Sisterly Love and Death: ‘How to Kill Your Sister’ – A Dark Comedy-Drama Canneseries Entry

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Canneseries entry “How to Kill Your Sister” takes on “The Big C.”

In one of three titles presented by Banijay Entertainment at Canneseries, a Belgian-German series titled “Anna” (played by Emma Rotsaert), who has been absent for eight years following their parents’ demise, appears at Kat’s (Marjan De Schutter) doorstep. Anna, who is terminally ill, has a coffin on her car’s roof and requests that Kat accompany her on a journey to Spain, where Anna intends to end her life according to her own wishes.

Director Jonas Geirnaert acknowledges that we were treading on delicate ground. He states that it’s inappropriate to make light of such a severe illness for entertainment purposes,” says Jonas Geirnaert, who collaborated with Evelien Broekaert and Pedro Elias on the show’s script.

This series, titled “Maxiima,” was created by FBO and MadeFor Film, a part of Banijay’s German scripted division. It is aired on several platforms, including Belgium’s Play and Streamz, as well as ZDFneo, a youth-oriented channel from the German public broadcaster ZDF.

Regrettably, many people, including our team members, have been impacted by cancer either directly or indirectly. Once considered a taboo topic, it’s comforting to see that we can now discuss it more openly and even find humor in it, while maintaining respect. In the past, my grandfather passed away from cancer in the 1970s, and it was often referred to as a ‘disease.’ Cancer was seen as a grave affliction. It’s heartening that we can now discuss it more freely and even find moments of levity. If someone is battling cancer, it doesn’t mean they should be deprived of joy or laughter. Let’s keep the conversation going about this important issue instead of shying away from it.

Luckily, on a road trip all you can do is listen to old mixtapes and talk. 

We aimed to avoid making this story center around death or illness, as it’s a significant aspect, but since it’s a journey by road, there’s ample space for excitement. That’s one of the things I adore about road trips – their unpredictability. As you’re all traveling together in the same vehicle, conversations are bound to happen.

As they progress, the sisters will encounter an assortment of peculiar individuals. Ranging from a would-be thief to a terrifying Dutch duo who prove to be unnecessary distractions for them – “They’re a significant hassle that the sisters can’t afford at this moment” – and a despairing Frenchman.

Geirnaert explains that the central topic in this particular episode revolves around feelings of wanting to live and wanting to die. He finds it a powerful narrative, despite its brief duration within the series. Upon joining the project, he expressed his desire not to simply treat it as a comedy show. If we were to focus solely on humor, it would undermine the emotional depth and tragic elements present in the relationship between the sisters.

I was hoping for a show that offered both intense humor and deep emotion, all rolled into one. Some might say I’m idealistic, but I have faith in the inherent goodness within people. I believe that when they act poorly, it’s often not due to innate wickedness, but rather a result of their past experiences or imperfect upbringing. It’s more engaging to depict complex characters with significant flaws instead of extreme ones. Watching them struggle and triumph stirs a desire within us to root for them.

Reminiscing about the journey evokes memories of when they traveled with their parents, who harbored dreams of launching a Spanish bed and breakfast.

He notes that they are an exceptionally attractive yet somewhat eccentric, troubled family. Occasionally, I believe it’s quite uplifting to portray a family who simply care for one another, without the constant turmoil in each instance,” he expresses.

But many things are still left unsaid. What happened to their parents? Why did Kat disappear?

Geirnaart acknowledges that mystery is a key factor that hooks viewers to a story. He subtly seeds certain elements in the early episodes, building up to a dramatic resolution. However, he appreciates the concept that audiences can engage in their own thought processes beforehand,” says Geirnaart.

We enjoyed significant creative liberty while producing this show, and it proved successful. I fervently wish for an ongoing future where both in Belgium and globally, there will be room for distinctive series that aren’t mere imitations. In recent times, Belgium has thrived creatively. We’ve been able to establish our own unique style.

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2025-04-25 09:18