As we remain in lockdown for the foreseeable future it’s sometimes hard to focus on the positive. But I know what has given me a great deal of enjoyment and fulfillment during these strange, endless weeks. In late March, in the first days of lockdown, we launched a podcast at Bertha DocHouse, where I work as a Programming Associate. So every two weeks for the last couple of months I have had the chance to talk with one of my favourite documentary makers about their working lives. All four of my guests to date have a number of films available online to stream – so the idea is that you can dig deep into their body of work before listening to our chat. It’s been a fascinating journey – I hope you will subscribe and share with any doc lovers out there. It’s available on Apple Podcasts and just about any other podcasting platform.
Here are the first four episode guests, starting with the most recent:
In a documentary-making career spanning a quarter century, Dan Reed has established a reputation as one of the most dedicated and talented filmmakers working in Britain today. With a slew of awards under his belt, he is also one of the most heralded.
Long known in the UK, Dan came to worldwide prominence last year with his devastating portrait of sexual abuse Leaving Neverland. The two-part Channel 4/HBO film won a number of awards and was widely hailed by viewers and critics as a forensic examination of the longterm trauma of sexual abuse.
At the same time, Dan found himself bombarded by a global legion of Michael Jackson supporters, many of whom had never watched the film.
As Dan himself admits, he’s no stranger to navigating difficult terrain. From his work amongst gang members in South Africa in Cape of Fear (1994), to covering both sides of the Balkan conflict in The Valley (2000), he has often placed himself in dangerous positions.
In recent years, Dan has explored complex stories of trauma through intimate personal testimony. The films use user-generated content, CCTV and interviews to powerful effect, depicting the timeline of terrorism events as they erupt across everyday settings: an opera in Moscow, a mall in Nairobi, luxury hotels in Mumbai, and the Paris office of Charlie Hebdo.
Alongside his terrorism films, Dan has built up a stable of observational documentaries, embedding himself amongst Russian gangsters, drug abusers and escorts. The Paedophile Hunter (Channel 4, 2014) won two BAFTAs and a Grierson award for its portrait of paedophile vigilante Stinson Hunter.
Watch Dan’s films:
In more than twenty years as a filmmaker, Daisy Asquith has told human stories the length and breadth of the UK, and beyond.
She has also taken viewers into the world of clowns, young mums, Holocaust survivors and house clearers, in empathetic, nuanced portraits which have earned her multiple awards. She forms tight bonds with her subjects, some of whom she has been filming for many years.
In Crazy About 1D for Channel 4, Daisy memorably explored the legion of passionate One Direction fans. The response to her film was so vitriolic that she decided it was worthy of further study. The resulting PhD thesis This is Not Us focuses on performance, relationships and shame in documentary filmmaking. Daisy now runs the MA in Screen Documentary at Goldsmiths.
Daisy’s most recent work includes her moving personal documentary After the Dance. From behind her camera she embarks on a journey with her mum to find out more about her grandparents, who gave her mother up for adoption after she was born illegitimately in Ireland in the 1940s.
Daisy has also directed the archive based Queerama. Released to coincide with the 50th anniversary of the partial decriminalisation of homosexuality in 1967 the film edits together 100 queer films to an original soundtrack by John Grant, Goldfrapp and Hercules & Love Affair.
WATCH DAISY’S FILMS
Orlando von Einsiedel is drawn to telling inspiring stories of humble heroism from around the world, often combining intimate personal narratives with macro level politics, powerful visual aesthetics and on-the-ground journalistic muck-racking. He has worked in impenetrable and difficult environments, from pirate boats to war zones, and has won over 100 international film and advertising awards.
Orlando’s debut feature documentary VIRUNGA charted the story of a group of courageous park rangers risking their lives to build a better future in the Democratic Republic of Congo. BAFTA and Academy Award nominated, the documentary won over 50 international awards including an EMMY, a Grierson and a duPont-Columbia Award for outstanding journalism. The film was also recognised for its role in protecting the Virunga National Park winning a Peabody, a Television Academy Honor and the prestigious 2015 Doc Impact Award.
Orlando’s forty minute film THE WHITE HELMETS follows the lives of a group of heroic Syrian civilian rescue workers in 2016. The film was released as a Netflix Original and won the Academy Award for best documentary short. It was also nominated for two EMMYs, including one for Exceptional Merit in Documentary Filmmaking.
His subsequent feature EVELYN, a deeply personal story and road trip odyssey about the loss of his brother to suicide, won the 2018 British Independent Film Award (BIFA) for Best Documentary. The Evening Standard newspaper called it “Phenomenal” and “Life-changing”.
Watch Orlando’s films:
SKATEISTAN (2011) on Vimeo or YouTube.
VIRUNGA (2014): watch on Netflix.
THE WHITE HELMETS (2016): watch on Netflix.
EVELYN (2019): watch on Netflix and DocHouse’s Q&A
RADIO AMNIA (2011): watch on IDFA.
AISHA’S SONG (2011): watch on Vimeo.
Victoria Mapplebeck doesn’t shy away from telling difficult stories about her personal life. In her first smartphone short 160 Characters, Victoria documents the highs and lows of raising her son alone.
She took the journey even further in the BAFTA-winning film Missed Call, made in collaboration with her teenage son Jim, as they decide to reconnect with a father who’s been gone over a decade.
Victoria was nearing completion of Missed Call when a routine mammogram revealed she had breast cancer. She decided to keep filming, using her iPhone to chronicle life after the diagnosis, as she undergoes chemo and months of uncertainty. The resulting film, The Waiting Room, is a nuanced and intimate account of the toll of undergoing cancer treatment. An accompanying VR piece takes you even further inside Victoria’s perspective.
During the global lockdown caused by COVID-19, Victoria is continuing to film. As she told me in this interview “There’s something about scrutinizing the hell out of difficult stuff that I find helps. It maybe doesn’t help everybody but it helps me. It’s almost like it brings emotional dramas into closeup and puts it at a distance at the same time.”
You can sign up to DocHouse Conversations here. The next episode will feature a panel of filmmakers whose plans for the release of their latest documentary have been blown up by the COVID-19 pandemic.