presented it at Young Horizons in Poland, where we met producers Selma Munksgaard Hansen and Katrine Dolmer from Danish company Angel Films, who came on board the project recently as co-producers.

AĎ: Angel Films plans to handle the theatrical distribution in Denmark, and in addition to having Slovak Television and Radio on board for the domestic television release, Angel Films will prepare the release on small screens in the Scandinavian territories.

Given the shoot in an animal shelter, were you adhering to specific filmmaking practices?
AĎ: Yes. We’ve been following green production guidelines from the beginning: vegan catering, minimal waste, eco-friendly materials. Andrej even has a certification in sustainable filmmaking.

AK: I participated in workshops given by the Slovak Film Commission, where we helped draft the green filming manual. We’re using natural lighting, avoiding plastic, and carpooling.

Will your distribution strategy be more youth-focused?
AK: We definitely want to screen at documentary festivals with youth sections – there aren’t many docs made for this demographic, so we’re filling a gap. But the film has broader relevance, too. It’s about community, identity and the environment, so it speaks across age groups.

AĎ: We’re also planning impact screenings with discussions. Some might be tied to educational programmes, others to advocacy efforts. We even had a meeting with the Slovak animal ombudsman Zuzana Stanová, and there’s talk about screening the film at the European Parliament.