The Queen of England Stole My Parents
It is a story about an adopted girl who embarks on a journey to save her biologic parents.
Smiltė, a rebellious 10-year-old with a vivid imagination, starts a new life with her soon-to-be adoptive parents, Viktorija and Tadas. Trust doesn't come easy, and she stirs up chaos as they try to become the parents she needs.
Then her doll, with a mind of its own, whispers a secret: her real parents weren't gone - they were stolen by the Queen of England! Convinced it's the only explanation, Smiltė packs her bags and sets off to rescue them, with her adoptive parents racing to find her.
As she nears the "truth," Smiltė must choose: chase the doll's destructive promise, or face her fears and embrace the flawed, loving people already by her side.
Producers' note
In 2013, Dansu Films released Ernestas Jankauskas's debut short "The Queen of England Stole My Parents," winner of the Silver Crane for Best Lithuanian Short. Twelve years, two features and a major TV series later, Ernestas is one of Lithuania's most consistently working directors and he has carried one question the whole time: what would this short look like as a feature?
The short still streams on multiple platforms and still gets requested by schools. It went free during COVID lockdowns so Lithuanian children would have culturally specific content when little else reached them. It refuses to fade - proof of both its emotional core and the gap around it.
Across Europe, live-action family films for 7–13-year-olds are rare next to animation, especially from small markets. If we want European audiences to keep choosing European films as adults, we need to grow audience from a young age.
The feature keeps the short's core - a girl named Smiltė sets out to find her "kidnapped" parents with an imaginary friend, but grows it to include the foster child's experience and the adoptive parent's. It's built for a contemporary 7–13 audience while keeping a layer that rewards adults watching beside them.
The subject is urgent: in 2025 no child above ten years old was adopted. This film is an "older children adoption campaign".
Co-writer Gabija Siurbytė is a foster care ambassador; she and Ernestas adopted a ten-year-old daughter together a year ago. Ernestas's earlier feature "Sasha Was Here" (2018) explored adoption from an adult lens - this film is its family-audience companion, made by authors now writing from inside the experience.
Film is financed by Lithuanian Film Centre, Creative Europe MEDIA, Vilnius Film Fund and Lithuanian National Radio and Television and it was developed in Cinekid Script LAB and Producer's LAB.
Screenwriters' note
Earlier this year, I became a mother through adoption. This journey has given me a perspective I could never have imagined before, and it is precisely this perspective that drives me to tell this story. I feel uniquely qualified to write it because I am living it. Every day brings both struggles and discoveries – and yes, sometimes even the kind of unexpected plot twists that rival Hollywood. This lived experience fuels me with a mix of love, persistence, humour, and honesty that I want to bring to the screen.
At the heart of my motivation is a belief: families are built not by blood, but by love and commitment. Too often, children in the adoption system are considered 'too old' at six, as though their chance for a family has passed. I want to give voice to these children – to tell a story that makes audiences laugh, cry, and reflect on what family really means.
This project is deeply personal, but it is also universal. It is about chaos and healing, about resilience and love, about redefining what 'home' can be. It is my story now too, and I am determined to tell it with honesty and heart.
Director's note
For most of us, it is hard to imagine the life of a child without parents – but we can all understand the emotions such a child experiences: anger, sadness, joy, hope. In this film, I want to lead the audience into Smiltė's inner world – a world of expectations, hope, imagination, and fantasy logic – and help them empathise with a child navigating abandonment and belonging. The story also explores the challenges faced by foster parents: their own doubts, fears, and imperfect love. At its core, this is a film about love – the kind we all have, though we often struggle to express it.
I am telling this story in a light, playful, humorous tone. The rooftops of Vilnius – where Smiltė retreats – symbolise both isolation and safety.
This film is a continuation of my short film. Previously, I talked about the self-esteem of a child left behind through the prism of family emigration. Now, I want to focus on guardians, or more precisely, adoptive parents – what does it mean to take a child who is not your own into your family? What does family mean? This is important to me because a year ago, I became an adoptive parents myself – I now have a wonderful daughter. She's 10. I'm proud of her, and she's my biggest inspiration. I want this film to inspire others too.
Biography
Director Ernestas Jankauskas directed TV series “Troll Farm”, that was selected by Berlinale Series Market Selects, Transylvania IFF and Killer Series where it is shown in Main Competition. His short film won best Lithuanian short movie award. His first feature film “Sasha was here” premiered at POFF in Tallinn and visited Shanghai and Les Arcs film festivals. His second feature “I am fine thanks” was picked up by Warsaw IFF. He directed over 40 award winning commercials. He was 2nd unit directo
Biography
Aleksandra Chmielewska is a writer and creative producer, and a graduate of the Wajda School, the MIDPOINT Writers’ Room, the MIDPOINT Smash Cut, screenwriting courses at StoryLab Pro, and the Documentary and Feature Film Studios in Warsaw. She is the head writer and creative producer of the premium drama “Glitter,” as well as story editor of “Cracow Monsters” – both Netflix original drama series that premiered in 2022. She is a member of the Polish Screenwriters’ Guild and participated in Only Writers in the Building, an international talent showcase held during Berlinale Series Market 2024.
Biography
Viktorija Rimkutė is a film and TV producer at DANSU FILMS. After studying Creative Communication at Vilnius University, she quickly rose to the producer’s role. She is the co-producer of Norwegian feature film “Solomamma” by Janicke Askvold, in late post-production, featured at Les Arcs and Göteborg Works in Progress sections. Her major credit as a producer is "Troll Farm" - first Lithuanian high quality TV series that was picked up by Berlinale Series Market Selects.
Viktorija is developing several original projects (feature films and TV series), including international co-productions. Her projects received Creative Europe MEDIA mini-slate support for development. She recently completed Series’ Women programme by EPI and Market Ready by International Screen Instutute in 2024.
Profile
DANSU FILMS was created in 2008 and now is one of the biggest Production Houses in Lithuania. Major projects include co-production of TV series: "We Come In Peace", “Moscow Noir”, “Agent Hamilton”, “Clark” (Netflix), production of features “Sasha was here”, “I am fine, thanks”, TV series “Troll Farm” (Berlinale Series Market Selects). Co-production “Solomamma” premiered at Locarno Concorso Internazionale 2025.