Tag Archives: film

Walk With Me: Marc J. Francis on Making a Film About Mindfulness

If one of your New Year’s resolutions is to slow down, be mindful and connect with your inner self, I’ve got the doc for you. As I wrote about recently in Documentary Magazine, one of the London Film Festival’s stand out films for me was Max Pugh and Marc J. Francis’ Walk With Me, which opens in UK cinemas this week. The film takes us to southern France, deep inside the monastic community of Plum Village, where the Zen Buddhist inhabitants are utterly focused on leading mindful lives. The community is guided by the revered Thich Nhat Hanh, whose readings are brought to life in voiceover by Benedict Cumberbatch.

Immersive is an overused term these days, but this film comes close to doing the term justice. Four years in the making, the co-directors learned they needed to become members of the community before they could tell its story. I spoke with Francis about the making of it before the film’s screening at the London Film Festival.

(Transcript edited for length and clarity.)

Carol Nahra: There are a lot of films out there at the moment where of course you would say it’s better to see on the big screen, but this in particular seems to have been made with a cinematic experience in mind.

Marc J. Francis: This really was a subject that lent itself to the big screen experience. Because our intention was to make a film which could be experiential, as a film that you kind of feel. So what does it feel like to be a part of this community that commits their lives to cultivating mindfulness?

CN: The audio is amazing. It seems as important as the visual in some ways.

MF: Yeah, we invested heavily on the sound. We really wanted the sound to play as big a part if not a bigger part as the visual experience. Because bringing you inside into the film really enhances that experience. And it is about, what they do is about how deeply do they listen.

CN: Tell me a bit about your coming to this topic.

MF: I came to it through Max Pugh, the co director, whose brother became a monk about eight years ago….There was a point where the monastery was starting to think about letting in cameras for the very first time. Thich Nhat Hanh always shied away from publicity throughout his life; never really wanted it. But he felt that maybe now was the time to try and be more open. The stipulation of Thich Nhat Hanh was to find a way to make it about community; don’t make it about me.

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Thich Nhat Hanh

 

CN: You had access but it still took four years to make. What took all the time?

MF: It’s not a conventional film in the sense that you are not focusing on one to three characters and following their narrative arc. And that you’ve got your A to B and end up at C. It’s trying to create narrative out of a mood or feeling. So to do that was extremely difficult. Plus because we wanted to find a way to translate the energy of mindfulness as we experienced it at the monastery to the audience, the only way to do that was if we invested time in the monastery ourselves and started to practice, to tune into that energy field and feel it and edit in a way that reflects that mood and pace. And that is no easy thing to do – to find a way to keep your stress and your anxieties at bay and find a sense of inner presence and stillness and reflect that to the audience.

CN: So presumably that meant engaging before you picked up the camera, or putting the camera down to engage in the practices of the community?

MF: Yeah, well we started off with a camera. And then that didn’t work. Because we weren’t getting any cooperation. Only when they got a sense that we weren’t on a deadline, and we weren’t having a goal and we weren’t saying on a Monday okay by Friday we need these three scenes – if we ever did that we would fail. But if we let go of the goal and just started to feel present…We just kept our cameras at bay and in the event that something revealed itself to us we were unable to capture it. And the more that we did that the more open they became and the more the trusted us and our ability to capture that kind of vibration. A bit like don’t make a film about a kung fu master if you haven’t even tried kung fu itself.

CN: So what was that like for you? Because you come from strong narrative storytelling background and this whole process as you describe it must have been very intense for you.

MF: Yes it was very intense, you’d step into the great unknown of no direction. And you really don’t know what’s going to happen. A director wants to be in control. So to let go of these ideas of control and step more into a place of trust was a great learning curve. That ended up becoming a manual for life.

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Marc Francis

CN: So what will you be taking forward with you? Will you be living differently?

MF: I already am. One of the reasons I was attracted to the project in the first place was because I could see that the life of an independent filmmaker is a tricky one. There are highs and lows, there are disappointments. You get great moments and you get bad moments. And how does one find a sense of inner balance within that storm so that you’re not finding yourselves getting highly anxious when things aren’t going well or over excited when things seem to be going well? How can I make a film, how can I make a career for myself as an artist and as a family man in this career where I enjoy the process? And I’m happier inside myself for the process? These are the questions I was starting to ask myself before the film came along. I don’t want to win an Oscar and be depressed about it or stressed about it. That kind of thing. That feeling should be with me every day – whether I win one or not is not the point. So I got a sense that when I arrived to Plum Village for the first time that there were some really amazing things going on here that could be extremely beneficial to how I want to live my life.

Has the film been well received?

It has. I think there is a time now where people are getting a bit overwhelmed with what is going on politically. This Trump anger, this divisiveness which is coming through our feeds, it’s like do I want to go to the cinema and be reminded more about what is going on or can I go to the cinema and have an opportunity to breath and get back to myself or try to step away from it in some way? So seeing the film in that wider context is like an antidote to the larger context of what is in our faces on a day to day basis.

Walk With Me opens in cinemas across the UK on 5 January.

 

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Five of the best @SheffDocFest 2017

For the fifteenth year running I’ve had the good fortune to watch a good chunk of Sheffield Doc/Fest’s programme to help write the film catalogue. Of the 35 features that I’ve seen, here are five of my favourite:

The Cage Fighter

This powerful vérité documentary (pictured above) tells the story of American Joe Carman. The 40-year-old blue collar worker gave up cage fighting years ago, but claims it’s the only arena where he feels confident. When he returns to fighting without the blessing of his wife and four daughters, his dangerous hobby soon threatens to tear the family apart.

Dina

A groundbreaking observational documentary with the feel of an indie drama. Dina and her fiancé Scott, both neurodivergent, have moved in together to ready for their upcoming wedding, and have set about the messy business of forging lives. In increasingly intimate scenes, Dina is determined to let Scott know that her difficult past doesn’t stop her wanting a passionate future.

Trophy

Trophy

Facing a catastrophic decline in wild animals, big game hunters and conservationists often make uneasy bedfellows, as highlighted in this gripping documentary. South African rhino breeder John is convinced that legalising the sale of rhino horns will save the species from extinction. Meanwhile, American hunter Philip ventures to the remote wilderness of Nambia and Zimbabwe in his personal quest to hunt the “big five” in their natural environment.

The Road Movie

The Road Movie

In Dmitrii Kalashnikov’s mesmerising compilation of dash cam footage, we are spectators to a series of extraordinary moments. From reckless drivers and hammer wielding thugs, to extreme acts of nature and the occasional wild bear, this film is an eccentric portrait of contemporary Russia, as seen, all too briefly, through the front windscreen.

The Rise and Fall of Geoffrey Matthews 

The Rise and Fall of Geoffrey Matthews

A profoundly personal film from one of Britain’s most talented documentary directors. To establish a better rapport, Morgan Matthews begins filming his dad, and carries on for a decade. Once a high flyer, Geoffrey lives precariously with his eccentric partner Anna. As revealed in very intimate scenes, Geoffrey has more than a few regrets, not least his emotional distance from his six children.

Meet Luke Moody, Sheffield Doc/Fest’s New Film Programmer

Coming from doc champion Britdoc, the Sheffield Doc/Fest’s new Director of Film Programming Luke Moody has deliberately set out carving a space for marginalised voices in his film programme, as well as encouraging more experimentation with the form. In a recent telephone interview he outlined his vision for film at Doc/Fest, and highlights a number of docs to look out for in the upcoming festival, which will screen some 133 features and 55 shorts. Here’s an edited transcript:

You joined in November and you’ve got a June festival so you’ve had to hit the ground running. I’m wondering what was it like putting together this huge programme in that amount of time?

It was a challenge, definitely. One of the major challenges this year was to restructure strands because I was quite clear in what I wanted to do in terms of reducing the number of strands Sheffield has. Partly for audiences locally to be able to navigate that programme and understand the different genres and themes within it, but also to allow me as a programmer and the festival to be able to expand into showing more creative forms of documentary, particularly with this new strand called Visions this year. But I think also for me it was very important to do that this year, to begin to create a kind of legacy or a bit of an identity for the programme. To basically allow authored filmmakers to know what we do. Now we have these six kind of core strands. I think they can also see their place within the festival.

I come from a background of funding documentaries, funding from development to post production film. So for that reason I’m very much across global production – what’s out there, what’s being made at the moment. But that relationship to films, where you’re looking at them as a funder as opposed to a programmer is very different because it operates between different criteria of what you want to support. So it’s been a challenge doing it in such a short space of time. But what I hope I’ve managed to do is change the structure in which I operate to allow the programme to flourish in future years. And to really permit a discovery and a champion. One of the things I most enjoy in programming actually is being a champion of voices who don’t have a platform elsewhere. I think the danger of a lot of documentary festivals is that they just become the best of fests. They’re safe – they repeat what is being programmed elsewhere. And that’s been a challenge, to not do that this year.

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Can you give examples of films that were completely unknown to you until they came through the submission system?

I think our numbers this year for submissions officially were like 2200, which is an increase on previous years…There are a number of things which have come through the system from international filmmakers, that I’d not encountered previously. Armed with Faith is one of the films from that pile.  And that’s a story of a bomb disposal unit in the North of Pakistan, who are on the frontline of a terrorist infiltration of Northern Pakistan. And it’s really quite a visceral piece – you’re essentially accompanying a bomb disposal unit operating with very little equipment to dispose of landmines and various contraptions which are meant to terrorise local communities in the north of Pakistan.

Another one is Freedom for the Wolf, which I think is a very strong directorial debut from a British filmmaker who I think is not based in Britain at the moment called Rupert Russell. And it is a highly stylised, quite essayistic look at the question of freedom globally, and the question of what freedom means in relation to democracy and whether other systems of governance permit freedom more than democracy perhaps. And it just feels highly confident in what its trying to do. Normally on paper at least I’m quite dissuaded by things that are like pick a theme and visit ten places in the world to explore that theme, but he’s managed to do it in a very confident and articulate way.

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Freedom for the Wolf

Do you have a couple of examples of the short films that you would highlight?

What I’ve tried to do specifically with the shorts programme this year is firstly to have the ability to show more short form content, but also giving it a different range of the types of shorts that we show here. I think historically they’ve been reasonably conservative, the types of shortform storytelling that the festival has championed. But we’ve moved into things that are already online – investigative projects that are much more responsive to what’s happening in the world this year. And also experimental pieces that are also artists’ interpretation of the documentary form. Which I think gives the programme more richness in terms of just developing those voices.

In the more experimental area, in the Visions programme we have some emerging talents including a lady called Emma Charles. Who’s a British artist filmmaker. And she’s made a 16 mm film of a subterranean centre. And it’s a really beautiful piece. And I understand that it was developed when she was studying at Royal College of Art and it’s her first piece since graduation.

We’re also giving a platform to a lot of films from the Stop Play Record programme which was a partnership between ICA and Dazed Magazine funded by the Arts Council, with Channel 4. It’s essentially a training programme for young filmmakers aged 16-22 to create 3 minute films. Championing those filmmakers showing new forms of documentary and animation for me is one of the best things a festival can do – to give a platform and exposure to those voices.

I was wondering if you could talk a little bit about how documentary storytelling is evolving creatively and expanding and overlapping with drama?

There are two directions, or trends that I’ve seen in particular. There’s a renewed interest and passion for verité storytelling. Really strong observational films produced over three or four or six years in some cases that are just like really close and warm narratives. The majority of those are family stories, things like The Cage Fighter, or Quest, which is a really outstanding debut by a filmmaker who was a photographer. And he started making a photo project with this family in Philadelphia. And gradually what he was doing evolved into a different form or storytelling, shooting a little bit of material here and there and increasing the confidence of the family and their trust in what they both wanted to do and achieve by telling their story. And Mama Colonel is another one of those,  by Congolese filmmaker Dieudo Hamadi,  which is like a Kim Longinotto film. So there has just been this – I guess it’s not a reemergence of that style of storytelling, because a lot of them are made over a long period of time –  but perhaps it’s a reaction to the presence of fake news these days. People are wanting to return to very much the nitty gritty of factual storytelling and observation and just being very embedded within a community that they’re trying to portray. So that they get some sort of shared truth within that development. And I think the majority are films which have not been initially funded. They are things that have evolved from other projects.

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Quest

Within the Visions strand but also within the Adventure strand there are films that have this really strong conceptual approach to filmmaking and the way that we interpret reality to storytelling. Ghost Hunting is one of the most powerful. A really reflexive piece that explores the power between direction of a filmmaker and those portrayed on the camera, to the point where the tide turns and they start to question what he’s trying to achieve with the film. And he has to then become open and become vulnerable as a director to be part of that shared experience of change within the film. And other films, Do Donkeys Act, a new take on ethno zoology. It’s looking at the relationship of individuals and animals. And again it’s something that’s not developed through the life of a donkey. The filmmakers had a concept and executed it in that case. 

 

You’ve taken the helm during a particularly turbulent time. How much does what is happening environmentally, politically and humanitarian wise inform your choices?

Definitely there’s a spine of films through the programme which are about the environment we live in. Particularly a reflection on European politics at the moment. We’ve got the world premiere of a film called Wilders, which is a portrait of Geert Wilders and has access to him being frank and very strangely open to potential criticism within that piece. 

We also have things like the Jo Cox: Death of an MP and Brexitannia too which are both very close to home reflections of changing politics within Britain and the question of who actually has the voice within media and who is represented through what we consider storytelling.  When politics are questioning essentially whether certain voices in society are ignored, you have to try to look and in some ways address that. And I don’t think there are enough films out there that are coming from the non represented communities within Europe. So yeah it’s a challenge as a programmer: if the film doesn’t exist out there which give an alternative perspective on that political shift then you can’t play it.

 

You are the first British programmer that Sheffield has had in many years. How to you approach to selecting British films for the programme and what are you throughts about the health of British documentary genre in particular?

We don’t preference British filmmakers in the programme. Obviously the festival as a UK institution has a responsibility to British cinema and developing particularly the kind of theatrical form of documentary with the film programme. For me exposing filmmakers to different forms of storytelling is one of the greatest ways to develop cinematic language and allow filmmakers to grow in their own confidence and storytelling…We’ve got a section called Focus UK which will continue to be in the programme. But this is a mixture of celebrating British storytellers but also allowing us to give a platform to filmmakers from other parts of the world looking in on Britain. Because I think that as important as British filmmakers covering stories at home. You can get entirely different interpretations of British narratives from people from other parts of the world. I’d like to see more of that to be honest. There’s been this historical imbalance of British, European and American filmmakers going to what they see as exotic parts of the world. I’d love to see the kind of turn where parts of the world that are now far more developed than they used to be in terms of the film industry and otherwise come and reflect on Britain and see this as an exotic and alien environment or interpret it through a different lens.

Sheffield Doc/Fest runs from 9-14 June.