1. What led you to start a film production business in Copenhagen and how does the city’s culture influence your work?
JOE: I started the production company here in Co- penhagen because I saw a gap between how stories were being told and what stories needed to be told. Denmark is rich in aesthetics and minimalism, sure but emotionally, things are often left unsaid. I’ve always been drawn to the tension between what’s visible and what’s hidden. The city’s culture reserved, structured, yet subtly radical feeds into that. I want- ed to build a space where I could develop visual nar- ratives that feel personal and disruptive at the same time. Copenhagen’s culture pushes you to be inten- tional with every frame, every word. That pressure has shaped my voice.
HELENA: The Danish film industry is relatively small, and unfortunately, that often comes with a certain hierarchy. As a result, projects tend to be greenlit by the same circles of people, who often favour similar themes and narratives. That can limit the diversity of voices and stories that reach the screen, and doesn’t 2. For American readers who might not be familiar with Co - penhagen’s film scene, how would you describe it?
In the heart of Copenhagen, where cobblestone streets meet Nordic minimal- ism and cinematic light floods every corner, two filmmakers are blending art, production, and storytelling into something truly unique. Partners in life and in film, Joseph and Helena Palau created a production company “Through the Eye Productions” and are carving out their own creative path— one frame at a time. In this Q&A, we sit down with the duo to talk about what it’s like to collaborate both on set and off, how partnership and Copenhagen inspires their work, and the beautiful chaos of moviemaking.
JOE: Copenhagen’s film scene is smaller than the U.S., but that can be a strength. It’s focused, tight-knit, and deeply invested in craft. You’ll find a lot of strong auteurs and a respect for nuance and quiet drama. At the same time, it can feel very homoge- nous. There’s a certain look, a certain tone that dominates. So if you’re doing something that steps outside that norm if your stories are loud, multicultural, or politically direct it can feel like you’re swimming upstream. But for me, that’s motivating.
HELENA: As mentioned, it’s a rela- tively small industry. The budgets here are a fraction of what a film budget in the states look like, and therefor the films that are being made is often cut to the bone, very character driven, indie kind of feel. I really appreciate that, as the films being made are told from the film- maker alone. At the same time, I do think the industry can feel a bit stuck in time, and at times lacking in ambition. We’re living in an era where technology allows low-bud- get films to be bolder, both visually and narratively.
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