A few months ago I joined the team at Bertha Dochouse, helping to programme their amazing array of international documentaries which screen in their dedicated cinema in Bloomsbury, London. It’s a wonderful complement to my university teaching. It’s a privilege to be able to watch so many documentaries from around the world – and connect with the filmmakers who made them.
Here’s a good example of those films: Turtle Rock. Stunningly shot in black and white, this slow cinema voyage takes viewers to Turtle Rock, a remote, mountainous village in China. Filmmaker Xiao Xiao grew up here, and for this sumptuous film he returns to follow the village’s seven families through four seasons.
It’s a simple, physical existence for these Bhuddist bamboo farmers – everything needs to be carried, made, cooked with the simplest of tools. In Turtle Rock, the cinematography is the star: each frame is beautifully composed and a pleasure to see on the big screen.
We sent through some questions for Filmmaker Xiao Xiao, about how he made the film:
1. Can you tell us a bit about how and why you came to make this film?
This documentary derives from my own nostalgia. After I was born, my grandmother and uncle raised me in this village till I was six, of school age. After I went back home with my parents, I returned to the village every year and stayed for a while. Turtle Rock is my hometown spiritually. As time goes by, a lot of changes have taken place there, with more and more modern buildings and facilities, and less and less residence. I strongly felt like preserving some of the images as well as my memories of this place. From 2015, with such motivation, I frequently went back alone to the village and stayed with my uncle’s family for more than two years, filming and recording their lives.
2. Filming in black and white is very striking. Can you discuss your aesthetic approach? Did you have any self-imposed rules while shooting?
This documentary was filmed by the format of black and white, instead of post effect. I have several reasons for shooting it in black and white. There are a lot of similar villages in China. Like this one, along with the process of modernisation and urbanisation, they quickly lost vitality and character – generations of young people have migrated to the cities while agricultural society became grotesque under the “modern constructions”. Secondly, I view the images without colours to be far from the real world, and near to the spiritual reality. Especially among the secular mundane images, I believe black and white represents purer spirituality. And I also hoped that the audience could experience their lives like memories.
3. What kind of equipment did you use to film this?
I used a mini SONY SLR camera because I wanted to minimize the disturbance I brought to my filming objects. I also used a stabilizer to obtain smoother and slower effects.
4. Will you continue to make films about your village, Turtle Rock?
I went back to the village time by time without preplanned schedules or presuppositions. Filming this place has become a “return” to myself, not only in terms of affection, but also a process of tracing the sources of artistic production.
5. This has been described as “slow cinema”. Is that how you would describe it? Was that what you had in mind while you were editing it?
I had in mind a relatively slow cinema before shooting: slow story-telling, and slow moving images. It is because the lives there are “spontaneous” in terms of natural rhythms – people follow the seasons in farming activities and they go by the sun in their daily schedule. It is a slow lifestyle of cycles. Compared to the pace of time and work there, this documentary of
less than two hours is very fast and abridged. Of course when I myself review the work, I find some places could have been “faster”, but I do not intend to revise it. I am rather content with my simple and immature thoughts of my first work without any intention of marketing or commercial gain.
6. What do you hope that audiences in the UK might gain from watching this?
It is a documentary of a lifestyle without targeting any regional audience – I believe it is comprehensible for all, but with very different angles. I remember that during a screening in Sheffield, a British man with a long beard said to me, “It is the same everywhere in the world, people are fond of talking nonsense”.