ONE BROTHER TOO MANY

Nine-year-old Sara's world is turned upside down when her new foster brother moves in, pushing her to create an alter ego to cope – until her parents realise she's disappearing into her imaginary self, and must find a way to bring her back.

When 9-year-old Sara suddenly gets a foster brother, 5-year-old Steinar, her life is turned upside down. Forced to share both her parents and her room, Sara feels angry, sad, and unable to be a good big sister. To cope, she creates Alfred – a kind, big-brother alter ego. At home, she's Alfred; at school, still Sara. But soon, Sara starts to disappear. Her parents don't know what to do, and her best friend tries to help. In the end, the parents act: Steinar gets his own room, and Sara slowly returns. She teaches him letters and accepts her role as big sister. On her door hangs a drawing from Steinar. Misspelled, but clear: 'Sara.'

Main country of production

Norway

Director's note

"One Brother Too Many"is a drama film for children. The main character is the 9-year-old Sara, and it is through her that we experience how life gets turned upside down when she suddenly gets a 5-year-old foster brother. The film is based on a novel by the acclaimed author Linde Hagerup. What really fascinates me about this story is the inventive and energetic main character. Sara is quick, active and strong-willed and goes to great lengths to get close to her new little brother Steinar – so far that she chooses to become a different person. I want the audience to take Sara's idea seriously, by understanding and engaging in Sara's non-traditional journey.
Being a foster child is a thought-provoking topic. My own father lost his mother at a young age and grew up in an orphanage and later in foster care. Both he and I still have strong ties to his foster family, and there is no doubt that the foster family has played a decisive role in his development through a difficult life situation. But life in a foster family is admittedly not always a success story. It is a well-known problem that foster children can reject the new family – but something that is hardly focused on is how the other children in the family cope with suddenly receiving a new family member. The perspective of 'the other children' is a very interesting angle and a theme that has rarely been highlighted on screen.
As a director, I find it incredibly exciting to explore the children's world by addressing universal themes. Subjects like life, death and love might not be innovative in themselves, but they can be a great way of exploring the child's view. Small details that adults might not notice can be hugely important to a child. Children often have an immediate and intuitive way of attacking a scene or situation, and here, as a director, I can pick up elements and characteristics that can help shape both character and dialogue. In that way, it will enrich the project, make it believable, real, close and alive.
The film describes how the family dynamics are changing, and how hard it is for Sara to be a kind older sister and share a bedroom with someone she doesn't want there. But the story takes an unexpected turn when she steps out of the victim role and introduces her surprising solution: her alter ego Alfred. Sara's journey, her way of dealing with life, and her development as a person, are crucial to this story.
The audience will experience this film from Sara's perspective. Things that are important to Sara must feel important to us as an audience. Her experiences of a difficult situation are to be taken seriously in this film, with the imagination, playfulness and naivety that it entails. This will be a riveting story, a heart-warming drama about important themes such as grief, identity and jealousy, told with a good dose of humour. This story balances comedy and charm with melancholy and seriousness. You should be able to both wipe a tear and laugh, without it ever feeling unnatural. I want to make a film of importance to the children – bringing warmth and humour to the difficult, and beauty to the glaring that every upbringing and every life offers.
This is an intelligent and up-to-date project, which takes its target group seriously, while also being entertaining and relevant for adults. Today's children and young people have much higher expectations for authenticity in the content they consume, and the advantage of "One Brother Too Many" lies in its authenticity and relatability. Giving children access to unique cinematic universes that address universal issues that concern them can change and influence the way they understand and view the reality of which they are a part.
This is a story to be told with a fresh and lively film language. It will be a vivid film with a strong visual expression, where the film will be experienced through Sara's perspective. I want the audience to feel they are involved in the situations with the children. I want to let the camera move organically and intuitively with the actors. This is something I focused on in my feature film "Twigson & the Sea Monster" (2020). For me, it is the scenes where I had the opportunity to explore precisely this type of camera work that I am most proud of, and which remain playful and real.
Cinematographer Rune Sørheim and I want to create a subjective photo that follows and amplifies Sara's emotions, seeing the world as she sees it. The camera should be a friend she can confide in, who is present in the play, the anger and the loneliness. With a dynamic handheld camera that is spontaneous and inventive, as well as other cinematic techniques like slow motion, freeze frame and shock zoom to enhance the turning points and Sara's skewed view of the situation.
It should be a film full of storytelling joy that captivates and speaks to children. The goal is a dynamic set, often with two cameras and lighting through windows and with practical effects, to create a free and open space to work in, capturing spontaneous and genuine moments with the children. The viewer does not just become an observer but gets to run with the children and join in their journey of discovery.
The mischievous tone of Roald Dahl's "Matilda" is also a source of inspiration. Even in the most serious situations, there should be room for humour – such as when the priest at the funeral of Steinar's mother bursts into false falsetto during a hymn. I will also use voice-over as an important artistic move in this film. I want to depict the world as Sara experiences it – alive and unpredictable. In carefully selected places, I will break the 'fourth wall' and let Sara address the camera (and the audience) directly and confide her secrets. Here she also shares many of her subtle perspectives with wit and humour.
The Norwegian film "Jørgen + Anne = sant" is a good reference when it comes to style and energy. Lasse Hallström's film "My Life as a Dog" is an important reference in terms of how to balance melancholy and seriousness with humour and charm. I will use the seasons as a clear visual gesture to show that time is passing. At the start of the film, it is autumn, and we follow the family through the winter, until it begins to approach spring. Christmas also becomes important in this story – here the great upheavals in the family's life will become extra clear.

Producer's note

At Twentyone Pictures, we're excited to present a story for this age group, and we're proud to bring this heartfelt narrative to audiences around the world. We hope 'One Brother Too Many' will resonate with families everywhere, sparking conversations about love, change, and belonging.
As the producer, my aim is to nurture an authentic narrative that captures the nuances of childhood emotionality. This film is about the small but monumental shifts in family life that often go unnoticed by adults but are vividly felt by a child. Through a sensitive yet realistic lens, we aim to offer a story that is both entertaining and thought-provoking, engaging audiences across age groups and backgrounds. 'One Brother Too Many' dives into the delicate and complex world of sibling rivalry and family dynamics, seen through the eyes of our young protagonist – a 9-year-old child caught in the emotional whirlwind of an expanding family. This project brings a fresh, relatable perspective to themes of belonging, jealousy, and adaptation – feelings that resonate deeply with both children and adults alike.
Through Sara's perspective, the film reveals the often-hidden dynamics of foster families: the initial friction, the bittersweet loss of undivided parental attention, and the slow-building bonds that grow as Sara and Steinar find their rhythm as siblings. Establishing a positive relationship with a foster sibling can take time, and children like Sara often face complex feelings as they adjust to sharing family attention. By framing these universal challenges through Sara's experience, we gain a fresh, grounded perspective on the foster experience – one that acknowledges the sacrifices, the growth, and the profoundly positive impact that one child can have on another. Tove plans to integrate a fresh, intuitive camera style that moves organically with the characters. The tone will be mischievous, with humour balancing the more serious moments, akin to the spirit of 'Matilda' by Roald Dahl. Visually, the film will be vivid and dynamic, capturing Sara's world as one full of unexpected turns, much like her own experiences. Drawing from playful, energetic references such as 'Jørgen + Anne = sant.'
The casting is integral to the success of this project, and Tove aims to find young, talented actors whose performances will inject authenticity. Her focus is to create a film that resonates deeply with children while also offering layers of emotional depth and humour that will appeal to adults. In addition to the successful 'Twigson and the Sea Monster,' Tove did second unit direction on 'The Innocents' by Eskil Vogt (Un Certain Regard, Cannes 2022).

For 'One Brother Too Many,' we are assembling a team committed to a cinematic approach that values authenticity, warmth, and nuanced portrayal. Tove has previously collaborated with our cinematographer, Runar Sørheim, and editor, Margrethe Vinnem, creating a strong foundation of trust that will carry through this project. Each member of the team has extensive experience in creating environments where young actors can truly thrive. Kjersti Paulsen, our casting director and children's coach, has years of experience working with young talent. Likewise, our production designer, Brynhild Dagsslott, and costume designer, Miriam Lien, both bring a thoughtful approach to visually creating Sara's world in a way that feels true to the emotional core of the story. Together, this team ensures that every aspect of the film – from the performances to the visuals – supports the honest and heartfelt journey of our young protagonist.
The project has already received three rounds of development support from the Norwegian Film Institute (NFI). When Twentyone Pictures took over the project, we transitioned into the NFI's NEO scheme, designed to support innovative projects from emerging directors.
We aim to secure production funding from NFI through the NEO scheme and will also apply to the Oslo Film Fund. We are in dialogue with NRK for a national pre-sale agreement and will approach SVT and DR to strengthen our position for Nordisk Film & TV Fond. Germany is a strong candidate, given the success of Linde Hagerup's novel 'One Brother Too Many,' which the film is based on. It was nominated for a high-end literary award there.
We are looking for two- or three-country co-production partners. Following strong interest after pitching at Cinekid Junior Co-production Market (Amsterdam 2023), we are exploring partnerships with producers in the Netherlands. We are now also looking for co-producers in the Baltic region and Northern Europe. We believe the project has strong potential for collaboration with companies that share our interest in quality family content with artistic depth and international reach.
We are currently in dialogue with Norwegian Film Distribution regarding a potential MG for theatrical release in Norway. An MG at this stage would help activate the ticket reimbursement scheme from the Norwegian Film Institute, significantly strengthening the backend economy if the film reaches 25,000+ admissions in Norway. But we are looking for a sales agent.
At Twentyone Pictures, we believe in the power of quality films for children, which is why we are so committed to bringing 'One Brother Too Many' to life. In an era dominated by a strong commercial culture, where fast-paced, mass-market content often takes precedence, we strive to create films that offer depth, diversity, and variety. Our mission is to provide audiences with stories that are not only entertaining but also meaningful, reflecting a broader range of experiences – and we want to contribute to the richness of children's cinema.

Screenwiter's note

When I first read 'En bror for mye / One Brother Too Many' by Linde Hagerup, I was immediately struck by its emotional richness, subtle humour, and the complexity of Sara's inner world. I knew this story had the potential to become a powerful and relatable film – one that speaks both to children and adults. The screenplay balances humour and emotional depth, inspired by films like 'My Life as a Dog' and 'Matilda.' Set in a Norwegian family and everyday reality, the story explores emotions that transcend borders: sibling jealousy, the need to be seen, and the fear of being replaced, ensuring it resonates with international audiences. Adapting a novel of such literary quality has given the screenplay a strong narrative foundation. The book's international recognition, including a nomination for the 'Deutscher Jugendliteraturpreis,' reflects its wide appeal – something we believe the film will carry with it to the screen.

Subjects:

feel good, friendship, familial relationships, jealousy, children, childhood, love, child parent relationships, grief, humour