Imagine you live in one of the most remote places on earth. At age four you are sent away to school, many miles away from your mountain home. You don’t return for more than a decade. What would that reunion be like? That’s the question at the centre of Children of the Snow Land, a new multi award winning documentary co-directed by Zara Balfour and Marcus Stephenson.
I first saw the film last year at the wonderful Valletta Film Festival, where it won not one but two awards. The film has now won ten festival awards, as audiences globally respond to its poignant themes and stunning footage, much of it shot by the film’s three main contributors who the directors taught to film themselves.
I interviewed Zara about the making of the film – as usual this has been cut for clarity and length:
CN: How on earth did you find this story in such a remote location?
ZB: I think it was fate. My co director Marcus and I went off to Nepal for a corporate job, filming charities. And we loved the charity in Nepal; we got along really well with them. We stayed in touch with them and they told us they started funding this going home trip for these kids from the Himalayas who didn’t see their families for 12 years. And they had decided they would sponsor all the kids aged 16 finishing their compulsory schooling to go home for three months. And we were just blown away by it.
I’ve always wanted to make documentaries, and have done a lot of short documentaries but really had a longing to get into longer form documentary. And I love Nepal hugely. So we went out and thought basically let’s see if there’s a story here. Let’s see if it’s true that the kids haven’t seen their parents for 12 years, and can they express it and are they willing to express it on camera? So we went over there and thought, well, a worse case scenario we’d make a fundraising film for the school and that will be that. And the kids were amazing. They were very open, hadn’t seen their parents in all that time. Very warm and wanted to learn. We taught them filmmaking and they wanted to learn.
CN: Talk me through a bit about how you taught them filmmaking.
ZB: Our first trip was basically working out who our characters were going to be – which children were most going to be able to express their story and also have an interest in filming themselves. We then went back a few months later and took some cameras and solar chargers. We basically gave them GoPro kits and solar chargers and batteries and loads and loads of memory cards. There was no way to back it up. It was very unlike most film shoots. It had to be so light because their walk (back home) was so long and so hard. And it has to be kit that’s capable of being charged. We went with them for some of the way and took slightly bigger cameras with bigger chargers, solar charges and such. And they carried on for three months out there. So the film is a combination of our footage, footage shot by Mark Hakansson our cameraman and photographer, and their footage. The training was a few days in Kathmandu. It wasn’t hugely extensive. We introduced them to YouTube.
CN: What was their experience of technology up to that point?
ZB: Nothing; they literally had nothing. The school didn’t even have a computer room at that point. And they didn’t have any smartphones or anything like that. They do now. And they’d never seen YouTube. So we introduced them to people like JacksGap, and those guys that are travelling and doing their own stories, and they loved it. They were like sponges, they really were. And when the earthquake hit, I had some friends that were going out who work with the Disasters Emergencies Committee. They went out to help after the earthquake and as they were out there they actually helped us get some of the footage back. So we got the footage back much earlier than we were going to.
CN: How were they able to communicate when they were up in the remote mountains with their families?
ZB: We said when you come back, bring back whatever you can. I will never forget watching the memory cards that first day. We were just blown away.
CN: What was it like being there for the reunions? The reunions are not in fact a very visible part of the film.
ZB: It was surprising. Coming from our background, if we see someone we haven’t seen for some time we just want to cry and hug them so much. But they weren’t like that; they had this very kind of shy nature. They were very stoic and don’t show their emotions. We found that the adult and the child way of dealing with the separation was very different. The kids hang onto the memory of the parents and think about it every day. The parents, in order to deal with the pain of separation basically cut off and didn’t think about it. So they were quite cold, at least to our western eyes.
CN: It seems like it should have been the opposite – you would think it was the other way around.
ZB: They couldn’t afford themselves the luxury of thinking about it too much – it was just too painful. So when they saw each other there was this strange formality.
CN: How did you swing this with a full time day job?
It has been tough. It was great having the support through post production with McCann. They basically accepted that during my day job I would be in the edit working on the film a lot. And took quite a lot of chunks of time off. It took four years to make it – two years worth of shooting and two years of post production. They’ve been incredible and really really helpful. For Marcus he’s been making a TV show, Stately Homes with Phil Spencer. So he’s had to do that and take breaks.
CN: What was it like winning two awards at the Valletta Film Festival?
It was incredible. We were in the teen section which was a mix of documentary and drama. And it was amazing that we won that. Not only that but we won the audience pick for the whole festival. I was completely blown away by that because we were a small film made by independent means. And there were so many films there by well known filmmakers with a lot of industry support behind them. It was a tremendous validation of what we’d done and an amazing honour.