Copenhagen's Producing and Directing Dynamic Duo : Joseph and Helena Palau!

Joseph (Left) and Helena (Right)

In the heart of Copenhagen, where cobblestone streets meet Nordic minimalism 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.

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 Copenhagen 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 wanted to build a space where I could develop visual narratives that feel personal and disruptive at the same time. Copenhagen’s culture pushes you to be intentional 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 always reflect the amount of talent or perspectives that exist here. Starting our own production company was a way to take creative control and carve out space for the kinds of stories we believe in. Copenhagen plays a big role in that. The city is rich in culture, shaped by the country’s long history, and many of the stories we tell are deeply rooted in that heritage, whether clearly or more subtly. 

2. For American readers who might not be familiar with Copenhagen’s film scene, how would you describe it?

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 homogenous. 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 relatively 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 filmmaker 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-budget films to be bolder, both visually and narratively. But I sometimes feel like the industry here resists that shift, holding onto a more traditional approach even when there’s room to experiment and evolve.

3. What is it like to create films with your spouse? And what’re ways in which you both complement each other well while working?

JOE: Working with Helena is one of the most grounding parts of my creative process. She’s got a sharp eye for truth and tone, she’ll catch things I miss because I’m deep in the weeds. Where I might be chasing emotion and concept, she’s laser-focused on clarity and intention. We complement each other because we don’t let each other settle. It’s also very vulnerable, you’re not just collaborating, you’re sharing the parts of your creative self you usually hide. But that’s where the magic is. At the end of the day, if I make a film that she wants to watch ‘twice’, then I have succeeded.

HELENA: It can definitely be challenging at times, especially since, as the producer, I can never fully escape my director and his crazy ideas haha! But working with Joe is also one of most rewarding experiences I get. I’m allowed in to the creative space from the very beginning and in a much more involved way than I usually am with other directors. There’s also a real “us against the world” energy that kicks in during production, especially when things inevitably go sideways. Lastly he’s one of the most talented storytellers that I’ve met, and his dedication and involvement in the process is just unmatched so I’m honestly honored that he trusts me with his projects.

4. What’re some hurdles you’ve had when forming your production company in Copenhagen?

JOE: The biggest hurdle has been representation finding my place as a storyteller of mixed heritage in a country that still leans toward one dominant cultural voice. Denmark loves order, and I tend to live in chaos and contradiction. Another challenge was navigating the admin side funding models, local bureaucracy, even things like tax categories when you work across art and commerce. But also: trust. It takes time here for people to trust someone doing something different. You have to build credibility through consistency.

HELENA: Securing funding for films in Denmark is a challenge, even for the larger production companies. Since Danish is only spoken in our country, most of our films don’t travel outside of our borders, which makes the industry largely non-profitable from a commercial standpoint. We rely heavily on government-supported art funds and a few private grants, but the competition is intense, and the resources are limited. As a result, many production companies here are essentially treading water, especially those focused primarily on fiction. It creates a constant pressure to make stories that fit a narrow funding framework, rather than taking creative risks or pushing boundaries.

5. What’s the creative community like in Copenhagen? Have you found it supportive for independent filmmakers?

JOE: It depends on who you are and what you're making. If you fit within the existing structures, it’s incredibly supportive. There’s money, infrastructure, and mentorship if you speak the language, literally and creatively. But for indie filmmakers who are carving their own space, it can be isolating. That said, there’s a quiet rebellion brewing. More people are experimenting, collaborating across genres, pulling in global influences. I’ve been lucky to find some allies in that pocket, a mix of local and international voices pushing the limits of what Danish storytelling can be.

HELENA: That’s actually a really interesting question. The industry is mostly made up of independent filmmakers, but there’s still a strong hierarchy. It can be hard to break in, and once people are in, they’re often hesitant to let others in which creates a bit of a closed circle. That said, under the right circumstances, the community can be very supportive. It just takes time and persistence to find the right collaborators.

That's a Wrap—for Now

Our chat with Joseph and Helena gave us a glimpse into the creative spark (and occasional chaos) that comes with being filmmakers in one of Europe’s most inspiring cities. From balancing love and work to finding beauty in everyday moments, their story is as cinematic as the films they make.

Want more? You can catch the full interview—including many others in the Fall issue of Hustle & Grow magazine. Trust us, you won’t want to miss it.

Stay curious, stay inspired—and keep creating.