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Strike a Rock: interview with South African filmmaker Aliki Saragas

10/5/2017

Courtesy of J. Katz

Strike A Rock is South African female filmmaker, Aliki Saragas’s, debut feature documentary. It tracks the lives of Mam’ Primrose Sonti and Mam’ Thumeka Magwangqana – champions of the Women’s Group, Sikhala Sonke (Translated: We are crying together) – as they fight courageously for a better life in Marikana mining community after thirty-four striking mineworkers were shot dead by South African Police in August 2012. The men were striking for a living wage of R12500 ($900 US) per month. Comparable to the infamous Sharpeville Massacre of 1960, the Marikana Massacre left devastation in its wake. Strike A Rock is a superb offering of progressive African female images and voices on screen that highlights the complexities of life for the women left behind as they endeavor to help their community to rise above their circumstances.

The film was one of six projects chosen to pitch at Good Pitch Kenya in 2016 and the European Documentary Network. Strike A Rock opened the Encounters Documentary Festival 2017 and won the Audience Award for Best South African Documentary. The film also won the Best South African Documentary and the Amnesty International Durban Award for Human Rights at the Durban International Film Festival 2017. I sat down with Saragas at her world premiere in Cape Town, South Africa to discuss the inspiration behind the film, the impact projects that surround her work and the state of female filmmakers in Africa.

Left to right: Thumeka Magwangqana, Aliki Saragas, and Primrose Nokulunga Sonti. (Courtesy of J. Katz)

Courtesy of J. Katz

Jacqueline Lee Katz: This has been a long journey for both you and the women of Marikana. Where did this project begin and what have been the major developments since its inception?

Aliki Saragas: The film started as my MA in documentary arts, where the main aim and purpose was to reinsert the women’s voices back into the Marikana narrative. The realities of the devastation of the Marikana massacre that took place on 16 August 2012 is widely known and has been criticised globally, including in the award-winning film Miners Shot Down, produced by Uhuru Productions, the co-producers of Strike a Rock. But there are voices that have yet to be heard. Voices from the strong women leaders and the community that surrounds the mine have seemingly been erased from the narrative. Despite the international attention, inquiry and mass-activism that followed the massacre, living conditions for the Marikana community have worsened. There has been no accountability.

This is what drew me so powerfully to the story of Thumeka and Primrose - two grandmothers who were compelled by the tragedy they witnessed to take on leadership roles, exercising their agency and power. As the political climate of South Africa wasn’t changing, as well as the personal and political lives of the women, the film organically focused not only on reinserting their voices in a reflective way around the massacre, but also, and very importantly, focusing on the very current socio-economic crises, and obligations owed to the community through the extraction of Africa’s natural resources. They force us to recognise that the story of Marikana is not yet over.

JLK: You have ensured that Mam’ Primrose and Mam’ Thumeka have attended all of the South African screenings and have participated in the Q&A sessions. Can you speak on the importance of including them in this process?

AS: Right from the beginning, the film has been a collaborative process - it was the most important thing. Thumeka, Primrose and Sikhala Sonke knew that we had the same intention with the story and what we wanted it to do. That coupled with a very important creative decision to immerse myself with the women in their homes for over three years helped us develop a very strong relationship, trust and mutual respect. The film is a mouthpiece for their voices. It aims to continue the work they are already doing on a public platform in bringing awareness and attention to their plight. There was no option, really, if they were to be involved. It’s their film as much as mine.

(left) Primrose Nokulunga Sonti / (right) Thumeka Magwangqana
Courtesy of J. Katz

JLK: At your world premiere, you spoke on the impact projects that are currently in place as a result of the film. What are these projects? As a South African documentary filmmaker, is impact work where you see your future?

AS: Since the Marikana massacre, the women of Marikana have been active in civil society and political structures to fight for justice and accountability. The women of Marikana and the film team see the film as another addition to build on the movement started by mining-affected communities. We need as many people as possible to see the film and to put pressure on Lonmin and the South African government to ensure socio-economic development.

Sikhala Sonke and the film team will particularly focus on continuing to emphasise the demands of Sikhala Sonke in their Complaint laid at the International Finance Corporation - the finance arm of the World Bank - on the basis that Lonmin failed to comply with the conditions of their loan agreement to develop the community. This will be done through focused screenings with stakeholders, shareholders and policy makers around the world.

We have just had an impact screening in London hosted by the State Crime Film Club and War on Want at Bertha DocHouse, and are planning a tour with the film in the U.K. during the commemoration of the massacre in August 2017, where we will bring Thumeka and Primrose to talk to their own experiences. In partnership with Sikhala Sonke, we will facilitate community screenings using a mobile cinema in conjunction with workshops detailing the communities’ rights and possible recourse with the relevant SLPs [Social Labor Plans] through toolkits.

We will hold feminist workshops to assist the growth of women’s organisations in communities. Starting in Marikana, we aim to reach mining communities across all major mining areas in South Africa. With the right partners, we will expand the campaign to other areas facing destructive resource extraction with little to no benefit in the global South.

Confirmed partnerships include the Centre for Applied Legal Studies (CALS), Amnesty International, Women in Mining (WoMin), the Marikana Support Campaign, and STEPS.
The film’s screening tour presents the opportunity to provide the tools to enforce their rights, with key partnerships and funding opportunities. Through the impact campaign we also want to assist the women of Marikana in building sustainable projects in and for the benefit of their community. The women have already started their first project, the creation and development of a sustainable community garden and we will continue to lobby for donations to directly assist these projects on the ground.

Courtesy of J. Katz

JLK: The women of Marikana have said that they endorse the film completely and agree that this is an accurate representation of their ongoing struggles. What were some of the steps you took to ensure that you prioritized the women’s voices throughout the film?

AS: I made a very clear choice that I wanted to create a very intimate film that focused on telling the story through the women’s voices from the inside, rather than through external voices that have already shaped the discourse of the space. In that way, I spent many months with Primrose and Thumeka inside their homes and with their families, which developed into a very strong relationship that has extended way beyond the film. We also all had the same objectives and intentions - to champion how these two grandmothers, and the women of Sikhala Sonke as a whole, were compelled by the tragedy they witnessed to take on leadership roles as they exercised their agency and power to try to make a change. I focused heavily on the themes of domestic feminism, that feminism can be born out of roles that relate to men – for example, Sikhala Sonke was born out of a need to support the mineworkers and unite the women of the community.

We move away from white feminist perspectives that being a wife, mother, girlfriend that cooks, cleans and supports a family - whilst at the same time speaking truth to power on public platforms - is not feminist. My aim was to weave together the perspectives of the women using a sensitive, unobtrusive and intimate camera. The film takes the viewer on a journey through trauma, history, loss, memory, friendship, and the fear of being further forgotten as Thumeka and Primrose survive each day. At the same time, we are confronted with a very real obstruction of justice and lack of accountability on the side of Lonmin, who seemingly shirk their legal obligations to the community. As well as the South African government, who neglect to ensure that the required socio-economic development takes place. In this context, the personal becomes the political and that is where the impact of the film lies.

JLK: Could you tell us about your experience as a young South African female filmmaker? What are the challenges that female filmmakers still face in Africa?

AS: I think opportunities for women filmmakers’ in South Africa, as well as across the continent is definitely growing - although we have a long way to ensure transformation takes place and young, first-time filmmakers are given support and assistance. If I was not surrounded by a team of strong, supportive women producers who held the door open for me through mentorship and advice, I would never have been able to cope.

This was my first feature-length film, and so was incredibly challenging, especially since it took over three years to make. I think one of the hardest obstacles for a first-time filmmaker, or at least for me is to keep confident in my decisions and stay true to my vision. To understand and trust that I knew what story I wanted to tell. That was part of the journey. It also, however, allowed me to grow my sense of intuition, which is how I worked throughout. In a documentary environment, I didn't come across challenges that other women face in the industry such as sexual harassment and discrimination, which is why at Sisters Working In Film and Television (South African based Not for Profit Organisation) we are focusing on putting in place actionable interventions to stop these experiences of women in the industry around the country.

JLK: Where to from here - what can we expect from you in the future?

AS: I plan on building and growing my own production company, Elafos Productions, which champions women's stories both in front and behind the lens. I am also working with the African Oral History Archive, a multi-media initiative that documents South African history. We are currently in productions on a feature doc that hasn’t been released to the public yet. I am also very involved in the newly formed SWIFT organisation, a Not for Profit Organisation which aims to address common concerns, share experiences, support and inspire women in the South African film and television industry.

Learn more:

Website
Facebook
Twitter @StrikeARock

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“THE ASK”: How to Overcome the Greatest Obstacle to Success -- YOU?

5/24/2017

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by Stephanie Law

If you could ask for anything, what would it be? A million dollars? World peace? Or, maybe a trip to Mars!

No, really. Think hard. This is not a trick question. We dare you to examine what YOU truly want. This means (gasp!) daring to be selfish. Self-centred. Full of thoughts of YOU, YOU, YOU.

Sacrilege! If you're a woman, you had better be thinking of others, supporting your partner, nurturing your family, and sacrificing your needs on the altar of Selflessness. Right?

Look, nobody's advocating for women to become egotistical monsters. But if we're being honest with ourselves, the thought of asking for what we want – what we truly want – can be an uncomfortable proposition.

And that's a major problem.

In Canada, Women in View (a non-for-profit dedicated to gender and cultural diversity in Canadian media) released a report in 2015, citing that women represented only 17% of directors; 22% of writers; and 12% of cinematographers credited on feature length films that received investment from Telefilm Canada in 2013-2014 (a government cultural agency).

You may think, “Hey, that's not so bad!” Except that women make up just over half of the population in Canada. That's one glaring gap. One that should not sit well with anybody.

How do we close this gap? There will always be debate as to what constitutes the solution(s) to this issue. Some will be in our control. Others not so much. Let's focus on the former.

For some of us, we may not care to admit it, but sometimes the biggest obstacle to our own success (however you define that as), is ourselves.

(This is not to negate the real systemic social, cultural, and political issues that conspire to hinder women's successes. As a woman, and a person of colour, I am acutely aware that I will face barriers and obstacles in this industry due to ignorance, conscious and unconscious biases, and any one of the dreaded “isms.” But in an effort to take back our power, I offer only my humble opinion below, which is absolutely open for discussion!)

Therefore, before you ask someone to believe in you, you'd better make the ask of yourself: Do you believe in YOU?

“Of course, I believe in me. What kind of question is that?” Well, how do you show that you believe in yourself? If you direct, do you direct? If you write, do you write? If you want a foot in the door, have you even knocked on the door?

Be honest with yourself.

Knock on the door. Make the ask.

Last spring, I had to ask myself this question as a writer and filmmaker. The truth is that it had been more than several years since my last short film. And while I had continued to write scripts, I wasn't putting myself or my work out there enough – at least, not as much as I'm sure the next guy was. In short, I wasn't asking myself to succeed.

What did I do? I asked myself to take a risk. I wrote a new short film – the first in years. I attached my dream team to the project. I applied for private funding. We got rejected for that first grant. But instead of taking this as a sign that I had no talent, and would never work in this industry, I applied for public arts council grants. (In Canada, we're fortunate to have government-supported national and regional funding for media artists and media arts projects, such as short films.) We ended up receiving two arts council grants. Yay!

The funny thing is... boldness begets boldness. So, I made another ask. I asked a friend of mine, a very talented filmmaker/producer, if she would team up with me to apply for a national (Canadian) professional development program focused on feature films. Guess what? She said yes.

But that “yes” was only the start. From there, I worked harder than I ever had, writing a feature film script in a month – finishing just in time to submit to that program's deadline. There was no time to second guess; I just had to do it. The result? We were accepted into the program, and have made excellent connections and progress since.

(Again, I recognize that we are privileged as Canadians to have such opportunities and programs. But even if you live in a country without these privileges, find a way to connect with mentors, support one another, and create your own film/artistic community if you don't see yourself represented.)

Was all of this luck? Magic? No. It was hard work. It was daring to make “The Ask” of myself – before asking the same of others. It meant fighting the good fight against self-doubt and insecurities. Terrifying on the best of days. But if I could do it, you can do it too.

Knock on the door. Make the ask.

And if that door slams in your face (and it might), knock again. Better yet, break down the whole goddamn door.

In discussion with Her Film Project Editor, Kyna Morgan, we've decided to create a new Q&A series with the goal of raising the profile of female media creators, artists, and decision-makers. We will ask these women to identify barriers to their success, and to propose concrete action (“The Ask”) towards achieving equality, diversity, and inclusion in the screen-based media industries – for themselves and others. Stay tuned!

And so... if you could ask for anything, what would it be?

Think hard. We're here. We're listening.

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Clarity of Vision: interview with actor-filmmaker-advocate Nandita Das

5/18/2017

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Nandita Das (far right), part of the 2013 Cannes Jury (short film and Cine foundation) (Photo courtesy of N. Das)

by Shital Morjaria

I first met Nandita Das in 2009 when she accepted my invitation to be the chief guest at the Naveena Awards function, which is linked to a show on women’s issues that I produce for the television channel TV9 (in Hyderabad, India). I was immediately struck by her grounded nature and her clear vision for arts and life itself. We kept in touch over the years during which we exchanged thoughts on a range of subjects from films to LGBT rights and of course social and gender issues. What I admire most about Nandita is her fearlessness. She has never hesitated to speak up on human right issues and to side with the cause of justice for the marginalized. Her involvement with films through acting and directing too is a testament to these deeply held beliefs. When I requested her for a HFP interview she managed to adjust some time in between her extremely tight schedule. She is currently busy with her second directorial project, which is a film on the life of the famous South Asian writer Sadat Hassan Manto.

Nandita Das (Photo courtesy of N. Das)

Nandita Das wears many hats: film and theatre actor/writer/director, columnist and a strong advocate of social issues. Never to shy away from unconventional subjects, she has acted in over 40 feature films in 10 different languages.

Firaaq, her debut film that dealt with the aftermath of the communal violence in Gujarat feature film, premiered at the Toronto Film Festival in 2008, and travelled to over 60 festivals, winning much appreciation and accolades from audiences and critics alike. She has been on the jury at the Cannes Film Festival in 2005 (main jury) & 2013 (short film and Cine foundation), among others. The French Government honored her with the Knight of the Order of Arts and Letters (Chevalier dans l'Ordredes Arts et des Lettres). Nandita was the first Indian to be inducted into the Hall of Fame at the International Women’s Forum. She has been nominated as the Youth Global Leader by the World Economic Forum and is a Yale World Fellow.

What inspired you to take up direction?

I don’t even remember when the seed of this film was sown. It had to do with waking up to newspapers filled with stories of violence. It had to do with conversations about identity and the notion of the ‘other’ that would soon turn into arguments, polarizing people instantly. It probably even went back to growing up in a liberal secular environment and gradually finding oneself in the midst of prejudices, forced identities and the many ‘isms’ that make one feel alone and alienated. The sadness, the anger, the helplessness kept growing and a compelling desire to share all those stories with a larger group of people started taking roots. I needed this catharsis. I didn’t start out looking for a story that I could direct; instead the stories found me wanting to be directed.

Do you prefer acting or directing and given a choice which one would you like to focus on?

Direction is far more satisfying, far more challenging, far more stressful and far more consuming, which is why I don’t see myself directing one film after another in quick succession. You need to take a break, you need to live life and you need to recharge your batteries - because it pushes your boundaries like nothing else.

Acting is also interesting because you get to be involved in different stories and get to work with different people, so ideally I’d like to do both and, at the moment, I see no reason why I have to choose one over the other. But conceptually, I would definitely say that directing is more satisfying.

On the set of her debut directorial film Firaaq (Photo courtesy of N. Das)

Your ongoing film is based on the well-known writer Sadat Hassan Manto, what is it that drew you to his life and work?

I first read Manto when I was in college and was struck by his simple yet profound narratives. What drew me to the story of Manto was his free spirit and courage to stand up against orthodoxy of all kinds. He was irreverent and had an irrepressible desire to poke a finger in the eye of the establishment, often with sharp humor.

Manto was tried six times on charges of obscenity, both in India and Pakistan, for his bold stories. When questioned or challenged on his choice of subject matter, Manto would often retort: “If you cannot bear my stories, it is because these are unbearable times.”

Manto’s faith in the redemptive power of the written word, through the hardest times, resonates with my own passion to tell stories. In some mystical way, I feel I am part of that hopeful legacy! Through him, I feel I am able to kindle my own conviction for a more liberal and compassionate world.

Why do you think many women actors have taken up direction in our country? Also has your social work been an influence in the kind of choices you have made in terms of acting or directing?

Women's roles are often so thinly etched out and the pressure of beauty seems to override everything else, that any genuine actor would be hungry for interesting and sumptuous roles. Therefore, many mainstream female actors happily do roles that challenge them in other ways. Some actors like Aparna Sen, Deepti Naval, Deepa Sahi, Konkona Sen and myself, have opted to tell our own stories and have shifted gears to direction. For me, direction is a far more fulfilling journey, while being a hundred times more challenging than acting. It also is far more consuming, and so I don’t see myself being too prolific. Firaaq helped me grow, not just creatively but also emotionally and spiritually. I have seen films, both as an actor and director, as a means and not an end in itself. Maybe it is to do with my social work background, or the innate desire to share relevant stories that I’m unable to see art for its own sake only. My advocacy work and my film work may seem like two separate streams, but I do find them deeply intertwined. It is no different in my ongoing project, which is a film on the life and works of Manto, one of the greatest short story writers of our sub-continent.

Nandita on the set of her ongoing directorial project based on the life of Saadat Hassan Manto. (Nawazuddin Siddiqui as Manto) (Photo courtesy of N. Das)

How do you feel when you are called a “woman" director?

After Firaaq, I was repeatedly called for panels on women directors and asked what it was like to be one. My answer was simple. I’m a director who happens to be a woman, and there is no way that I would know what it feels like to be a male director! Having said that, I’m sure my gender, just as my upbringing, my life experiences, my class, my education and my interests, etc. would influence my sensibilities, form and content of my films. Some felt that despite the fact that Firaaq was not a woman-oriented subject, it was evident that a woman had made it. They felt that the women characters were layered and grey, and even though the film was about violence, there was no blood and gore. Some are surprised that both Firaaq and Manto are not typically woman-oriented subjects, as if a woman, or for that matter, a feminist, must only make films on the issues of women. Women think about many different things and are also impacted by them. In any case, Manto is a celebration of a feminist man, though he too would have hated labels.

How has your experience on your film set been? Were there instances where you felt you were judged because of your gender?

When I was directing Firaaq, I could feel a certain amount of sexism even in my crew, in the way they interacted with me and the kind of words they used like “Stop crying” or “Stop being cranky” and other words they would not use if it were a male director asking for something to be done. So as the sexism or the misogyny gets subtler, which often happens in “our class of people,” the more difficult it gets to negotiate with it. Because you can’t take it head on. So I’m very aware of my identity as a woman, no question about it, but the pursuit is to try to be more of a person than to be bogged down by these other identities.

Does an experienced actor make a better director?

For me, in many ways acting to directing was a natural progression. But directing is far more consuming and obviously very different from acting, as it challenges every aspect of one’s personality. The journey of making Firaaq has pushed my boundaries and by this I don’t mean only creatively. As an actor one doesn’t realize how much more goes into a film than just the shoot. Also having gone through this experience, I feel a film is not the sum total of its parts. Directing entails making choices and decisions at every step and taking responsibility for all its aspects. There are 100 odd people who work on the shoot and as a director, you become like a parent! Being an actor myself definitely helped my interactions with the actors in the way one could communicate to them. On the sets as an actor, it was always exciting to watch the rest of crew work towards shaping up a scene. Often I would get involved in different aspects of the shoot or simply observe. Slowly the desire to tell stories, the way I wanted to, started growing stronger. So I thought maybe making a film and going through all its phases would be more satisfying.

Why do you think it is important to engage with an audience after the screening?

I thoroughly enjoyed the Q and A sessions after the screening of Firaaq. It is the best way of knowing the spontaneous and instinctive reactions of the audience. The whole idea of doing this film for me was to trigger a dialogue about the growing violence and how we choose to respond to it. In fact, it is these Q and As with various audiences in different parts of the world that has now given me the confidence that my intent behind doing the film is actually reaching people.

Apart from the questions about its inception, writing, casting and challenges, there are always questions I haven’t been asked before. For instance; how did the script change over the three years, why did I say it’s a personal and intimate film even though I have not personally been a victim of violence, and how to visually tell the difference between a Hindu and Muslim to which I said that it was similar to not being able to visually see the difference between a Jew and a Christian.

What is the editing process like for you?

Editing for me has been the most exciting part of the filmmaking process. Shooting was so overwhelming as you are managing many things at the same time and trying to keep your creative sanity in all that madness. But editing was fantastic! I learnt the true meaning of 'a film is made again on the editing table'. You play around with your material, let go of so much and slowly your film starts emerging. My first reactions to the film ranged from 'wow, did I really do that!' (laughs), to 'God, next time I make a film, I am never going to make that mistake’; this definitely has been the most challenging experience for me.

Does it bother you that the audience sees you as a “serious” actor?

To be honest, I don’t take myself or the labels put on me, that seriously. I feel privileged to be living life on my own terms and making my own choices. I came into acting by default and my Human Rights’ background must have influenced my choices in the acting work that I took. Yes I have done more serious roles, and that too of rural women. As all city girls don’t have the same life story, similarly just saying rural women doesn’t mean they all are the same. Also I feel many of these stories needed to be told and I feel happy that I have been part of them. I think not being ambitious frees me from the pressure of proving to the world. Of course I would love to explore different genres and characters, but not those that defy my basic sensibilities and interests. Also I don’t see a character in isolation. The script and the director are just as important, if not more.

What kind of hurdles do independent filmmakers generally face?

The world over and across time, mainstream films have always claimed greater public attention. But there have also always been independent films that have made their presence felt in more ways than one. Only when all parties involved like the filmmakers, producers, distributors, theatre owners and audiences feel the need to make films that are not only governed by commercial factors, there will be more room for independent films. The biggest hurdle that an independent filmmaker faces is the lack of budgets. And then there are times, after crossing all the hurdles, a well-made film finally gets completed only to suffer at the hands of poor promotion and marketing. It’s a pity how a powerful form of creative expression gets reduced to mere economics! I am hoping that multiplexes will give more space to independent films and also regional films (lack of a better word, as they are just as ‘Indian’ as Hindi films). Much of the work that I have done has usually been seen in film festivals in India and abroad and has been released in the state that it comes from. With more money coming into films and audiences being more receptive to new ideas, more producers and directors will hopefully stretch the boundaries. And from this bouquet of films, some are bound to make a mark.

For those who want to know more about Nandita Das's work:
Website
Facebook
Twitter @nanditadas

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Filmmaker on the Wilderness: Alexandra Boyd

6/22/2016

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by Persephone Vandegrift

Filmmaker Alexandra Boyd (Courtesy of A. Boyd)

I've taken support freely given from friends who want to see me succeed. It's extraordinarily humbling and at the same time some of the hardest work I've ever done in my life.

Tell us a bit more about your production company, NEW THIRTY PICTURES.

I formed the company when I was fifty years old – because fifty is the new thirty, right? I needed a production company to make my projects, so at the moment we have in development, or are producing, the scripts that I've written. There's the boxing film (The Wilderness); the supernatural thriller (Widow's Walk); a TV series about the underbelly of London in post WW2 Soho, a sort of British Sopranos meets Martina Cole's The Take with a female Tony Soprano. And a romantic comedy (or tragedy!) about a woman who lives on a houseboat – my love letter to London and the river Thames.

Have there been any particular challenges you have faced between finishing your last film, Boxer on the Wilderness, and starting Widow's Walk?

Money. Money. Money. In focusing all my attention on getting Widow's Walk written, funded and produced, I've put less and less focus on my acting and other work. I've gone through my savings and pared down my life to the bare minimum. I've taken support freely given from friends who want to see me succeed. It's extraordinarily humbling and at the same time some of the hardest work I've ever done in my life. Sometimes I wake up in the middle of the night thinking I'm on some self-centered and crazy wild goose chase that only I care about I'm crazy if I think it's never going to happen. But that is changing.

We like to hear what the chatter is around a filmmaker's environment -- as you are in the UK, is there a strong support for inspiring more women to get involved in the industry in your area?

Yes there is but I can't say it's in the UK alone. The views from Hollywood and the independent film world still filter through very strongly. It's already clear that having a female director is helping with this film. In preparation for the trailer, we made our new website for Widow's Walk and shared the new URL on Twitter (@Widows_Walk) and Facebook (fb.com/WidowsWalkMovie). After only a few days TWO female film festivals asked if they could screen the film this year. We haven't shot one frame yet.

After a stunning report by Directors UK that over the last ten years less than 14% of British films had been directed by women, the BFI [British Film Institute] have just pledged to make their financial support for women 50/50 by 2020.

I get the feeling that being a woman and saying I'm making a film has a resonating hashtag element to it but let's be clear, I'm not being 'held back' from making a film because I'm in a perceived minority or because the percentage of women directors is too low. I'd hate that anyway. I'm not making films because I'm not a man. The same rules apply. It's very tough whoever you are and being a self-starter is key. I'm making films because I love it and every filmmaker – man or woman – should be doing the same.

The teaser for Widow’s Walk; where did you film it and who’s the actress who braved those cold waves to give such a provocative glimpse of what to expect from the feature?

The teaser was shot in Suffolk in our hero's house location back in November 2015. That brave actress who got into the North Sea for us is Emma Connell.

First teaser released for upcoming Widow's Walk is here! Watch below.

You're working on your latest feature, a ghost story, Widow's Walk, which begins shooting in November 2016. What inspired the story?

Creative England here in the UK offer grants for regional based films. I grew up in East Anglia. Good place to start. I googled “Beach house, Suffolk, film location” and found our hero's house on a location website and started writing a supernatural thriller/ghost story set there. When I realised the spirit of the woman in the house could have fallen in love with an American pilot in World War II, I saw that I could tell some of the history of my own life and of the USAF [United States Air Force] in Suffolk too. And then we were off!

Before we get to the Widow's Walk teaser, can you introduce us to a few members of the Widow’s team?

First and foremost, Matt Flanders (Producer), who is a long-time friend. He helped me get my audition for Titanic. He worked with Dede Gardner on projects such as World War Z and Twelve Years a Slave. He's been producing independently for a few years now and has a keen eye for the right notes and for bringing me back from being too sentimental or over explaining things.

Mike Myshko (Editor, DIT and Post Production Supervisor) is a digital genius of epic proportions. He is DIT, editor, VFX, colour grader, poster designer and post-production supervisor. We have worked on several short films together and he was the one that convinced me we could make WW for the much smaller budget we are going for.

Dan Milne (Producer)
[We] went to drama school together a million years ago. He's a theatre director and performance maker with his production company WONDERBAR. He produced the upcoming You Were Never Here directed by Camille Thoman with Sam Shepard and Mireille Enos.

Bronwyn Cornelius (Executive Producer)
Bronwyn produced You Were Never Here with Dan and came on board as executive producer after she read and loved the script.

James Seymour Brett (Composer)
James wrote the music for my short films Boxer on the Wilderness and A Kick in the Grass. He's based at Abbey Road studios and has promised me I can conduct the orchestra (for about 16 bars only!) when we record the sound track.

Mustafa Bal (sound designer)
He created the sound for Boxer on the Wilderness, which is one of my favourite elements of the film. So, much can be told with the right soundscape. He will record sounds on set and be the sound designer, again creating a one-stop-shop for that department.

BOXER ON THE WILDERNESS from Alexandra Boyd on Vimeo.

For more info:
New Thirty Pictures: www.newthirtypictures.com
Widow’s Walk on Twitter: @widows_walk
Alexandra Boyd on Twitter: @AlexActWrDir
Widow’s Walk website: www.widowswalkfilm.com
Boxer on the Wilderness: @BoxerWilderness

About the author
Find out more about Persephone Vandegrift at IMDb and on her website, and read about her projects: Death of a Mortal Woman, The Water King, and The Maiden Tree. Follow her @persephwrites.

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Women helmers of top grossing indies of 2013

1/5/2014

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by Kyna Morgan
@HerFilmProject

Written & directed by Nicole Holofcener and the 8th top-grossing indie film of 2013

Indiewire has just posted its list of top-grossing independent films of 2013; interestingly, a Mexican film directed by perennially popular comedic star Eugenio Derbez, was the top grosser, co-written by a woman, Leticia López Margalli. With Hollywood continuously confounded by the American Latino market, it's encouraging to see a Mexican film make such a nice showing. Read the Indiewire article for the details on eligibility for films included on this list.

Out of the top 30 films, women helmed only two of them, with the highest-ranking woman-directed film (Enough Said) at the #8 spot on the list, which is also the highest-ranked film both written and directed by a woman (Nicole Holofcener). Women wrote/co-wrote eight out of the top 30 films, with the highest-ranking co-written film at #1 for Instructions Not Included (co-writer Leticia López Margalli). See the entire list below.

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Noms announced for Sweden's top film award

1/4/2014

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by Kyna Morgan
@HerFilmProject

The Guldbagge Award, Sweden's top film honor awarded by the Swedish Film Institute, turns 50 this year. Winners across 19 categories will be presented with the coveted red and gold beetle (named for the actual beetle, the "Guldbagge"), perhaps one of the most unique designs for a film award in the world. The awards also include the Gullspira Children's Film Award and the Lifetime Achievement Award. Nominations for Sweden's national film award were decided in early December through a voting committee of 45 members. Women made a great showing in a number of categories, which is not surprising given the cultural zeitgeist that makes things like the Swedish Film Institute's focus on gender equity behind the camera as well as the recent installation of a Bechdel Test-passing standard for films in Swedish theaters possible. To read through the list of all nominees, click here. The awards will be presented on January 20 in Stockholm.

BEST DIRECTOR

While only one of the three directors nominated was a female director, Anna Odell, she was also nominated in the Best Screenplay category for the same film, The Reunion (Återträffen).

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Review: Julia Loktev's contemplative The Loneliest Planet (2011)

10/22/2013

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by Lotus Wollschlager

A film by Julia Loktev

This film is about an engaged couple named Nica and Alex played by Hani Furstenberg and Gael Garcia Bernal (Y Tu Mamá También). They go backpacking in the picturesque Caucasus Mountains with a Georgian tour guide named Dato. There is very little dialogue in the beginning of the film as it focuses on the beautiful scenery they are experiencing. The two seem to be happy just exploring together and have a goofy and carefree connection. While hiking, they come across an older man with two younger boys. The older man speaks with Dato in his native tongue and Alex finally asks them what is going on and is confronted with a gun to his face. His initial reaction is to cower behind Nica and then when realizing his folly quickly pulls Nica behind him to shield her. Dato gently takes the gun away from the man, and the man gestures that there are no hard feelings and gives Alex a pair of sunglasses. Alex is shaken and confused and takes off his bracelet thinking the man wants something in return. He waves Alex off and then then walks away with the younger boys. Nica, visibly shaken and dazed, turns around and walks off with Dato and Alex slowly following behind her. The film shifts at this exact moment, and the rest of the film revolves around the fallout from this scene.

Alex keeps his distance from Nica, and there is a telling panoramic shot of the three of them with distance, both physical and emotional, between all three of them. You can see the shame written all over Alex’s face and the inner battle he must be struggling with for not instinctively protecting his fiance. That one moment forced Alex’s core being out into the open for Nica to see and you can’t help but wonder if they both were unsatisfied with what they saw. Sometimes it seems that it only takes one event to truly reveal a person’s true colors.

I enjoyed the cinematography and the beautiful scenery, but the pace of the film was a bit slow for me. Both actors did a great job expressing their feelings without saying a word as so much relied on their silent emoting. The director, Julia Loktev, had a way of making the movie steer you in a direction with, at first glance, seemingly small moments and covert emotions. Parts of the editing with the film’s music and scenes were choppy, and that only seemed to enhance how discombobulated the couple felt after the incident. There were many subtle elements to the film that seemed out of place on their own, but Loktev artfully pieced them together to make it all work. (This film won the Grand Jury Prize at AFI Fest in 2011.)

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World premiere of new film H & G: Interview with filmmaker Danishka Esterhazy

9/26/2013

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by Kyna Morgan

Breazy Diduck-Wilson as “Gemma” and Annika Elyse Irving as “Harley”. Photo by Rebecca Sandulak.

Canadian filmmaker Danishka Esterhazy's latest film, H & G, will be given its world premiere this weekend at the Vancouver International Film Festival (details). A new look at the 200-year old Brothers Grimm fairytale, Hansel and Gretel, director and co-writer Esterhazy delves into some even deeper and as equally dark material as witches and cannibalism, injecting a contemporary social consciousness into the story as she deals with child neglect, murder and more in this neorealist film.

Based in Winnipeg and well-known within as well as outside of Canada, Esterhazy has directed over a dozen films and television programs. Fairytales aren't new territory for her, though, having made the short films, The Snow Queen, a retelling of the Hans Christian Andersen story, and The Red Hood, a retelling of Little Red Riding Hood (also by the Brothers Grimm), and setting them both in the Canadian Prairies. She made her feature film directorial debut with historical drama Black Field which premiered at the Vancouver International Film Festival in 2009.

Red Czarina is the production company for H & G, founded in 2012 by Esterhazy, Rebecca Sandulak, Ashley Hirt, and Rebecca Gibson, who co-wrote H & G with Esterhazy. Watch a video feature on the production of H & G.

In a recent interview, we discussed her new film, working outside of film industry centers in Canada, and how she creates a tone on her film set.

Annika Elyse Irving as “Harley”. Photo by Rebecca Sandulak.

Thank you for visiting with Her Film Project! Your new film is H & G, a retelling of the Hansel and Gretel story, but it’s not the first time that you’ve taken on a project that reimagines a fairytale. What is it about fairytales that you find so appealing? Do you think that there is something inherent in them that make them so enduring?

DE: I think that I am fascinated by fairytales because I loved them so much as a child yet I find them so frustrating as an adult. The portrayal of girls and women in traditional fairytales is so negative and yet the lure of the stories remains strong for so many of us. I enjoy taking the elements of traditional fairytales and reworking them.

Why did you think that H & G was an important story to tell?

DE: The original fairytale of Hansel and Gretel deals with serious issues: child poverty, child neglect, and child murder. Unfortunately, these are issues that are still important concerns for modern society. These are topics worth exploring.

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September 26 Screening in San Francisco: Missing Home by Weimin Zhang

9/25/2013

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by Kyna Morgan

If you're in or near San Francisco tomorrow, don't miss this special screening of Sixth Generation Chinese filmmaker and professor Weimin Zhang's documentary film, Missing Home (The Last Days of Beijing Hutongs) (2012). Zhang tells the story of the disappearance of the Hutongs, an ancient architectural style, and explores modernization and urban development. The film is screening at 6pm at Cole Hall on the UCSF campus (see poster below). A Q&A with Zhang will follow the screening.

This screening is free to the public.

See the Facebook event page and visit the film's website.

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Vampire thriller Kiss of the Damned: Interview with writer-director Xan Cassavetes

9/25/2013

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by Katie Carman-Lehach
@katiecarman

Xan Cassavetes, director of KISS OF THE DAMNED, a Magnet Release. Photo courtesy of Magnet Releasing. Photo credit: Vera Anderson

If you're in the mood for a sexy, atmospheric vampire thriller, look no further than Kiss of the Damned, director Xan Cassavetes' feature film debut which opened in theaters nationwide May 3rd (also currently on VOD). A talented director in her own right, Xan is the daughter of film director John Cassavetes and actress Gena Rowlands so it's no surprise that the apple did not fall far from the tree.

I had the opportunity sit down and ask her how the film came to be, what her creative process is like and what her opinions are on being a woman in the film industry making a movie about three beautiful and powerful vampire ladies. (Click here for a full review of the film!)

First, I know this is your first narrative feature film and your previous film was a documentary about Z Channel, the famed Los Angeles cable channel (Z Channel: A Magnificent Obsession). Had you always wanted to do narrative films?

XC: Yes.

Were you doing other narrative films before this feature film or…

XC: Well no, but I had been trying. [laughing]

What was the experience like for you, jumping from documentary to narrative film?

XC: Well, there was a long time in between because I’d been trying to make movies very, very hard. I was working very hard, taking it very seriously. Obsessive-like, but they were not necessarily the kind of movies that financers like, jump up and down and clap their hands for. But finally, you know, I was about to get another movie made before Kiss of the Damned. It was a movie that I’d written like 5 years before, right after Z Channel and it was an obsessive love story that took place in Mexico City. I did get it green lit and I got it ready to go, but by the time I did, it was just, I wasn’t connected to it the way I was when I had written it, you know? And I just longed to do something that was immediate and you know, had that immediacy and that was very fresh.

The passion had kind of waned?

XC: Yeah, I mean, I sort of had changed as a person, and I really loved the screenplay. I think my producer is still going to make the script with another director. But you know, sometimes…I outgrew it, sort of stylistically and thematically.

If I saw that movie I’d love it, but it’s just not for me to make. So I took some of the people who were working, financers working on that, and for a fraction of it wrote a vampire movie in 3 weeks and that’s how [Kiss of the Damned] came to be.

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