Interview:Ronni Shalev, Director of 2:Love

Ronni Shalev’s animated film was selected for the prestigious Toronto International Film Festival(TIFF). She uses vibrant colours, bold visuals, and a lively choir to bring to life the story of two tennis ball girls whose rivalry gradually blossoms into an unexpected and magnetic romance.

In 2:Love, a major tennis tournament is about to begin and the tension is at its peak. On the court, two ball girls crouch on either side of the net. Each feels that her time has come to shine. Each wants to be the best ball girl in the history of the tournament. The grand slam of ball girls. But when the match begins and the girls make eye contact, they're surprised to discover another force beyond the net: attraction. A dynamic that begins as a bitter rivalry turns into a magnetic passion, during which the girls search for a way to escape the competition that is a barrier to their love.

What is the story about?

The film takes place during a tennis tournament, with two protagonists who are ball kids. They initially see themselves as rivals, but over the course of the game, their relationship begins to change. To renegotiate that relationship, they have to disregard the rules surrounding them. Tennis is such a highly aesthetic, rigid sport, and I was interested in what happens when people step outside those structures and discover a different way of connecting. The film explores the idea that we don't always need predefined rules to connect with someone. Sometimes, we have to rethink the game itself.

You studied liberal arts, with an emphasis on classics, before moving into animation. How did that journey unfold?

I did my first BA in liberal arts, specialising in Classics. That experience was really influential for my film because there was a Greek choral element to it. While studying, I realised that although I loved writing and working in a cultural and artistic context, I wanted to do something more actively creative. I thought animation would be the perfect combination of storytelling and visual art. I had absolutely no idea what a career in animation involved, but I signed up anyway! I began studying at Bezalel Academy of Arts and Design in Jerusalem before transferring to La Cambre in Brussels.

How did the two institutions differ?

Jerusalem was very structured and task-oriented, and I gained a really strong technical foundation. La Cambre was completely different. You were given a studio and a great deal of freedom. At first, I didn't know what to do with myself! But because I'd already spent several years studying, I had a clearer sense of what I wanted. I loved being treated as an established artist. The lecturers provide a framework and feedback, but they don't tell you how to be an artist. They treat you as someone who already is one. I found that incredibly liberating.

Where did the idea for your film originate?

I watched Wimbledon with my dad, and we'd had a few drinks. We started improvising the inner monologues of the ball kids on screen, and we thought it was hilarious. The following day, when I was thinking about the conversation with a clearer head, I realised it was still funny. I loved the idea, and it grew from there.

Your animation combines hand-drawn and digital techniques. How did you develop the film's visual style?

I'm a traditional 2D animator, and I draw by hand. Developing the visual world took several months of sketching and experimenting with different styles, both on paper and digitally. Eventually, the style emerged quite organically. I realised I was drawing more and more things that looked a certain way, and that became the visual language of the film. There is also a 3D scene that I wrote into the script partly because I wanted to collaborate with a very good friend of mine who is a talented 3D artist. Working together on that sequence was great fun.

Music plays an important role in the film. Tell us about the soundtrack.

For the original soundtrack, I worked with a friend who composed music that was technically sophisticated but also playful. We incorporated sounds from the tennis court into the music, including the squeaking of trainers, players grunting and other recorded sounds. These became part of the musical world rather than simply background effects. I also worked with a brilliant classical and choral composer who created the song that narrates the film. I gave her Latin lyrics and references to early Iberian choral music. She composed a beautiful piece performed by the children's choir of the Brussels Opera. I wanted the music to feel almost ceremonial, while retaining a certain innocence. The combination created something really special.

You've experienced both Toronto and Warsaw. How did the festivals compare?

They were very different experiences. Toronto felt more like the classic showbiz environment, whereas Warsaw was much more artistic, with a greater emphasis on experimental and fringe work. It was wonderful to experience both. Each festival offered a different perspective on cinema and the kinds of stories filmmakers are exploring.

What would you like audiences to take away from the film?

I hope people enjoy it! As an artist, I believe films and art can be fun. It's important to have fun making things, and I think it's equally important to have fun watching them. For me, the film is about connection, playfulness and discovering that sometimes we can change our relationships with others by questioning the rules we've accepted.

Finally, what would you say to aspiring animators who are considering taking the leap into professional filmmaking?

I'd encourage them to experiment, find their own visual language and embrace collaboration. You don't need to have everything figured out from the beginning. Sometimes, the most interesting work comes from following an idea that makes you laugh, taking a creative risk and discovering where it leads.