Paolo Piangino is a quiet adult man who lives alone with his cat and loves to cry, because his tears are his happiness. When he feels sad, tears comfort him, when he is happy, his tears give him even more joy. One day people in his town are amazed to find that flowers grow out of Paolo’s tears and thanks to his tears Paolo becomes famous. All his compatriots from the town are excited, they all invite him to visit, hoping for some lucky tears from him.
But Paolo is soon fed up with all that hustle and bustle. Secretely he steals away and all that is left after him are several flowers. The people in the town, saddened by his departure, cry bitter tears for him. Who knows, maybe one day even their tears will grow into flowers.
Director –Thorsten Droessler, Manuel Schroeder
DOP – Jaroslav Fišer
Animation – Anja Kofmel
Producers – FilmVermoegen (Grit Wiskirchen, DE), MotionWorks – Markus Kark (DE), Dschoint Ventschr Filmproduktions – Sereina Gabatuler (CH), MAUR film – Martin Vandas (CZ)
Estimated length – 10 min.
Estimated release – 2022
Financially supported by the Czech Film Fund.
| DIRECTORS‘ NOTES
| Boys don‘t cry, or else they‘ll never become a real man – or so conventional wisdom would have it. But Paolo has become a man: a man who loves books and music be- cause they so beautifully move him to tears. And wherever his tears fall to the ground, lovely red flowers grow. The townspeople go wild. They all want some of the flowers. Against his will, Paolo becomes a hero. But he manages to consistently evade the attention.
This story touches me deeply. And I am convinced that not only children will understand it and that it will give them courage to show their feelings. Because crying is liberating: it not only expresses pain, sadness and weakness – it can also express happiness, like it does in Paolo.
— Thorsten Drößler
| When I spoke to Thorsten Drössler about PAOLOS GLÜCK at the end of 2020, I was immediately hooked.
The story is [literally!] wondrous, an insight into feelings and emotions that we rarely dare express in our stressful everyday lives.
Realized as a loving stop-motion film, it was a dream and an opportunity for me and ultimately led to my first directing job.
— Manuel Schroeder