One of my guest speakers pointed out the other day that we average 23 minutes a day searching for something to watch. That adds up to seven years of our lives. Gulp. To make it easier on you, assuming you’re reading this cause you love documentaries, here are some films well worth your time:
In the last few years I’ve guest lectured for the Grierson Trust’s DocLab, where participants as part of the mentoring programme develop doc ideas. One of the best ideas last year was from Ryan Gregory, who went on to win a new Sheffield Doc/Fest pitch. The film is now up on BBC Three. Below is a short version, with the full film available on the IPlayer:
Lots of good docs on All 4 and Netflix as well, but those will have to wait for another post.
If you live in London and want to dip more into great docs, please sign up for the course I will be teaching at the Crouch End Picturehouse. We’ll be talking about British docs for six Wednesday evenings from mid June.
We know we are all on a one way journey to the grave, but it’s not something most of us care to dwell on. Not so for filmmaker Sue Bourne, who has spent the last year traveling around the UK making a film about people who have been given a terminal diagnosis. A Time to Live manages an extraordinary feat: it’s a life affirming film about dying. But Bourne would be the first to argue that it’s not about death, but, as the title indicates, about living: in story after story, we are introduced to people who have heard the most unbearable of news, and are now navigating a new normal.
Bourne and editor Sam Santana (both have featured in Docs on Screens; this is their first film together) did a Q&A with journalist Stephen Armstrong following a London BAFTA preview screening last week. In introducing the film, BBC Two Controller Patrick Holland said that Bourne is “forensic and unrelenting when she mines the emotion of a very specific experience to reveal wider, universal truths.”
When Bourne approached Holland to say that she wanted to make a film about people make the most of their limited time left, he was quickly on board: “It was one of the easiest commissioning decisions I’ve ever had to make.”
A Time to Live tells the story of twelve people of various ages, and their responses to being told they don’t have long to live. Bourne deliberately sought a selection of people who have acted out in surprising ways, including Annabel (pictured below), a woman whose first act upon receiving her prognosis was to leave her husband.
“I mean what was interesting about Annabel’s story is that it was quite radical,” said Bourne. “I think she had been quite a timid person…what cancer did was it emboldened her. And she thought ‘Bloody hell, if I’ve only got a short time left, I really should do all those things I’ve been thinking about’.”
To make the film, Bourne kept to a small nimble team, as she recounted to the Bafta audience: “Natalie (Walter) joined in and the two of us did all the research to find the people. I don’t like filming until I knew exactly what is going to go in the film. Natalie not only shot it but also oversaw the whole sound; it was remarkable. And then we set off on this van around the country to film all twelve people. And we had to be flexible because these were really ill people…We just moved around the country more or less for three months. We all had flu injections and boxes of supplements because we couldn’t go into their house and be any risk to them at all.”
Shooting completed, Bourne and Santana holed up in Bourne’s house for a ten week edit. It was a new experience for Santana, used to cutting rigged and other narrative driven films: “For me it was the first time cutting a film without what you call evolving narrative or process or intercutting, where you start one character’s storyline and then intercut to another. We didn’t do it…So we kind of felt that we needed to make subtle transitions.”
On the whole the transitions did not employ Bourne’s voiceover, often a prominent feature: “Usually in my films there is quite a lot of commentary. Because I’m kind of the narrative thread, weaving through it. But it became quite apparent early on that I didn’t need to say anything. This was their story.”
As a one woman show at Wellpark Productions, Bourne continues to be the main interface with her contributors, and the edit was frequently interrupted. “Sometimes we’d get news that was not particularly good,” said Santana. “People who we were just about to cut their story or had just completed their story. And we just had to work really hard and keep plowing on. That would be tough.” Bourne added: “And then actually you’re motivated, and you go, okay we really need to tell this person’s story.”
The film proceeds from one story to the next, without interweaving. Remarkably, there are no hospitals or footage of anything medical. The interviews are solely with the twelve contributors – supportive spouses and family are seen but barely heard. At the end, there is no revealing of who has died since filming ended – Bourne wanted their stories to be about their lives rather than their deaths.
The film’s power is in its universality. As Holland noted in his Bafta intro: “We are all of course life limited. What Sue’s film does is make all of us reflect on our own choices. On what a good life means. And what you can do to make a difference to ourselves and others. It’s a profound and challenging film.”
A Time to Live airs on BBC Two on Wednesday, 17 May, 9pm. Extended contributor interviews, made in conjunction with the Open University, will be available via the website after broadcast.
The single documentary The Age of Loneliness looks at the “epidemic” of loneliness in Britain, telling the stories of 14 very different contributors. It’s a profoundly moving exploration of an often taboo subject – and one that resonates with most of us, whether we’re currently lonely, have been in the past, or worry about the future when we might be. Docs on Screens spoke to veteran director Sue Bourne about the film, which airs 7 January on BBC One.
Carol Nahra: You were very careful to get a good range of people. How did you go about finding your contributors?
Sue Bourne: Four months research. It just took us forever (laughs). I said ‘I’m not doing a film just about lonely old people – that’s boring and it’s obvious and that isn’t the problem. It’s an epidemic, and it’s about all ages and there’s something happening’. It was very much for me about a societal change and what was going on. But then I’m not doing a Panorama so I just wanted to give a voice to all those different people. So I said I want a voice from every decade, from every age group. So I drew up my list and then we just hit it for four months. We were in touch with 500 odd people to narrow it down to the 14 who appeared. Charities, blogs, internet, just everything. The thing about lonely people is they’re not out there shouting about it from the rooftop. And so that’s hard. And a lot of the people we met were just too vulnerable to go on telly.
CN: The ones featured are also vulnerable. You have very emotional scenes where it seems to me they are often articulating their loneliness for the first time, which I found quite painful. How did you find interviewing them?
SB: Well, basically I think they were wonderful, all of them. I think they were brave. Because no one wants to admit to being lonely because in the back of your mind you’re thinking ‘well, why am I lonely? Is it because I am horrible? Why am I Johnny no mates? What’s happened?’ Some of them they have lost their partner so it was obvious why they were lonely. But other people were lonely and wondering if it was their fault, are they to blame. There was certainly one person I thought would be very good for the part because they epitomised a very large group. And I phoned them up and said ‘I want you to be in the film but you have to be honest. And I think your default position is to put on a brave face. And frankly you’re going to have to take that off. And bare your soul. Because if you put the brave face on you’re not telling the truth and the one thing I want this film to be is truthful’. So I was asking a lot….but I think it’s one of the most moving interviews in the film.
CN: Which interview was it?
SB: It was Jaye, the single girl. Because she wants to be a jolly person. But I thought the interview she gave was so honest. It was extraordinary She was really brave to be so honest. But I knew what her default position was – she was battling through life being jolly saying ‘I can cope with it. I can cope with it’. But inside it was tough.
CN: Are you a lonely person?
SB: No. I think I’m alone. My daughter’s dad, my ex partner, is dead. All my parents are dead. I have no brothers and sisters and really no family to talk to. So really it’s just me and my kid and she’s in her twenties and I don’t want to be a needy mother. So I’m acutely aware of the life ahead of me. That it will involve aloneness. So I better get used to it. So I try to train myself to be a bit more positive about it (laughs).
CN: Is that what brought you to the topic?
SB: I think so…In Fashionistas (which profiled six extraordinary older women) I wanted to find role models for the next 30 odd years, who were going to be upbeat and enjoying life and squeezing the pips out of it. Because that’s what I wanted to do. And then again a lot of them were on their own, so what I got from that is you need a particular spirit if you can find it to carry you through life because it ain’t easy and you might well be on your own.
CN: Did you ever think of matching people up? Cause it seems like there’s some people who would benefit from each other’s company in The Age of Loneliness.
SB: Well in a way sometimes you look at these films that we do and it’s like – I feel like a social worker. Because what I’m doing is I’m opening them out. I’m giving them a voice. Then I want other people to talk. I want people to look and think ‘why is nothing being done to help them?’. I now want to do Contact the Elderly tea parties because I think that it’s just wonderful. It transforms their lives for one afternoon a month and that’s all it takes…We have to be kinder. That is the wettest things a filmmaker can say – “I just want people to be kinder” – but I do!
CN: I can imagine that a doc about loneliness might not make for like the most filmic pitch.
SB: It took a bit of time and eventually I got in front of Charlotte (Moore) and said ‘Please, just give me this commission’. And she said ‘Okay, it’s yours, go.’
CN: It’s beautifully shot. It looks lovely.
SB: I had (producer) Daniel (Dewsbury) at my side from February. We did all the research together; we talked constantly about what we were trying to achieve, four months of that. And then I decided not to use a cameraman but to use him, and gave him a beautiful camera, nice lenses, and three months to shoot it. And we were this tiny little team. And it paid off. And then we got the drones (used for aerial shots throughout the film). I don’t like gimmicks. I always thought I only want to shoot it if it’s relevant to loneliness. But for me the drones were critical because I wanted to say “It’s everywhere in Britain – anywhere you look you’re going to find loneliness”.
The Age of Loneliness is on BBC One at 10.35 pm, Thursday, 7 January.
When Scottish filmmaker Sue Bourne learned that outside of beer, bacon and Lego, one of Denmark’s biggest exports was donor sperm, she was intrigued. When she discovered that single women were the biggest group of customers, she knew she had to make a film: “For me that was a really new development – women in their thirties and forties, effectively looking like they were turning their back on men and just going it alone. So in a way it was also about the breakdown of traditional family life. They didn’t need men any more. And that I thought was terrific.”
She was particularly intrigued by the business model: “You can literally, I discovered, decide to have a baby one week, go online and choose your sperm, have it shipped over in a frozen canister in your kitchen, and do self insemination, without talking to a single person. That really is a brave new world.”
It’s a topic pitch perfect to launch the newest series of the BBC’s Modern Times – single films from talented filmmakers which reflect life in modern Britain. Bourne embarked on a quest to find a handful of British women happy to have their stories told. It proved to be a tough ask:
“There’s lots of it going on, but they weren’t all gagging to be on telly, that’s for sure. You don’t get much bigger than this in terms of deep personal decisions on your own. And do you want to open up to the world and tell them what you are doing? No, you don’t. So we talked to endless women, fascinating conversations, absolutely riveting – and nobody really that keen to take part. In a way for me that was critical because it meant women who did agree to take part were really brave and strong.”
In the end, Bourne did find four subjects to follow, but, this being the uncertain land of observational documentary, found the filming process to be an emotional rollercoaster – which mimicked the journey the women themselves were on. “The whole thing – I’m just an emotional rag,” she says. The production didn’t help by being so tied to Denmark, “the most expensive place in the bloody world. It was really complicated.” she says. “I’ve never made a film like this before. It was fascinating – it was very stressful – but I like it. I liked the fact that I couldn’t control it. It took me into this world which I didn’t know about, which is trying to get pregnant. And it’s just so brutal. It’s about somebody’s desire to be a mother, and what they have to go to achieve it. It’s incredibly moving.”