Tag Archives: Sundance

BBC Storyville’s Mandy Chang: “A lot of people want to make single authored documentaries. We welcome them with open arms.”

When it launched more than twenty years ago, the BBC’s Storyville strand stood alone as a home in the UK for independently made feature documentaries. Created and nurtured by the revered Nick Fraser, Storyville established a reputation in the global doc community for promoting authored storytelling, nurturing the likes of Sean McAllister, Alex Gibney, Kim Longinotto and Daisy Asquith. (Fraser also commissioned a doc I produced, Secrets of the Tribe, championing it over the many years it took to make).

While it still remains one of the few spaces on British television for feature docs, it’s now battling it out in a rapidly changing online universe where SVODs have become major players in longform documentaries. Mandy Chang has energetically taken up the Storyville reins, relocating to London from her job as Head of Arts at ABC Australia to head the strand. An accomplished filmmaker turned commissioner, Chang is determined that Storyville evolves with the times. On the day after the announcement of the Sundance doc lineup, which includes three Storyville films, I met with her to discuss the strand.

As usual this has been edited for length and clarity:

Carol Nahra: So you have been heading Storyville since October 2017. How has it been so far?

Mandy Chang: It’s been a huge period of assimilating a lot of information about filmmakers all around the globe; about who the major funders are, not just the broadcasters but not for profit organisations, and philanthropists as well. Because we fund via a patchwork of funding — we never fully fund Storyville; we just don’t have a big enough overall budget.

 

Mandy Chang

CN: What are your priorities for the strand?

MC: Diversity is really really important to me. It’s not just about picking the best films by the most experienced most famous documentary directors. It’s also about finding new talent and growing that talent and those relationships. It’s just hugely complex: the whole ecosystem of documentaries across the world. And the different ways that different broadcasters do things in different countries. To get on top of that has been my goal this year. Next year it’s about strategising and really making an impact with Storyville and where we are going with Storyville into the future. Because the whole marketplace is just changing so quickly. Everything is moving so quickly under our feet.

CN: How does one navigate the new world? I assume you are talking about SVODs like Netflix.

MC: Yes. First of all there’s a lot more competition. Storyville used to be in this very privileged place where it kind of had the pick of all the best stories. And now we have to fight to do that. We go to all these pitching forums and the filmmakers are selling their films and themselves to us. We also have to sell ourselves and what we can bring to their films back to them. And I think that’s new – I don’t think people had to work as hard to do that as before. And I’m acutely conscious of it. Filmmakers have higher expectations of what they want from whoever is putting their film on their platform. Now filmmakers are starting to realise that with those big SVOD organisations, they may not get publicity – they might just be a tile on that great big platform, and their film might disappear way down the trail. Because it’s not the latest thing, or it’s more niche. I think that’s where the BBC can really bring that personalised approach to the film. We really look after our filmmakers. We try to partner them up with people who can bring impact to their films. And we foster a relationship that we want to be ongoing.

Henry Singer’s The Trial of Ratko Mladic is an upcoming Storyville
© ICTY

CN: You talk about partnering up. What do you do in terms of extending the life of the film? Because of course the big hit with Storyville is the broadcast, and then the relatively short IPlayer life. I’m sure an attraction about Netflix is that it will have a longer life on there, whatever the contract is. So how does that work for you in terms of enticing filmmakers?

The other thing that we are doing with Storyville is BBC Three and BBC News often take those films and do cut downs of them. So they appear on other platforms where they might  get completely different audiences. Whether it’s current affairs or a younger audience. Again that’s after negotiation with the filmmakers because some filmmakers don’t want spoilers. But it’s a way of getting out there and getting the attention. Because we can’t always rely on the traditional press and publicity departments because they are so overloaded anyway.

CN: What was it like stepping into Nick’s shoes?

MC: It was really tough.  I have huge respect and awe of Nick. He has left an incredible legacy for the Storyville brand. I feel very lucky that I don’t have to start from the beginning – he has created this very powerful strand that people know all over the world. You can’t underestimate the value of that. So it’s building on that and bringing my own sensibilities to it without losing the good things – and there are many many good things that Storyville has. And Nick is an intellectual giant. He is always sending me links to books and articles. He’s very aware of the world – he’s a very sophisticated thinker.

As all these right wing government and forces are menacing the world, it’s really interesting that there are a lot of very young women with big voices who want to tell stories.

Mandy Chang

CN: Can you name a new filmmaker that you’re working with?

MC: A really good example of someone new that I’m really excited about who is a new voice and has access to stories we don’t usually get access to is a woman called Nanfu Wang. Nanfu has made four films in four years about China. She brings a kind of inside track to China and a subversiveness that not many filmmakers can bring. She also lives in New York so she has the security of being able to go to China and make her films and get that kind of access that really gives us those insights. She has put herself in danger but it’s not the same as living in China. She’s made a really fantastic film about the one child policy in China called One Child Nation. She’s really young and an extraordinary woman. She was a victim of the one child policy….grew up in a rural village and now making international films which get into Sundance. She’s a major talent on the international scene.

There are lots of young women making stories about their own countries. It’s a really important time as all these right wing government and forces are menacing the world. It’s really interesting that there are a lot of very young women with big voices who want to tell stories. I’ve really noticed it. And I really want to support it as well.

Nanfu Wang

CN: Do you have other Storyville films at Sundance?

MC: We have Mads Brügger’s film called Cold Case Hammarskjöld, about the death of the UN Secretary General. Mads is very provocative but brings humour to his storytelling. The team dig very very deep and what they have uncovered is extraordinary and very very horrifying. There’s also an Israeli film called Advocate, about an amazing woman named Lea Tsemel who is a lawyer who represents Palestinian people in Israel. Her story itself is amazing, but the story that unfolds in the film, is really shocking about a 13 year-old Palestinian boy who goes on trial for something he wasn’t guilty of.

I have noticed this year there’s a trend at Sundance as well to be going for more international stories. And more provocative international stories. All three films I found overseas at international markets literally by talking to people face to face.

CN: How many British filmmakers do you commission?

It varies but usually between 3 – 6 a year are British, out of 18 films. The British filmmakers come to us as they know we are there. There are a lot of people who want to make single authored documentaries and know they are never going to get that away on mainstream spaces. So they come to us and we welcome them with open arms.

CN: Anything else you’d like to say?

No except that I think Storyville does need to keep growing and changing. And I think that broadcasters will need to start growing and changing. They are going to need to move a lot quicker in the future. It’s very siloed at the BBC – I mean this is very political but I do think we need to be more joined up. We need to be talking to each other more. I think the model of copro is a really useful model for a cash strapped BBC. And they could learn a lot from the model that Storyville has where we make a very small amount of money go a long long way.

 

 

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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.

navid at sheffield 2
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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Sheffield Doc/Fest 2015: Kim Longinotto’s Dreamcatcher

Twenty minutes into Kim Longinotto’s latest film, Dreamcatcher, which is screening at Sheffield Doc/Fest, a chilling scene takes place. The setting is an after-school club at a Chicago high school, where at-risk teenage girls are being counseled on how to say “No” to boys. As the teenagers munch through copious amounts of junk food, a girl confesses that she was raped at the age of 11 at a friend’s house. Another girl interrupts to tell a story of long-term abuse by a family friend, then another story of abuse follows, each more harrowing than the one before it. It’s astonishing to hear the details of these unreported crimes, and as they quickly pile up, to realize how endemic it is to these girls’ worlds. It’s the sort of scene that stays with you for a very long time.

For anyone familiar with London-based Longinotto’s extraordinary body of work, however, such moments are to be expected. Her subjects often take advantage of the presence of the camera to make their marginalized voices heard. While she is considered an “observational” filmmaker, and avoids interfering in the action while filming, she is well aware that by being there, she very much changes what is taking place. “It’s something that has happened a lot with making films,” she says. “People grab the opportunity to have a witness. It’s not ‘fly-on-the-wall’— a term I hate. You’re going in as someone who is going to make something with them. They feel part of it.”

Having seen most of Longinotto’s films, I point out to the filmmaker that my strongest memory of such a moment was the 8-year-old girl Fouzia in The Day I Will Never Forget (2002), who uses the camera to recite the titular poem, protesting the practice of female genital mutilation.

“Yes, The Day Will Never Forget poem is exactly like that scene; they grab their chance,” Longinotto exclaims. “Students at film school often say, ‘Being a documentary maker, I feel bad that we’re going in and we’re taking advantage of people.’ And I always say, ‘Well, why do you think that? Is it because you’ve been watching reality TV? That’s not the only way of doing it.’ If you are using that analogy, Fouzia completely used me: She told me where to stand, she bullied me into going into her house, and she wanted me there because she knew her mum would listen. So she used me, but I loved being used. We used each other. You wouldn’t even use the word ‘use.’ We were working together.”

Kim 3
Kim Longinotto

Indeed, when Longinotto first met the Chicago teenagers, she encouraged them to take control. “I said to them, ‘Look, this is your film and I really want you to feel good about the film and be part of it. And you will have the film when it’s finished. And we’re doing it together; I’m relying on you. I’m not going to interview any of you. This is your film, so you do whatever you want.'”

Longinotto also showed the girls excerpts from two of her films that feature strong women working to fight abuse: Rough Aunties (2008) and Sisters-in-Law (2005). “They all went very quiet and went off and didn’t say anything, but we all had a bit of a hug because it was quite emotional,” says Longinotto. When it came to filming the girls in the after-school club, Longinotto felt that they had built up a trust that allowed for intimacy: “I knew in that scene, I could go really close and film them. I was half a meter away from them; you can see how closely it was filmed. And there was this real level of trust.”

Brenda face 2

The in-class confessions came as a surprise to the girls’ mentor, Brenda, who had been running the group for two years and was trying to prevent the girls from being abused, not fully realizing the extent to which they already had been. Brenda is the “dreamcatcher” of the title—a mesmerizing woman who has overcome a horrific life on the streets to devote herself to encouraging girls to do the same. Articulate, impassioned, non-judgemental and utterly focused, Brenda exuded a strength in character that convinced producer Lisa Stevens that hers was a story well worth telling.

Stevens met Brenda through her coworker Stephanie, when producing the feature-length doc Crackhouse USA (2010); Stephanie’s son is currently serving 42 years in prison. Recognizing the strength of both the characters and the story, Stevens nurtured the relationship for several years, ultimately bringing the idea to Teddy Leifer of Rise Films, with whom Longinotto made Rough Aunties (2008). A trailer that Stevens shot of Brenda was integral to convincing Longinotto to come aboard the project. “If I’m being totally honest about it, I thought, ‘A film about prostitutes? Do I really want to do this?'” the filmmaker recalls. “I find films dispiriting, if there’s nothing to hope for or fight for. But when I saw the trailer, and saw her feisty and full of energy and joy—Brenda and Stephanie both are—and that they are actually doing things, they are changing lives, I thought, ‘I really want to do this.'”

Lisa
Lisa Stevens

Longinotto, Stevens and a sound recordist traveled to Chicago for a ten-week shoot. Dreamcatcher was a far cry from the other US-focused film Longinotto had directed—Rock Wives (1996), which looked at the privileged lives of wives and girlfriends of rock stars. Indeed, she found Chicago to have much in common with Durban, South Africa, the location for Rough Aunties: “The neighborhoods where we were living, the largely white neighborhoods, everything worked, the pavements were nice, the roads were nice, there was lighting,” she recalls. “And then you’d go into the black neighborhoods and a lot of the houses were boarded up. There were actually plants growing out of the middle of the road…It’s surprising because America is the richest country in the world, supposedly. And Chicago is where Obama lives. It takes your breath away.”

Dreamcatcher was edited by Ollie Huddleston, with whom Longinotto has made eight films. When I visited them halfway through the ten-week edit, it was clear, as Longinotto is quick to point out, that they are equal partners in the post-production process. They were working their way through a second viewing of the rushes—an impressively restrained 30 hours. “That’s what’s fantastic for me, because she really shoots very little,” Huddleston says. “And she knows why she shot it and she shot it with a beginning, middle and end-ish in mind—or some idea that you need one.” Longinotto frequently sits back while Huddleston brings his considerable story-making skills to each sequence, their discussion focused on what each scene contributes to the story. They often finish each other’s thoughts, in a shorthand that speaks to the many months they have passed together in close proximity. “I think editing is the bomb. It’s the most important thing,” says Longinotto. “I can’t imagine doing it with anyone else.”

Dreamcatcher follows Brenda in her day job, counseling incarcerated prostitutes, and at night on the streets, as she speaks to women in a roving van, an all-night cafe, or anywhere that can provide a brief respite from the ever watchful pimps. Brenda’s ever-changing array of wigs are testimony to the many facets of her character, as she shifts between champion, motivational speaker, sympathetic ear and confessor. There is nothing that her girls can tell her that she hasn’t seen before, or witnessed herself firsthand, nor seemingly any subject that is off limits. The film is full of revelations.

Like many of Longinotto’s films, Dreamcatcher is a story where many men do not come out well; the Chicago of the film is a world of baby daddies and violent pimps. Homer, the film’s major male character, is a reformed pimp who now works with Brenda as a public speaker, but, rather creepily, says he has few regrets about his past.

Dreamcatcher is an important contribution to Longinotto’s life work documenting the attempts of girls and women to recast themselves in a world dominated by men. It’s a compelling, harrowing and utterly uplifting story of redemption that should have a long life as a resource for those working to help those with lives mired in prostitution and substance abuse.

Longinotto’s hope is that the film, above all, will bring awareness to the inherent hopelessness of criminalizing prostitutes. “I want the film to decriminalize the women—that’s what I want,” she maintains. “And help them when they’re in jail. I don’t feel comfortable with using a film to criminalize anyone. I think films have to be seen in a wider way. It’s about changing a mindset and opening windows and getting people to think more humanely and differently.”

—–

This article first ran in Documentary Magazine and on my blog in the run up to its Sundance World premiere in January…

Sundance Preview: Longinotto’s Dreamcatcher

Brenda_face_2[1]
Brenda
Twenty minutes into Kim Longinotto’s latest film, Dreamcatcher, which will have its world premiere at the 2015 Sundance Film Festival, a chilling scene takes place. The setting is an after-school club at a Chicago high school, where at-risk teenage girls are being counseled on how to say “No” to boys. As the teenagers munch through copious amounts of junk food, a girl confesses that she was raped at the age of 11 at a friend’s house. Another girl interrupts to tell a story of long-term abuse by a family friend, then another story of abuse follows, each more harrowing than the one before it. It’s astonishing to hear the details of these unreported crimes, and as they quickly pile up, to realize how endemic it is to these girls’ worlds. It’s the sort of scene that stays with you for a very long time.

For anyone familiar with London-based Longinotto’s extraordinary body of work, however, such moments are to be expected. Her subjects often take advantage of the presence of the camera to make their marginalized voices heard. While she is considered an “observational” filmmaker, and avoids interfering in the action while filming, she is well aware that by being there, she very much changes what is taking place. “It’s something that has happened a lot with making films,” she says. “People grab the opportunity to have a witness. It’s not ‘fly-on-the-wall’— a term I hate. You’re going in as someone who is going to make something with them. They feel part of it.”

Having seen most of Longinotto’s films, I point out to the filmmaker that my strongest memory of such a moment was the 8-year-old girl Fouzia in The Day I Will Never Forget (2002), who uses the camera to recite the titular poem, protesting the practice of female genital mutilation.

“Yes, The Day Will Never Forget poem is exactly like that scene; they grab their chance,” Longinotto exclaims. “Students at film school often say, ‘Being a documentary maker, I feel bad that we’re going in and we’re taking advantage of people.’ And I always say, ‘Well, why do you think that? Is it because you’ve been watching reality TV? That’s not the only way of doing it.’ If you are using that analogy, Fouzia completely used me: She told me where to stand, she bullied me into going into her house, and she wanted me there because she knew her mum would listen. So she used me, but I loved being used. We used each other. You wouldn’t even use the word ‘use.’ We were working together.”

Kim 3
Kim Longinotto

Indeed, when Longinotto first met the Chicago teenagers, she encouraged them to take control. “I said to them, ‘Look, this is your film and I really want you to feel good about the film and be part of it. And you will have the film when it’s finished. And we’re doing it together; I’m relying on you. I’m not going to interview any of you. This is your film, so you do whatever you want.'”

Longinotto also showed the girls excerpts from two of her films that feature strong women working to fight abuse: Rough Aunties (2008) and Sisters-in-Law (2005). “They all went very quiet and went off and didn’t say anything, but we all had a bit of a hug because it was quite emotional,” says Longinotto. When it came to filming the girls in the after-school club, Longinotto felt that they had built up a trust that allowed for intimacy: “I knew in that scene, I could go really close and film them. I was half a meter away from them; you can see how closely it was filmed. And there was this real level of trust.”

Brenda_Cook_Co_Jail[1]
Brenda in her work at Cook County Jail
The in-class confessions came as a surprise to the girls’ mentor, Brenda, who had been running the group for two years and was trying to prevent the girls from being abused, not fully realizing the extent to which they already had been. Brenda is the “dreamcatcher” of the title—a mesmerizing woman who has overcome a horrific life on the streets to devote herself to encouraging girls to do the same. Articulate, impassioned, non-judgemental and utterly focused, Brenda exuded a strength in character that convinced producer Lisa Stevens that hers was a story well worth telling.

Stevens met Brenda through her coworker Stephanie, when producing the feature-length doc Crackhouse USA (2010); Stephanie’s son is currently serving 42 years in prison. Recognizing the strength of both the characters and the story, Stevens nurtured the relationship for several years, ultimately bringing the idea to Teddy Leifer of Rise Films, with whom Longinotto made Rough Aunties (2008). A trailer that Stevens shot of Brenda was integral to convincing Longinotto to come aboard the project. “If I’m being totally honest about it, I thought, ‘A film about prostitutes? Do I really want to do this?'” the filmmaker recalls. “I find films dispiriting, if there’s nothing to hope for or fight for. But when I saw the trailer, and saw her feisty and full of energy and joy—Brenda and Stephanie both are—and that they are actually doing things, they are changing lives, I thought, ‘I really want to do this.'”

Lisa
Lisa Stevens

Longinotto, Stevens and a sound recordist traveled to Chicago for a ten-week shoot. Dreamcatcher was a far cry from the other US-focused film Longinotto had directed—Rock Wives (1996), which looked at the privileged lives of wives and girlfriends of rock stars. Indeed, she found Chicago to have much in common with Durban, South Africa, the location for Rough Aunties: “The neighborhoods where we were living, the largely white neighborhoods, everything worked, the pavements were nice, the roads were nice, there was lighting,” she recalls. “And then you’d go into the black neighborhoods and a lot of the houses were boarded up. There were actually plants growing out of the middle of the road…It’s surprising because America is the richest country in the world, supposedly. And Chicago is where Obama lives. It takes your breath away.”

Dreamcatcher was edited by Ollie Huddleston, with whom Longinotto has made eight films. When I visited them halfway through the ten-week edit, it was clear, as Longinotto is quick to point out, that they are equal partners in the post-production process. They were working their way through a second viewing of the rushes—an impressively restrained 30 hours. “That’s what’s fantastic for me, because she really shoots very little,” Huddleston says. “And she knows why she shot it and she shot it with a beginning, middle and end-ish in mind—or some idea that you need one.” Longinotto frequently sits back while Huddleston brings his considerable story-making skills to each sequence, their discussion focused on what each scene contributes to the story. They often finish each other’s thoughts, in a shorthand that speaks to the many months they have passed together in close proximity. “I think editing is the bomb. It’s the most important thing,” says Longinotto. “I can’t imagine doing it with anyone else.”

Dreamcatcher follows Brenda in her day job, counseling incarcerated prostitutes, and at night on the streets, as she speaks to women in a roving van, an all-night cafe, or anywhere that can provide a brief respite from the ever watchful pimps. Brenda’s ever-changing array of wigs are testimony to the many facets of her character, as she shifts between champion, motivational speaker, sympathetic ear and confessor. There is nothing that her girls can tell her that she hasn’t seen before, or witnessed herself firsthand, nor seemingly any subject that is off limits. The film is full of revelations.

Like many of Longinotto’s films, Dreamcatcher is a story where many men do not come out well; the Chicago of the film is a world of baby daddies and violent pimps. Homer, the film’s major male character, is a reformed pimp who now works with Brenda as a public speaker, but, rather creepily, says he has few regrets about his past.

Dreamcatcher is an important contribution to Longinotto’s life work documenting the attempts of girls and women to recast themselves in a world dominated by men. It’s a compelling, harrowing and utterly uplifting story of redemption that should have a long life as a resource for those working to help those with lives mired in prostitution and substance abuse.

Longinotto’s hope is that the film, above all, will bring awareness to the inherent hopelessness of criminalizing prostitutes. “I want the film to decriminalize the women—that’s what I want,” she maintains. “And help them when they’re in jail. I don’t feel comfortable with using a film to criminalize anyone. I think films have to be seen in a wider way. It’s about changing a mindset and opening windows and getting people to think more humanely and differently.”