Tag Archives: observational documentaries

Kristof Bilsen on the making of Mother

Beautifully shot and multilayered, the new documentary Mother centres on a care home in Thailand, which provides intensive one-on-one 24 hour care for 14 Western dementia patients. At the heart of the film is Pomm, who we see lovingly doting on Alzehimer’s sufferer Elisabeth. But Pomm’s reality is that at the same time she looks after her patient, she is always thinking of her three children, who live many hours away. I recently spoke over the phone with the film’s director Kirstof Bilsen, about the themes of the film, and how he came to make a film set so far from his native Belgium.

Carol Nahra: Can you tell me a bit about its origins?

Kristof Bilsen: I am always looking for stories that are micro but work on a macro level too. So far I focus on people stuck in a certain reality. In Elephant’s Dream it was people in a post colonial situation, and public sectors workers stuck in a job which didn’t exist. With this film it was to do with my mother; it was very personal. She was suffering a combination of dementia, though not literally Alzheimer’s, for quite a lot of time. We lost her this spring. She was going downhill for many years. Eventually we felt there was a point of no return coming: what would be the best for Mom? Would it be informal care at home? An old-people’s home, care centre? If so what would then be the consequences?

Kristof Bilsen

So yes, I threw myself into researching various approaches to elderly care and one of them was thinking “beyond” borders. In my research I found out about this place in Northern Thailand, where only 14 patients get 24/7 care by means of 3 caregivers per patient who do a rota. We initially went there for a two week research trip, where I made a seven minute short, which was really a portrait of place. But while researching and shooting that short I found and fell in love with Pomm. I mainly fell in love with her and Elisabeth because I mainly saw a grandmother and a child rather than a Thai woman and a patient, or a ‘guest’ as they call them. That for me was revelatory as I thought ‘that could be a story’. She could be a character. Without really knowing her back story, it was just the dynamic and bond that struck me as a good way into the story. 

CN: Did you know going in that you would focus so much on Pomm and what’s it like to be a mother away from her children?

KB: What I prefer most in making documentary is to trust the process. A story leads you where you need to be. In the case of Pomm that was really key to the film. Pomm quite soon started talking about her children, started talking about what she had to cope with as a single mother. And sort of almost gently diverted me to this is actually the story that we are telling. To really be humble to the process. 

Pomm and Elisabeth

CN: We also follow the story of Maya, who suffers early onset Alzheimer’s, and is being moved by her family to Thailand. How did you begin to incorporate Maya’s storyline?

The Alzheimer’s patients are at a certain stage quite down the line. You are limited to what you can film..How much can you empathise? The urge for me was to ideally follow a patient coming from Europe or specifically from Switzerland. It was serendipity because we were gently warned ‘well if want to film a patient, just be aware that it is a very stressful time’. It’s very problematic for a family to allow someone to film like that. They are stigmatised, get a lot of judgements from people in the West, you could say the Christian guilt thing – how do you dare to outsource someone all the way out to Thailand? And then suddenly there was this email coming from the man running the centre, who said ‘well actually you might be lucky, there is this family who will have their wife/mother – Maya – going there. And they are happy to meet you in theory’. So I went to Zurich and met them. Fortunately I had the 7 minute short I could show them, so they at least had a flavour of what I was up to. Plus I was very upfront about my own messy situation – we have our mother, and we are struggling and it’s huge taboo when it’s no longer home care. It was just being very up front and honest with them, and they were like let’s go on the journey together.

CN: How do you go about getting access to patients with dementia who can’t give informed consent? 

KB: Well it was quite straightforward, being very transparent and common sense. That is my responsibility as a filmmaker in terms of representation. But then also for the organisation themselves, they had in the past a bit of media attention, specifically in Germany and Switzerland, and some radio pieces here and there, so they know what media can and cannot do. They were themselves quite confident in terms of the situation. But in terms of the patients it was always just a matter of being very clear to the family members – we are filming your beloved mother for example, in the case of Elisabeth – are you okay with us filming – and they would write informed consent. 

Maya and her daughter

CN: Did Maya notice your presence at all?

She did. But it was always a mystery how much. It’s interesting because what filming does and what editing does is you really empathise with them – with Maya in the film. Sometimes I feel that it might make them seem more conscious than they are, in the film, on the filmic frame, than in reality. 

CN: Do you mean it makes it look like there is more cognitively going on than there is?


Yes, yes. Just because we do the drama shots – you see them leaving and the reactions of Maya. It’s all true but there is at the same time the deep mystery of how conscious are Alzheimer’s patients. How aware are they of the dynamics? I don’t mind that it adds to the empathy. We would also partake in giving care, that was part of the filming process. 

CN: How long did it take you to film this? 

KB: For me it’s really important that I take my time, that it’s a mixture of poetical and observational but also that the characters get the agency they deserve…So I think I really needed time to tell the story properly – you can’t do it in half a year. Filming technically started in fall 2016 and ended spring 2018. And then there was an editing process of four months. In total we did three trips. It’s not like there’s an incredibly amount of rushes – it felt quite sane. We shot about 50-60 hours, which allowed us to really be with them and be with Pomm, and be with her. 

CN: What is your ideal care scenario? 

KB: Ideally there really would be a world where there is space and time to give care. So if you give home care you would be supported by nurses that you know and that are affordable and you can really be a team. And you still keep a certain sense of privacy of your family, but you are also are a community. That is an ideal scenario – not an exhaustion route for the beloved partner or children to give care and not be able to talk about it. 

CN: What are you hoping people will take away from the film?

KB: I would say a sense of empathy, open to discussion, to see that it’s not something that you need to hide away from – it’s just the continuum of life. We’re also expecting a little one, a little daughter in February. We are going to childcare places and I’m seeing children and toddlers. And the image of someone being so dependent is an image very familiar to me when I see people with dementia or Alzheimers, or more specfically my mother in the weeks before she passed away, that I still had the honour to feed her. For a lot of people that is unimaginable – feeding your parents? Now for me that taboo is gone – I am familiar with that concept. I would like for people to be much more open and kind to the continuum of life.


Mother is playing this week at Bertha Dochouse and JW3 Finchley in October. See Mother website for trailer and full list of screenings.

Stream Now: Award Winning Docs

If you’re not fortunate enough to be attending Sheffield Doc/Fest this week, but are in the market for some great docs, here is a list of films that have played at the festival that you can now stream on Netflix or BBC IPlayer. Descriptions are from the copy I originally wrote for Doc/Fest.

NETFLIX FILMS 

The Hunting Ground

 

Excited at having landed a place at the University of North Carolina, Annie Clark’s elation evaporated when she was raped before classes began. She is far from alone: studies show that 20% of women will suffer a sexual attack at university. In a masterful, wide-ranging investigation, Kirby Dick and Amy Ziering present dozens of testimonials detailing how universities of every shape and size collude to cover up sexual crimes on their campuses, creating an ideal “hunting ground” for serial offenders. Fear of damaging their reputation – and enrolment – drives shocking behaviour throughout the universities, with the fraternity and athletic communities covering up the most grievous assaults. For many victims, the institutional denial proves even more painful than the crime itself. But hope is in sight as Annie and other victims begin to fight back through the courts, hitting universities where it hurts – by threatening their revenue streams.

3 1/2 Minutes

It became known in America as the “loud music trial”. In an encounter which lasted a scant three and a half minutes, a middle aged white man named Mike Dunn repeatedly fired into a car of unarmed black teenagers, after they refused to turn down their rap music, killing 17 year old Jordan Davis. Now the case has come to trial, and the nation is watching. Dunn’s attorney is using Florida’s controversial “stand your ground” law to argue self defence. In the wake of the Trayvon Martin case, in which a white man walked free in Florida after gunning down an unarmed teenager, tensions are running high. Director Marc Silver skilfully weaves a compelling narrative through beautifully shot courtroom scenes, interviews with the victim’s parents and friends, and shocking telephone conversations between incarcerated Dunn and his distraught fiancee. A riveting look at a flawed legal system in a country where race relations are balanced on a knife’s edge.

Cartel Land

In this double Sundance winner, Matthew Heineman (main pic above) takes us deep into the world of Mexican drug cartels by embedding himself with two vigilante groups on either side of the US-Mexico border. Camouflaged to help spy on drug runners, veteran Tim Foley is a man who wears his hard past on his face. Meanwhile, across the Rio Grande, surgeon Dr. Jose Mireles looks straight out of central casting, with chiselled features and a prominent moustache. As head of the Autodefansas, he is leading a group of men determined to obliterate the region’s most dangerous drug cartel, the Knights Templar. Heineman repeatedly places himself in harm’s way, filming the chaos as the group begin taking over towns – in so doing adapting many of the violent tactics of the drug lords they’re trying to overpower. A visceral journey into North America’s heart of darkness, Cartel Land will be talked about for years to come.

Searching for Sugar Man

Sixto Rodriguez was discovered by two music producers, whilst living on the streets of Detroit in the late 60s. They quickly recognised him as an inner city poet, his poignant lyrics about working class lives reminiscent of Bob Dylan. They made two albums with Rodriguez, and never understood why they were total flops. Unbeknownst to them, in a pre-Internet, apartheid age, a bootleg copy of a Rodriguez album made him an inspiration to a generation of South Africans just beginning to test the ties that bind. Yet all that his South African fans knew about Rodriguez, was that he had spectacularly killed himself on stage. After years of wondering, two of his biggest devotees set out to learn more, and eventually discover the shocking truth behind the legend. This beautifully crafted film scooped two major awards at the Sundance Film Festival, and shows in its edge-of-the-seat storytelling, just how powerfully a documentary narrative can grip.

We Are Legion

Few people cite Scientology as a force for good in their lives – outside of Scientologists themselves, of course. But it was communal hatred of the creepy cult – and their bullying, litigious online presence – that forced the hacktivist group Anonymous from a culture of pranksters to an influential cyber-army. As a number of the group’s most prominent activists face over-the-top prison sentences, director Brian Knappenberger explores the history of the radical collective, and how it rose from a patchwork of bloggers, to become an influential change-agent in the Arab spring. Inevitably with such an amorphous, all embracing group, schisms endure. Most want to use their numbers to promote civil disobedience and curb some of the world’s excesses. But others simply want to continue to cause anarchic mischief online, or as one of this doc’s many entertaining commentators puts it: “If you’re not out there making epileptics have seizures, then you’re a moral fag”.

National Bird

Lisa Ling regrets the 121,000 lives she spied on electronically in a two-year period for the US Air Force. She’s now trying to make amends by visiting bombing victims in Afghanistan. National Bird follows Ling and two other whistleblower veterans wracked with guilt about the secret US drone war, and the many civilian casualties that continue to be denied by the powers that be.

BBC Storyville on IPlayer

Client 9

At some point you would have thought New York Governor Eliot Spitzer, who was an aggressive prosecutor of prostitution rings, might have written a note to self: Do Not Buy Hookers (no matter how high class). But no, alas, an FBI sting of a pricey escort service led to Spitzer’s fall and resignation after barely a year in the guv’s chair. Unfortunately for us small people, Spitzer was one of the good guys: he had built a career tackling excesses in the banking industry (before anyone else did), as well as going after environmental polluters and other baddies. Oscar-winning director Alex Gibney pieces together the rise and fall of Spitzer, and the long line of powerful enemies he left in his testosterone-fuelled wake. Accompanied by a breezy soundtrack, a range of entertaining interviews – including his chief nemeses, favourite call girl, and Spitzer himself – fill us in on one spectacular fall from grace.

Unlocking the Cage

Unlocking the Cage

In this legal thriller from vérité legends D.A. Pennebaker and Chris Hegedus , we follow Harvard professor Steven Wise, who is arguing to a series of sceptical judges that New York’s chimpanzees should be persons in the eyes of the law. Wise is convinced he can make legal history – if only he can keep his primate plaintiffs alive long enough to represent them in court.

Exposed: Magicians, Psychics and Frauds (formerly An Honest Liar)

An Honest Liar

As a magician “The Amazing Randi” spent decades wowing audiences with astonishing feats. But as Randi’s fanbase grew, he became uneasy at how conmen and faith healers used the tricks of his trade to deceive the masses for profit. Randi made it his life mission to expose psychics, even using the bullhorn of the Johnny Carson show to do so. Directors Justin Weinstein and Tyler Measom take us through a hugely enjoyable series of Randi’s exposes, from the spoon bending of Uri Geller, to a televisual faith healer aided by an earpiece and a compliant wife. As he continuously worked to debunk the psychics, Randi met angry denial at all levels – even from the gullible scientists he did his best to aid and abet. As he eases into his twilight years still fighting deceit, Randi finds that a deception at the heart of his personal life might prove the costliest trick of all.

Pussy Riot – A Punk Prayer

They knew how to make an impact: Pussy Riot’s performance inside a Russian cathedral might have lasted just a few seconds, but its repercussions continue to rock the Russian state. Mike Lerner and Maxim Pozdorovkin’s absorbing documentary brings us straight into the centre of the ensuing trial, where three members stand accused of “hooliganism motivated by religious hatred”. The filmmakers obtain astonishing access to the legal system, including the courtroom, where the girls murmur from within the confines of a glass cage at the sometimes farcical mayhem around them. Reviled by much of the Russian public, with even their closest family struggling to defend their actions, they stand firm by their convictions – and hatred of Putin. A truly compelling immersion into the clash between a generation determined to challenge an oppressive status quo, with those who are equally determined to maintain it.

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.

Doc/Fest ’16: Six to Watch

For quite a few years I’ve had the good fortune to preview large chunks of the Sheffield Doc/Fest programme, in order to help write the film catalogue. Of the thirty-five films I watched for this year’s festival, which opens on Friday, here are a few of my favourite:

Presenting Princess Shaw

Talented but isolated, New Orleans care worker Samantha spends her spare time uploading acapella videos of her original songs to YouTube, to a smattering of viewers. Unknown to her, in a far away kibbutz, Israeli mash up artist Kutiman is composing his next viral sensation – with Samantha as the star. Following them both, director Ido Haar brings us a gratifyingly heartwarming fairy tale from the digital age.

 

Weiner

Two years after resigning from Congress for tweeting a picture of his bulging yfront, Anthony Weiner is running for Mayor of New York. His loyal wife Huma is at his side, and the tenacious politician has even invited a documentary crew along for the ride. The trouble is, he’s neglected to curb his digital dalliances, giving us jaw-dropping access to a campaign that is soon in total meltdown.

Mr Gaga

Immerse yourself us in the world of modern dance through the vision of Ohad Naharin, artistic director of Israel’s Batsheva Dance Company. Through extensive archive, observational footage and beautifully filmed dance sequences, Doc/Fest returnee Tomer Heymann focuses on the fascinating stories underpinning Naharin’s creative process, and how an untrained veteran spurned the tutelage of the dance world’s maestros to become one of the most talented choreographers working today.

Unlocking the Cage

In this legal thriller from vérité legends D.A. Pennebaker and Chris Hegedus ,we follow Harvard professor Steven Wise, who is arguing to a series of sceptical judges that New York’s chimpanzees should be persons in the eyes of the law. Wise is convinced he can make legal history – if only he can keep his primate plaintiffs alive long enough to represent them in court.

Life, Animated

After years of silence as a child, Owen Suskind amazed his family by beginning to communicate through his biggest passion: Disney films. Now leaving home, Owen is learning that not every step in life has a Disney guru. Director Roger Ross Williams (God Loves Uganda) returns to Doc/Fest with a masterful film about how one close-knit family navigates life with autism.

 

 

National Bird

Lisa Ling regrets the 121,000 lives she spied on electronically in a two-year period for the US Air Force. She’s now trying to make amends by visiting bombing victims in Afghanistan. National Bird follows Ling and two other whistleblower veterans wracked with guilt about the secret US drone war, and the many civilian casualties that continue to be denied by the powers that be.

————–

Sheffield Doc/Fest runs from 10-15 June. I’ll be moderating a discussion about the power of drones, and the themes stemming from National Bird on Tuesday afternoon.

Addicted to Sheep: Interview with Magali Pettier

One of the surprise hits of this year’s Sheffield Doc/Fest, where it had its world premiere, Addicted to Sheep is that increasingly rare specimen: an observational documentary, largely made in the cinéma vérité tradition. On the big screen it’s a treat for the senses, immersing you in the lives of a family of tenant sheep farmers in the north of England. Currently screening in UK cinemas, it’s been getting rave critical reviews.  I recently did a post-screening Q&A with the director Magali Pettier at Bertha Dochouse. Here’s a brief excerpt:

There were quite a few scenes in there when they clearly could use another hand. Did they ever say, ‘Magali, could you help me with this’?

Yes, and I do feel it sometimes, especially with the scene with the gate [where the farmer struggles at some length to fix a gate].  But my role as a filmmaker is to observe and see what is happening.  If he had fallen and broken his leg of course I would go and help. But you shouldn’t intervene, and my aim is to film what is happening, and if I hadn’t been there, there wouldn’t be anyone to help him. He wasn’t in any danger. I think sometimes, having been brought  up on a farm, I knew when  to be there to help, and when to be quiet, because there are some very tense moments and you have to make yourself very small.

Magali-Pettier-Director-Producer-of-Addicted-to-Sheep1
Magali Pettier

They certainly didn’t expect you to be spending Christmas Day with them!

They certainly didn’t. It didn’t take too much convincing and they said yes you can come while we open presents but after that we’d like to have the day to ourselves. They did make me feel like part of the family, and I stayed in the house with them when I was filming them.

It’s quite impressive, and in some ways these days slightly old-fashioned to have such an observational style. You had some interviews on the go, to give context to their lives. Otherwise it’s very minimalist. Have you been surprised how well the film has been received by audiences?

So far we’ve had a really good response. People appreciate they are not being told something all the time. It is filmed in a way that allows them to experience that environment and they feel like they’ve been there and that they know the family. For me that was the aim. I wanted the film to touch on social issues but I didn’t want it to be about social issues. I wanted people to think about it, and open up a conversation, but I wasn’t going to make a campaigning film. I wanted it to be about real people.

Caption-Still-of-Esme-Hutchinson-on-filming-location-in-Upper-Teesdale-for-Addicted-to-Sheep-addictedtosheep-440x350

How do you know, in a film like this, that it’s time to stop filming?

I spent about 45 days over 18 months there. I could tell they wanted to get on with their lives! And going to those places and having me always behind or in front of them, or sometimes with a radio mic on them,  I could really feel it when there was stress on the farm, that it was time.  I had asked enough of the family, and we had to make the film with what we had.

And the family is happy with the film?

They liked it. But they said at first that they were not sure what the community would think. But we had a preview in the community with feedback forms and everyone agreed it was a good representation of the area. So that gave them confidence that it was okay – the community liked it so it was fine.

Check out this link for upcoming screenings of Addicted to Sheep.

Addicted-to-Sheep-Jack-talking-2-440x350

BBC Exec Fergus O’Brien on the Making of The Met

In September 2013, veteran doc maker Fergus O’Brien took up a new post as Executive Producer at the BBC, working with head of documentaries Ayesha Rafaele. On his first day, he was handed a very big project: “Literally I was walking in the door and I bumped into Ayesha and she said ‘Do you fancy exec-ing the Met?’ I’m not sure I knew exactly what that would mean but I said yes.”

O’Brien soon found himself immersed in steering one of the biggest access-driven documentary series in the BBC’s recent history. Airing on BBC One, The Met: Policing London is the first time a broadcaster has been given comprehensive access to London’s police force.

fergus head shot
Fergus O’Brien

For O’Brien, it has been rather a bumpy ride: “Inevitably with stuff that’s dealing with the law and criminality and so on, the phone never stopped. You’re often managing people’s worries, and people’s concerns, and keeping an eye on the legalities of things and keeping a steady line of contact open with our editorial policy team and our legal team.”

Initially a six part series, the team had to drop one of the episodes, when legal restrictions prevented them from airing a major storyline about domestic abuse: “That was very difficult – it’s hard to say goodbye,” says O’Brien. “It would have been a really strong story and often those stories, where the victim is willing to be on camera, aren’t told. Unfortunately through the peculiarities of the legal system we couldn’t show it.”

As director of such films as Channel 4’s Seven Days and the acclaimed, and very funny, The Armstrongs (BBC One) O’Brien is used to following a variety of strong characters across numerous settings. But helping the four shooting teams negotiate their way through the labyrinthine Met was a job like no other: “Each of the teams was assigned to a response team in a different borough of London, and a cross-section of boroughs which would reflect the diversity of the city,” he says. “And each team also took on one or two specialist units, whether it was homicide or Trident. The idea being that the bigger units would hopefully provide us with a spine for each film and something we could come back to, and then we could pepper it with a mixture of different response stories to flesh things out and give a sense of variety in each programme.”

Whilst access had been given from the top, it continued to have to be negotiated throughout: “We had to get consent from everyone, even if they were in the background,” says O’Brien. “It’s the usual thing, from our point of view: unless people want to do it there isn’t a point. If they feel they are being forced into it, it just isn’t that great.”

The production ended up with 2,000 hours of footage, shot over the year, and edited over many months. Even now, as the series is airing, O’Brien is still putting out fires: “It’s not the same as covering a story and when it is done and dusted in the courts you put it out. It is just ongoing; it’s daily. Every day now we have to check every single case across the series to make sure people haven’t re-offended and we’re not in contempt of court. It’s a huge part of it.”

The Met: Policing London is airing on Mondays on BBC One at 9pm until early July. Read about a very different way to film police docs here.