PRIX JEUNESSE Suitcase Workshop in Colombia
A report by Giselle Geney
Colombian filmmaker and Children’s Participation Producer at “eureka”
This October, the PRIX JEUNESSE SUITCASE returned to Bogotá with new energy and a room full of eager young professionals ready to explore what quality means in children’s television today. For the second time, the workshop was part of the Industry Forum of the Bogotá International Film Festival (BIFF), a platform that connects filmmakers, producers, and educators to exchange ideas about storytelling for young audiences. The event was organized by the Audiovisual, Film and Interactive Media Department (DACMI) of the Ministry of Cultures, Arts and Knowledge (Colombia), and I had the joy of leading the sessions at the Bogotá’s Chamber of Commerce.
The goal was clear: to strengthen the children’s media sector in Colombia by helping new creators develop a more sensitive and reflective approach to their stories. Many participants were filmmakers, writers, animators, educators, and cultural mediators who, despite coming from different backgrounds, shared one same motivation—to learn how to tell stories that truly connect with children. Having the PRIX JEUNESSE SUITCASE — a curated selection of the best programs from the 2024 Festival — was an incredible resource. All the content had been translated into Spanish, allowing participants to analyze international references from Japan, Taiwan, Finland, Norway, the Netherlands, Sweden, the United Kingdom, Canada, Germany, and Brazil. It was a journey through diverse cultures and creative styles, all united by one common goal: to offer children content of the highest narrative, aesthetic, and emotional quality — stories that respect their intelligence, nurture their curiosity, and speak meaningfully to each stage of their development.
Over two intense days, we watched and discussed 18 programs divided into four age groups: early childhood, childhood, tweens, and teens. We followed the Prix Jeunesse methodology, alternating moderators and encouraging everyone to speak, question, and reflect. The opening session was attended by Diana DĂaz, Director of DACMI, and Sandra TĂ©llez, who leads The Childhood, Youth and Media department. Their words reminded us of how vital it is for Colombia to build its own voice in children’s audiovisual storytelling.
But the most memorable moment of all was our intergenerational session with the children and adolescents from Generación eureka—the youth advisory group of eureka, Bogotá’s Children’s Tv Channel. Eight of them, aged between nine and sixteen, came with their parents and caregivers. The room immediately changed: laughter, curiosity, and honest comments filled the air. Suddenly, theory met reality.
Listening to the children’s voices as they reacted to each story was powerful. They spoke about identity, diversity, death, illness, memory, and activism with striking honesty. They asked for authentic stories—ones that don’t hide difficult emotions or resolve everything with a “too happy” ending. Their parents agreed, saying that children prefer the truth over silence, and that talking openly about hard topics helps them feel understood.
For the professionals, it was a revealing moment. Many said they had never had the chance to analyze content side by side with real children, and that this exchange completely changed how they saw their own work. The session focused on programs designed for tweens (ages 10 to 14) — a complex and fascinating stage of life — and it was remarkable to observe both the points of connection and the unexpected differences between adults and young viewers. While some stories resonated equally with everyone, others surprised us by revealing what truly captivates children and why. The experience became a living example of what the PRIX JEUNESSE philosophy stands for: participation, empathy, and the genuine commitment to listen to young voices and represent them truthfully and meaningfully on screen.
After the session with the children and teenagers from Generación eureka, the final discussions with the young professionals attending the 2-day workshop focused on the programs aimed at adolescent audiences. Some of these works addressed the festival’s most transgressive and emotionally charged themes — mental health, social media, bullying, sexuality, and family conflict — sparking deep conversations about how to portray such issues with honesty and care. Everyone agreed that today’s young audiences are active, perceptive, and critical, and that our role as creators is to respect their intelligence while providing the emotional context and sensitivity that responsible storytelling demands.
At the end of the workshop, participants expressed how inspired they felt. Some called it an “eye-opening experience,” others a reminder that creating for children demands not only talent but also humility, research, and ethical responsibility. The atmosphere was warm, collaborative, and filled with new ideas. Each participant received a certificate of attendance for the PRIX JEUNESSE Suitcase Workshop, a symbolic gesture that recognized their commitment to improving the quality of children’s media in Colombia. Many left eager to apply what they had learned in their own projects, carrying with them a renewed sense of purpose and connection to a global community that believes in the power of stories for children.
I left with a deep sense of gratitude — to the PRIX JEUNESSE Foundation, to Colombia’s DACMI, and to every participant who shared their time and passion. Special thanks to the Bogotá International Film Festival (BIFF), our host for the second consecutive year, for opening its Industry Forum to this initiative, and to the Goethe-Institut for facilitating access to the materials that made the workshop possible. And to eureka, my current creative home, whose ongoing work with children and young people made it possible to bring the voices of Generación eureka into this space.
Having the children and teenagers from Generación eureka in the room was deeply inspiring. Their honesty, curiosity, and courage to speak about what truly matters to them reminded all of us why we do this work. It was a powerful and emotional encounter that connected the professional and the human side of children’s media.
This year’s Suitcase in Colombia reaffirmed something essential: that listening to children is the best way to learn how to make media for them — and perhaps, the best way to remember why we started creating in the first place.