Tag Archives: sheffield doc/fest

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.

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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.

DocVisions.001

 

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.

Freedom_For_The_Wolf_1.mp4.01_25_40_13.Still005
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.

Quest_sm
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.

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.

Katharine Round: Making The Divide

Alden is an ambitious Wall Street psychologist, while Rochelle struggles as a carer on a zero hours contract and Keith tries to make sense of his life behind bars, as a result of Clinton’s “three strikes and you’re out” policy. Through their stories, and four others, Katharine Round humanises the bleak fact that growing inequality is driving a terrible wedge through modern society. Jumping back and forth in time, and between characters and experts, this is an engrossing, cinematic, thought-provoking essay which flags up some root causes of today’s societal woes – and raises disturbing questions about the future. Inspired by the bestselling book The Spirit Level, The Divide demonstrates the terrible impact that decades of misguided economic decisions is having on modern lives – and the truth behind the adage that money can’t buy happiness.

As it is garnering press accolades and released in cinemas throughout the UK, I spoke to director Katharine Round about the making of the film.

CN: I found it a really powerful film. I understand how it was inspired by The Spirit Level, but of course it’s a very different entity, isn’t it?

KR: Yeah, it’s a very different entity…I thought it was quite a fascinating book. The challenge of course was how do you make something like that into a film that anybody would want to watch outside of that field?  In a way I’d always thought it had to be done through character because that is where I think film is strongest. So that seemed like the obvious approach but perhaps to others they did expect it to have lots of graphs and analysis. But I thought the book had done that very adequately.

Darren on swing

 

CN: How hard was it to find these characters and to settle on these characters given that the whole world is your universe?

KR: It was impossible. You know, I’m not going to lie. Normally when you make the film you find the character and then you draw the themes out from the character…But in a way I was looking at it the other way around. So it was how do you something that feels like it’s coming from the personal but illuminating the big picture. It’s a sort of tonal thing….So it did take a very long time.

CN: Where did you get the funding for the film?

KR: We raised initial finances through crowdfunding. At the time it was the most successful campaign on Indiegogo for a UK documentary. And so we raised a fair amount of money but only really enough to pay the bare bones of what was going on. Certainly not enough for me to get paid or lots of other things. But everyone else pretty much managed to get paid which is very important. But it was, and still continues to be, a financial struggle this project, because you underestimate the scale of what you are trying to do.

katharine
Katharine Round

CN: It does seem so painful to me. Now it’s great because the film is coming out and everything, but how painful are these things to make?

KR: In some ways it’s a joy. Meeting all these people is very pleasant. But it’s a very long investment that you’re making. And certainly for the first year or couple of years of that casting process it was tough. There were lots of things happening, very negative programmes coming out in the British media, People Like Us, Benefits Street, you know. I was obviously trying to make something very very different but it was hard to engage people in that. You know they don’t see you as any different from anyone else in that way. Why would they or should they?

CN: I can imagine once you settled into your seven characters it became a much more comfortable experience.

KR: When we edited it, it was actually quite a pleasurable experience. We had all this experience and it was how you kind of navigate it. And John Mister, he was my editor and he’s amazing. And so smart and so unphased at the scale of this task and how to weave together these people into a kind of coherent narrative.

CN: How did you shoot the film?

KR:  I wanted to have quite a particular shooting style where we’d reference a lot of characters in a very similar kind of framing or position. So everyone is filmed in their mirrors; a lot of people filmed in their cars. A lot of people filmed in quite long shots. I wanted the audience to take away the idea that the people in the film are not necessarily that different from each other fundamentally. They’re in different circumstances and that shapes their opinions but fundamentally a lot of what they are looking for, security, a good life for their children, stable income for themselves, a lot of things are very universal. 

The Divide is screening at selected cinemas from 22 April, and goes on nationwide release from 31 May.

 

Dan Reed on the Charlie Hebdo Attacks

When your office door is just metres away from your neighbours,  you don’t have much need for their landline: it’s easy to stroll across the hall for a chat, or send an email. But the staff of the Paris-based television production company Premieres Lignes were to come to regret not having their colleagues’ number on the morning of January 7 last year. As two gunmen entered the building and stumbled around looking for the offices of the satirical magazine Charlie Hebdo, alarmed Premieres Lignes staff locked their own office door, headed to the roof, and waited helplessly as the massacre unfolded below. Their continuing regrets over their lack  of heroic action is one of the most compelling sequences in a remarkable film airing tonight on BBC’s This World. Directed by five time BAFTA winner Dan Reed, Three Days of Terror: The Charlie Hebdo Attacks lays out in forensic detail the sequence of events that kicked off with the terrible massacre in the magazine’s meeting room.

Martin Boudot
Premieres Lignes employee Martin Boudot

Reed is no stranger to this territory, having similarly masterfully dissected terrorism attacks in Mumbai, Moscow and Nairobi. He is one of the most accomplished documentary makers working in Britain today (his recent masterclass at Sheffield Doc/Fest is well worth a listen). Docs on Screens spoke with Dan about the making of the Charlie Hebdo film, and what it’s like to continually work in this dark terrain:

Carol Nahra: You start out the film with an acknowledgement of the November attacks. How much did that tragedy affect the making of the film?

Dan Reed: The very last guy we happened to interview was the chief medical officer of the Paris fire service, who was at Charlie Hebdo and is one of the first people into the room. It was Friday the 13th of November, which is the date of the Paris attack, and we were chatting away at the end of the interview. I was saying “Something is going to happen again soon, I can feel it in my bones. It will either happen in Paris or London, there’s going to be another devastating attack soon. And there is no reason why it wouldn’t happen in a way, because nothing has changed to prevent it happening”. Literally, 200 metres from the studio where we shot our interview – which was our regular hangout in Paris where we shot most of our interviews – three or four hours later gunmen turned up and killed 19 people at a cafe on the corner. And the Bataclan was a short walk from Charlie Hebdo. My office in Paris was literally three metres away from the attack where Charlie Hebdo happened. I was working with that TV company (Premieres Lignes). So it all felt very very close… So we had to reference it back and say to people “look this is a film about what happened in November”.  And then we had to find a way in the preamble and the wrap up to make a distinction between the attacks.

dan reed
Dan Reed

CN: So much has been published in the media regarding Charlie Hebdo. What was your aim with this film?

DR: For one thing, to try and actually research the story properly, and figure out what exactly happened. We went into mind numbing detail about what actually happened, when and where. There is always drama in the two story of things…in the unfolding of events. There is often a lot of dead time, when people are waiting for police to arrive, and those are dramatic pauses…We did a lot of research to allow us to understand the drama of the story. We also got hold of a lot of images which had never been seen before – a lot of still images from the security cameras at Charlie Hebdo and the Jewish grocery. There are quite a few kind of scoops and untold bits in our story…So it’s kind of untangling the truth from the lies and the misperceptions and really establishing a proper timeline for the story, that took a lot of work. A lot of these people hadn’t spoken before, or hadn’t spoken at the time.

“There’s this strange process where you start from completely on the outside of events, and six, eight months later by the time you’ve corralled all these people together and got them to talk to you, you end up like a single point of contact for all these experiences.”

CN: Yes and they’re talking about very traumatic, harrowing and recent events. So what was that like?

DR: Again, there’s this strange process where you start from completely on the outside of events, and six, eight months later by the time you’ve corralled all these people together and got them to talk to you, you end up like a single point of contact for all these experiences…Every eyewitness is trapped in their often very narrow perspective. And often has a lot of misperceptions, a lot of questions, a lot of frustrating gaps that we’re able to fill in. So the satisfaction of being able to, if you like, piece together the narrative not only for filmmaking but also for sharing with the other victims – the survivors – that’s satisfying. I happen to speak French fluently, because I grew up speaking French. And that really helps. You’re immersed in this world of trauma and loss and people who can’t get these violent images out of their heads. It’s familiar territory I’m afraid.

laurent leger
Charlie Hebdo survivor Laurent Leger

CN: Can I ask you about Premieres Lignes. They’re your co-production partners, is that right? What was it like for them continuing to work in the same building?

DR: Really really hard. I don’t think I’m betraying confidence by saying there are a number of people within that company who would very much like to move, and of course it’s difficult and very expensive and may not even be a good idea. Very much to varying degrees some of them are definitely haunted by what happened and are reminded every day. It’s difficult not to be.

CN: It’s quite different from some of your other “Terror” films. Terror in the Mall had such abundant multi camera archive. Can you talk a little bit about the archive collection process for this?

DR: The key word is frustrating because I knew in particular that security camera footage existed from a number of locations where the attacks had happened. Because the footage was immediately impounded by the police, and because the prevailing attitude is “don’t let people see anything”, it was impossible to prise the moving pictures from the French authorities. And that was very frustrating because of course we would have used it responsibly.

“There is a huge world of difference between having something shocking in a twenty second clip on the web, and having it in a documentary where the people involved speak, and it’s done with care and compassion and sensibility.”

CN: So there’s a lot of footage that you couldn’t get?

DR: We just literally couldn’t get. There’s a really, really strong taboo in France against any images showing pain and suffering.  I found it kind of unhelpful in some ways…I think you can understand, but at the same time that really blocks a huge amount of journalism and seals off a lot of images. We live in a world where images are often the key to understanding situations. If they are used responsibly in the form of a longform narrative in particular then I think you can definitely justify the use of quite shocking images, if they’re in a context which creates understanding rather than used for just shock purposes. There is a huge world of difference between having something shocking in a twenty second clip on the web, and having it in a documentary where the people involved speak, and it’s done with care and compassion and sensibility. But no matter how you treat the material, the French are like not into that at all… Notwithstanding that I think we got a huge amount. It’s a more emotional story in a way than the others.

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CN: Is doing film after film of darkness taking its toll on you?

DR: I don’t think I can do another one like this. I said this after Nairobi – I was being interviewed by the New York Times, saying “this broke my heart and I don’t think I can do another”. And here I am. But in fact I just turned down Terror in Paris 2 for the BBC, because I said “I can’t do this again. I can’t do this again in the same place.” The nature of the material, the darkness is enveloping, and you can kind of get lost in it. I think I can safely say I’m not going to do another blow by blow like these for a while.

Three Days of Terror: The Charlie Hebdo Attacks airs 6 January on BBC Two at 9pm.

Jeanie Finlay on Orion: The Man Who Would Be King

Over the last few years, British filmmaker Jeanie Finlay forged a reputation for making fabulous films about stories from the fringes of the music industry.  The Great Hip Hop Hoax told how a couple of Scottish lads got a record deal by posing as Californian hip hop artists, and Sound it Out profiled the last surviving vinyl shop in the northeast of England.

Finlay’s  latest film, Orion: The Man Who Would Be King, about to be broadcast on BBC’s Storyville, continues this tradition in spades. It’s an utterly engrossing, layered story, beautifully told. Here’s what I wrote about it for Sheffield Doc/Fest, where it had its world premiere in June:

As a teenager in 1960s Alabama, Jimmy Ellis’ wonderful singing voice was unlike any other. Except, that is, for one Elvis Presley. Hampered by his over-resemblance to the King, Jimmy’s own singing career floundered. Then, in 1979 he found fame as a masked singer called “Orion”, a persona deliberately evolved to create intrigue in the wake of Presley’s death. Over the next years he played to legions of grieving Elvis fans, and developed his own fanatical fan base, many of whom remained in willful denial about the true identity of their idol. With his contract stipulating he never remove his mask in public, Ellis’ success came at a high price for the singer still hoping to succeed on his own terms. Jeanie Finlay’s nuanced portrait of Ellis serves as a riveting cautionary tale of the music industry, and a memorable exploration of identity. 

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Jeanie Finlay

I spoke with Jeanie on the telephone, just before she left to take the film on a tour of the American South:

How did you come to this story?

I discovered an Orion record at a car boot sale with my husband 12 years ago. And was just intrigued by this kooky masked man. We took it home and played it. It was confusing: what is this? Because it wasn’t Elvis songs but it sounded like Elvis and the mask was intriguing. And then we did some research and discovered Orion’s whole story. It was a total chance discovery. I wasn’t making films then; I was an artist. Cut forward six years and I’d made Teenland and Goth Cruise and I thought what am I going to make next? I’ll make Orion. But I couldn’t get anyone to fund it. So I got a bit of development money and I shot most of the film on that initial development.

I was told by a senior programmer “If you continue to make music oriented work, no one will fund you.  You’ll get shown at festivals but only in a side bar, and you’ll never be taken seriously.”

It seems like such a great story. Why was it so difficult to get funded?

Part of it was timing. No one knew who I was. It is a guy who is not famous. The story takes quite a lot of explaining. It’s an easy story to dismiss as Americana. Some of the funders told me “We don’t fund Americana. This is Americana.” Also, six years ago, I was trying to make it pre Sugarman and pre 20 Feet From Stardom. At that time I did a panel for Sheffield Doc/Fest called “Just Don’t Call it a Music Doc”. Because I was told by a senior programmer “If you continue to make music oriented work, no one will fund you.  You’ll get shown at festivals but only in a side bar, and you’ll never be taken seriously.” Obviously films like Amy, 20 Feet From Stardom, and Sugarman have changed that discussion. I was always convinced that it was a really great American tragedy.

What kind of response are you getting from audiences, and particularly from Elvis fans to the film?

It’s quite interesting trying to reach Elvis fans. We’ve been going through Elvis tribute artists because they have access to a whole community. But actually going to Elvis fans is tricky. Because they love Elvis, and they have their favourite Elvis Tribute Artists, but they don’t want anyone else. So they are really not interested in Orion. So we’ve been doing some targeted ads on Facebook, and we’ve had no end of abuse from Elvis fans who haven’t heard of Orion and think this is someone trying to pull a scam!

Orion: The Man Who Would Be King, Monday, 16 November at 10pm on BBC Four.

Orion, photo courtesy of Sun Records
© Sun Records

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.

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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.

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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.

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1979 Revolution: The Arrival of Vérité Games

The worlds of gaming and documentary coalesce in a fascinating new project by a Grand Theft Auto producer. In 1979 Revolution, the story of the Iranian revolution is played out in a vibrant immersive experience that puts you in the middle of the crowd, and having to make a series of life and death decisions. Using extensive research, including audio interviews, still photography and academic consultants, the team takes users through a survival game that incorporates chaotic street scenes, and backroom interrogations. Told through the eyes of Reza, a young photojournalist living in Tehran, the project was developed in collaboration with contributors such as photographer Michel Setboun, whose photographs form an integral part of the experience. As described in Ink Stories’ website, Reza’s journey is a turbulent one: “Surrounded by a group of impassioned key figures involved in overthrowing the regime – Reza’s engagement becomes a high stakes chess match of decision making – whereby everything is at risk.”

At Sheffield Doc/Fest’s Interactive Exhibit, I spoke with Ink Stories founder Navid Khonsari about the project, asking him whether, by gamifying such events, he runs the risk of criticism. Here’s what he had to say:

Our goal is to educate people whose opinion of gaming is limited. So that’s part of the challenge – and it’s a challenge. Interactive documentaries are the step between us and documentaries, and we’re actually the full monty. With this we’re creating a new genre – we’re calling it vérité games. So the challenge of that has been great. If you really want to have an impact you have to follow that old saying of live a day in another person’s shoes. This lets you live, you make choices. When you are on the frontline with your brother and your cousin, and that relationship has been developed over an hour and forty five minutes, and they start shooting and you have to decide who you are going to push out of the way, that’s real. The suspense and the drama comes from that. And quite simply it has a greater outreach than interactive documentary.

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Navid Khonsari at Sheffield Doc/Fest

Khonsari is convinced that the experience will appeal not only to the gaming generation, but also to an older generation interested in the topic: “We don’t alter the history that has taken place – that is defined as it is. But what we are doing is allowing you to have your own narrative in there, based on people’s experiences. What would it be like to be on those streets, to be those people that believe in the possibility of change? And then to have people go for it, fight for it, have it turn somewhat chaotic, and yet in their opinion all succeed because the Shah leaves. And then the aftermath winds up becoming that the most powerful, the most vicious of those who help the revolution succeed winds up taking over.”

Here’s a BBC item from its premiere at Sundance that gives you a glimpse of the game, and includes an interview with co-creator Vassiliki Khonsari:

With the support of the Sundance Institute, the team has crowdsourced memories of the revolution, and will be engaging in extensive outreach at they roll it out. For more information, check out the Ink Stories website – which features abundant press about a project which promises to break new ground in interactive learning.

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Sean McAllister on his Syrian Labour of Love

British documentary Sean McAllister is known for launching himself into foreign lands, often in the midst of war, and finding unforgettable personal stories. Whether it’s via a piano player in Baghdad, a postal worker in Japan, Sean’s own “minders” in Iraq, these are stories of ordinary people – though always strong characters – struggling to survive in an often unkind world. Sean’s latest film, A Syrian Love Story, is perhaps his best yet. It begins as a very local story about Amer and Raghda, a couple who met as political prisoners in Syria and went on to have four sons together. When Sean is arrested with footage of them in his camara, the family has to abruptly flee to Lebanon, and the film  turns into a larger story about lives in exile.  Sean continues to follow them as they struggle to find solid footing, not least in their marriage,  whilst watching a deteriorating Syria from afar.

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Sean and Bob
I spoke to Sean a few days before the film’s world premiere at Sheffield Doc/Fest, and he explained a bit about the circuitous way the film was made:

It’s been a long time in the making. Is this your longest project?

Yes, it’s a labour of love, isn’t it? It didn’t get commissioned. That’s why it went on and on and on. I suppose the interesting side of it is that I’d given up on it actually. Then Matt Scholes, who graduated from Sheffield University film school, read an interview with me about it, and contacted me and said rather than working in the industry I’d like to edit this material of yours. I said I’ve given up on it – it’s not happening. And he said, well let me just have a look at it. And he went off for three months and started cutting it together and got me excited again. So I went off filming again because of him.

That’s amazing. At what point had you given up on it?

I gave up on it so many times. But the most significant point probably was two years ago, when I finished my Yemen film. I took off from Syria and went to Yemen and made The Reluctant Revolutionary.  Nick (Fraser, of BBC Storyville) had sort of wanted a film from Syria. I gave him the Yemen film. I think he felt after the Yemen film and post Arab spring that it wasn’t so interesting to have an Arab spring film again…So he then sent me off to Greece to make a film. So I used the development money in Greece to fly off to Lebanon to film them, with the development money from Greece.

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Amer and Bob speak to imprisoned Raghda
There’s no Greece film, huh?

There’s no Greece film. But like at the beginning, when I wanted to go to Syria and couldn’t get Syria commissioned, they sent me to Dubai. So I used the Dubai development to go to Damascus. So where there’s a will there’s a way. At the end of the day Nick saw there was nothing happening in Greece, and I was very passionate about this. And by then it wasn’t Arab spring; it was a different story. The arc of it had changed over the course of five years; it became a story of exile. It became something a bit more unusual because of the time frame. And this was all possible because Matt had got on board to construct the material, so we had stuff to show. And then when the BBC came on board, we pitched to the BFI. It’s perfect for a BFI pitch because they need to see what they’re getting into. And we had certain scenes cut, and they were excited.

The family’s story arc changed thanks to you, probably in a more direct way than has previously happened in your films.

I just came back from the border, screening the film with Raghda, and one of my questions (in preparation for post screening Q&As) was did she blame me for life today? Because I got arrested and they were all thrown into exile….And she laughed and said “I cried when you were arrested, I cried for you. The only people I blame in any of this are the regime.”

A Syrian Love Story has its world premiere screenings 7 and 9 June at Sheffield Doc/Fest. It will then be playing at festivals internationally and following a cinema release will be broadcast on BBC Storyville in early 2016.