Co-writer and director Samuel Flückiger’s UNSER KIND is a heart-wrenching story based on the fate of numerous Swiss couples struggling with infertility. We follow a couple in a desperate pursuit of a child who are undergoing surrogacy abroad. When they find out the foetus has irreversible complications, they are left with a tough decision to make. Surrogacy has been illegal in Switzerland since 2001. This taboo breaking story is a source of hope for men and women going through their own infertility journey.
We spoke to Samuel to find out more…
UNSER KIND has already achieved high critical acclaim. How has the recognition impacted you and the film?
I’m grateful for the response we’ve had for our film UNSER KIND and humbled by the positive reviews and feedback we’ve received. It’s deeply rewarding to know that our film evokes such a strong emotional reaction from viewers. The film succeeds in encouraging the audience to think about the underlying topics of our story – surrogacy in particular – long after the viewing. Ultimately, this was our goal: to create a compelling piece of cinema that prompts viewers to reflect on what the characters are going through and to ask themselves, “How would I act in this situation?”
What do these achievements mean to you personally and professionally?
Making a film is often a long and strenuous journey, with many ups and downs, and UNSER KIND was no exception. Completing such a journey is incredibly rewarding, both personally and professionally. I’m very proud of our cast and crew and of what we’ve achieved together through our collaboration.
At the same time, it’s such a rare occasion when a film not only gets made but also finds a global audience. I’m very thankful to our producers Nadine Lüchinger and Flavio Gerber, and of course the festivals and broadcasters who selected our film, as they’ve provided us with numerous opportunities to connect with audiences and have important conversations about the story we’re telling.
What has been the most surprising feedback you have gotten from audiences?
Before we finished editing the film, we held two test screenings to assess the film’s reception. This was an incredibly helpful step in post-production, and I would highly recommend it to anyone currently editing their film.
During the first of these test screenings, one audience member suggested that we include a trigger warning at the start of the film to alert viewers that it tells an emotionally challenging story. I admittedly was quite surprised and humbled by this feedback. It reminded me that, as filmmakers, we bear a significant responsibility when telling a story like this, as its themes are grounded in a social reality that affects and connects many people.
How does UNSER KIND being so highly recognised affect the visibility of difficult topics like infertility and surrogacy?
I do hope that the recognition our film has received will increase the visibility of topics like infertility and surrogacy, especially in Western countries like Switzerland, where surrogacy has been prohibited for over two decades, forcing couples to travel abroad to pursue their dream of having a family.
Frankly, our film is meant to spark a constructive and healthy debate about these topics, which are often highly stigmatized. In that sense, every bit of recognition helps us in the effort to break social taboos.
What kind of conversations do you hope UNSER KIND sparks?
I hope our film sparks conversations about the ethical, social, and economic complexities of commercial surrogacy. Personally, I believe that any couple should be able to pursue their dream of having a family through surrogacy, as long as the surrogate, the intended parents, and the child are firmly protected from exploitation and their human rights are fully upheld. Yes, achieving this is easier said than done and quite complex, but I believe it’s problematic to avoid the effort and simply outsource the issue to other countries.
Are there any particular messages you hope the Swiss government or public take away from this short film?
Considering the fact that infertility and unwanted childlessness are increasing phenomena in many Western countries, it is important to discuss whether this has a direct impact on the demand for surrogacy. If we assume that this is the case, a complete prohibition cannot remain a long-term solution.
I’d encourage the Swiss government to prioritize the scientific evaluation of these issues and their interconnections.
Can you tell us about your collaboration with the Cinematographer? What were the key visual goals set out for the film and did you achieve them?
From the onset of our collaboration, our talented DP, Gabriela Betschart, was an essential creative sparring partner for me—not only in shaping the visual language of the film, but also in ensuring the authenticity of our story. Gabriela had previously shot a moving documentary about commercial surrogacy in India called MA NA SAPNA – A MOTHER’S DREAM, and her experience not only informed our creative approach in crafting the visual language for UNSER KIND, but also made her an invaluable partner in finetuning the screenplay for production and maintaining authenticity.
A significant portion of the film’s realism is owed to her thoughtful and well-informed reflection on both the story and the characters.
The setting of the Republic of Georgia plays a crucial role in the narrative. How did the location influence your choices?
I quickly came to know Tbilisi as a vibrant city, home to a young generation of incredibly talented filmmakers, actors, artists, and technicians, offering some of the best production opportunities one could hope for. Our Production Manager, Nino Chkhikvishvili, and our Location Manager, Archil Kevlishvili, were no exception. They found some truly remarkable locations, which in turn inspired many narrative improvements.
Looking back now and comparing our shooting draft with an earlier draft before our location scouting in Tbilisi, you would notice vast differences. Once the locations were chosen, they led to a complete rewrite of our script to adapt to their geography and visual character, which ultimately enriched the film with greater authenticity.
A prime example would be the montage where our main character, Hanna, walks past a group of children playing soccer on her way back to the hotel—a moment that serves as an important narrative anchor, confronting our Swiss protagonist with the social reality of Georgia. This scene didn’t exist in our original script but was directly inspired by our location scouting on the ground in Georgia.
There is a sense of isolation and vulnerability in the couple’s journey. How did you enhance this?
I’m very glad you picked up on this. The journey of our intended parent couple is one shrouded in secrecy. It’s not only the illegality of surrogacy in their home country that contributes to this, but also the cultural and social stigmatization of infertility and childlessness, which forces couples to remain silent about their journey and experience.
In cultures where talking about infertility and childlessness is taboo, it becomes incredibly difficult for couples to be open about seeking help to start a family. There’s a scene in the film where the intended mother removes a fake baby belly, which serves as a powerful symbol of the social and emotional pressures she has faced.
To maintain this sense of vulnerability, I deliberately avoided overcrowding our sets with background actors. While this approach also helped with budgetary and time constraints, the primary goal was to enhance the loneliness the couple experiences on their journey.
What were the key lighting techniques you used to evoke the emotional weight of the story?
When developing the visual language for UNSER KIND, I felt it was crucial to avoid any ill-informed aestheticization or dramatization, instead aiming for as much authenticity as possible. This principle guided our approach to lighting as well. Given that the film’s underlying topics affect so many people, we opted for a quasi-documentary style. We minimized the use of technical gadgets and cinematic concepts that might tighten the experience in a melodramatic way, and instead, aimed to use natural light whenever possible.
Of course, this wasn’t always feasible due to our very tight shooting schedule—we shot all scenes in Georgia in four days—but thanks to our talented lighting crew, this remains virtually unnoticeable.
What were the biggest challenges you faced during production?
Originally, our story was set in Kyiv, Ukraine, where, prior to the war, many couples from around the world travelled to pursue their dream of having a family through surrogacy. We had already been to Kyiv to scout locations and begin collaborating with our local cast and crew. But shortly before we completed our financing, Russia’s invasion of Ukraine began, and we were forced to relocate our production.
Thankfully, our Ukrainian co-producer, Dmytro Sukhanov, was able to stay on the project and help facilitate the shoot in Tbilisi, the capital of Georgia, where commercial surrogacy is also legal.
Having met so many incredibly talented people from all three countries, it is deeply meaningful to me that our film is a Swiss, Georgian, and Ukrainian collaboration.