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Is traditional observational documentary still wanted?

Technological Exploration of Documentary Cinema: Contrasting “Youth (Spring)” and “Knit’s Island”

Introduction and Personal Experience

During film festivals, attendees often find themselves rushing from one screening to another, hoping to catch the most spectacular films of the year. Amidst such rushes, I watched two movies at the 2024 Luxembourg Film Festival that captured my attention as examples of exceptional cinematic experiences. I was not sure if I was enjoying the fact that I’m watching these films or not. At times, I questioned why one should watch them, yet I found myself unable to leave the hall – something compelled me to watch until the end. In the final sequences of both films, I realised that my perception of reality had shifted during each screening, and this is what makes them interesting. These experiences prompted me to reflect also about if the old-school observational style in long takes is still up to date next to the new-age technologies, and this is what we’re going to discuss in this article.

2. Simple structure and complex ideation behind the “Youth (Spring)”

The poetic observational documentary “Youth (Spring)” by Chinese filmmaker Wang Bing was shot between 2014 and 2029, the runtime is 212 minutes, and it simply shows the daily life of young people working in an industrial region of clothes production. The simpler is the syntax of the visual narrative, the more complex is the idea behind it.

Through observational shooting and simply editing the long shots without too much intervention, the director clearly reaches his goal – to make the audience become a part of these people. The area of factories that don’t correspond to the modern standards of privacy, business ethics, healthy lifestyle and many other important for us stuff transforms into a laboratory of life. In other words, though young people are coming here to earn money to build their future, they also share each other’s life and wisdom, they play, flirt, create or terminate relationships. In other words, they come here to collect money, but they also collect some skills, knowledge, dreams, and people for the rest of their lives. This transformation is invisible – one can never understand when it started or happened, just the feeling stays in the unconscious level. Probably this is the reason why in the announcements of the LuxFilmFest Wang Bing is presented as China’s poet of observation.

There is another contradictory element in “Youth (Spring)” and it’s about the dreams of the young generation. One of the girls tells his co-worker that they can’t get into a relationship as her family expects her to marry a boy from a rich family to help their economic predicaments. This kind of talk that appears in different parts of the film seems to be just simple and honest conversations, nothing more. But in fact, those create an emotional windmill inside the viewer. Particularly, the viewer, on the level of the brain and heart, starts to perceive different information and becomes confused – are these people happy, is there any chance their dreams will come true, what’s the aim of their life? Subsequently, these thoughts and feelings slide onto another level – what’s the difference between the life of those protagonists and ours, the viewers, by and large․․․ Are we, the viewers happy, what were our dreams and what happened with those, what’s the aim of our lives.

3. Technological Exploration: Contrasting “Youth (Spring)” and “Knit’s Island”

Reaching this emotional impact through simple real-life filming techniques is the point where the documentary “Youth (Spring)” contradicts another documentary presented at the LuxFilmFest. The directors of both films aim to document human souls by visualising (materialising) their feelings. This can be considered one of the most essential missions of documentary cinema. Both films managed to reach this level by totally different artistic and technical means.

In “Youth (Spring)”, which is a co-production between France, Luxembourg and Netherlands, the characters appear in front of the camera physically, which can create a need to “act themselves”, in other words- to make efforts to look natural. In another documentary included in the festival program, “Knit’s Island” made by Ekiem Barbier, Guilhem Causse, Quentin L’Helgouac’h, the protagonists seem to be more secure in showing their honest thoughts and feelings, emotions, and beliefs as physically they’re invisible, also because they don’t see a camera. In a game environment – a virtual world where almost all the film is made, they’re allowed to do whatever they feel like, so they will not be punished for anything they do.

From the above-mentioned point of view, this French film-experiment has an important role in documentary film history to showcase an additional method of reaching honesty and open talks in front of the screen without having a feeling that someone is filming you. It’s interesting that the same team of French filmmakers – Ekiem Barbier, Guilhem Causse and Quentin L’Helgouac’h in 2018 made a 34-minute documentary called “Marlowe Drive” that is entirely shot within the game GTA V using the camera angles in Director’s mode. This can be one of the reasons how the film crew acts so professionally in a virtual environment. Another important thing to explain it is that the crew spent 963 hours in the DayZ game environment where the story is developing.

Even though the presence of the camera in front of protagonists we call a contradictory point in these 2 films, but both films are valuable for exactly what they gained – in “Knit’s Island” the point of view and judgments are not hidden and human characters are transparent. In “Youth (Spring)” the viewer needs to rethink if there’s something hidden behind those simple actions of characters.

In both films, the protagonists of stories are the generalised characters. In one case it’s the young person working in Zhili – one of the textile industry centers in China, and the other is the human of civilised world trying to actualise their imagination of possible ideal life in the virtual world. And both are static characters – the aim of the films is not to show the change of protagonists during the film but to make the audience feel their environment and reality.

While we spoke about the technical realisation of the “Knit’s Island” movie, it’s important also to mention the specific way of filming “Youth (Spring)”. During the same Q&A session that followed the LuxFilmFest screening of the film, Wang Bing informed that he made the film with a tiny camera and the sound is taken from the camera only. This is an important factor for the documentary, and it aims to reach the level of what we were discussing about the film “Knit’s Island” – to minimalise the feeling that someone is following you in order to retell your story and show your actions to others.

4. Societal Interconnected Narratives and Characterization

Both films are about people who try to live their lives in the way they want. The difference is that in the case of “Youth (Spring)” young protagonists have some hopes about their future and they work to collect money for those aspirations. The protagonists of “Knit’s Island” are more adults and they have no hope of changing anything in their real life in the future to the better side, therefore they’re settling into the virtual reality that they can form in the way they want. They can even be considered continuation of one another – young people, who have dreams, usually end up adapting to what they have and finding (escaping) ways to survive the reality they haven’t dreamt about.

5. Ethical Considerations in Documentary Filmmaking

In both films we can see ethical considerations that generally should be important for any documentarian. In the film “Knit’s Island” we can see how the filming group by meeting new people asks permission to record and use the recording (particularly the real voices of players) for their documentary film. In the film “Youth (Spring)”, we can see the presence of the observational camera in the lives of the characters, capturing both personal and business insights of the people around. This means that the camera didn’t try to hide which is admirable from the ethical point of view.

The same thing can also be misleading from the point of view of credibility. It’s difficult to believe that the film is a true documentary while the protagonists are so open in front of the camera which is in the center of actions. Only after knowing that the film was made within 5 years – from 2014 to 2019 – it becomes clear that this is not a pseudօ-documentary. The long-term shooting technique can achieve such a result as people get used to the presence of the camera.

6. Film Length and Emotional Effect

The length of the films can be considered as another aspect of ethical implications as it has a direct influence on the emotions of the viewer and also it’s about asking one of the most valuable resources nowadays – the time. In the case of “Youth (Spring)” during the film it’s not very clear why it’s 212 minutes and gives an impression of a loop or a static action. On the other hand, we’re speaking about a poetic documentary which means we can’t discuss it in the same way as we can’t say that the poems of Dante Alighieri or Homer could be shorter. Only at the end of the movie “Youth (Spring)” we can understand the influence of the long and repetitive work-related sequences. After 3 hours of watching and becoming a part of the working environment, the home village environment of one of the workers seems to be uncomfortable both for the protagonists and the viewer. In other words, this freedom feels like a deadlock of uncertainty and lack of possibilities, while the workplace was also had the same feeling of deadlock for young workers but in a happier mood.

Continuing the topic of the length and the emotional influence, here it’s worthy to note that the film “Knit’s Island” reached to the same level of sub-conscious impact in 2 times less length – 96 minutes. Particularly, after watching on a 2D screen the film shot in virtual reality, at the end the few shots from the outdoor real-world environment appear strange to our brains. So, at the end of the film, we can experience what gamers feel when they switch off their game – they’re back to a stranger world that is not as comfortable and welcoming as the virtual one.

7. Conclusion: Reflections on Documentary Cinema’s Evolution

In conclusion, the juxtaposition of “Youth (Spring)” and “Knit’s Island” within the 15th edition of the Luxembourg Film Festival provides audiences with a valuable opportunity to appreciate the diverse and creative richness within documentary cinema. These films, along with others featured in the festival, serve as a reminder that despite the emergence of new creative approaches facilitated by technological advancements in documenting human emotions and thoughts, traditional documentary methods remain highly relevant. The unique storytelling methods employed by both documentaries underscore the versatility of the documentary in conveying powerful narratives. While “Youth (Spring)” immerses viewers in the daily lives of young individuals working in an industrial region, prompting reconsiderations about societal norms and personal aspirations, “Knit’s Island” leverages virtual reality as a canvas for exploring the unfiltered thoughts and emotions of its characters, offering an alternative yet equally compelling perspective. The festival’s curation encourages audiences to embrace the diversity of cinematic expression, fostering a deeper appreciation for the profound impact that documentary films can have on our understanding of the world and ourselves in the middle of evolving cinematic landscapes.

Seg Kirakossian

PhD researcher in Documentary film aesthetics at the University of Luxembourg

EDUCATION / Photography

Stronger Composition: Pyramid / Triangular

The concept of the Pyramid composition in photography, also known as Triangular composition or the rule of thirds applied diagonally,

The use of triangular or pyramid-like compositions can be traced back to classical art. Painters and artists often arranged elements in triangular formations to achieve balance and harmony in their works. Examples are Sandro Botticelli’s “The Birth of Venus” (c. 1484–1486), Raphael’s “The School of Athens” (1509–1511), Rembrandt van Rijn’s “The Anatomy Lesson of Dr. Nicolaes Tulp” (1632), Michelangelo Buonarroti’s sculpture “Pieta” (1498–1499).

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

EDUCATION / Photography

Stronger Composition: Frame Within the Frame

The “Frame Within the Frame” is a compositional technique in photography where the photographer uses elements within the scene to create a frame around the main subject.

Before looking for framing elements, identify the main subject of your photograph. It could be a person, an object, or a scene that you want to highlight and draw attention to. Then look for elements within the environment that can naturally frame or surround your subject. This could include archways, doorways, windows, tree branches, or any other structural or natural elements that form a visual border around the subject. The frame acts as a visual guide, leading the viewer’s eyes towards the central subject.

The type of frame within the frame you choose can influence the mood of your photograph. For example, an arched doorway might add a touch of elegance, while tree branches might create a more natural and rustic feel.

Picture SKRC 4.1, Frame Within the Frame

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

EDUCATION / Photography

Stronger Composition: Leading Lines

The principle of Leading Lines is a compositional technique in visual arts, including photography and painting, that involves using lines within an image to guide the viewer’s eyes towards a specific focal point or area of interest. Leading lines are essentially paths or visual elements that help direct attention, create a sense of movement, and enhance the overall visual impact of the composition.

leading lines composition — Picture SKRC 3.2.1, Leading Lines

The primary purpose of leading lines is to draw attention to the main subject or focal point of the image. Whether it’s a person, an object, or a specific area, the lines act as a visual pathway that directs the viewer’s eyes towards the intended center of interest. Leading lines can take various forms, including straight, diagonal, curved, or zigzag patterns. The choice of line type depends on the desired effect and the characteristics of the subject. Diagonal lines, for example, can convey a sense of energy and dynamism, while curved lines may suggest grace and flow. These lines can be literal, such as rivers, tree branches, roads, pathways, or railings, or implied through the arrangement of shapes, shadows, or other elements.

By incorporating leading lines that converge towards a vanishing point, the photographer can simulate perspective, making the composition feel more immersive and three-dimensional.

While the term “leading lines” might not have been explicitly used in classical art, many artists employed compositional techniques that guide the viewer’s eyes towards a focal point or subject within the artwork. Among examples are Leonardo da Vinci’s “The Last Supper” (1495–1498), Caravaggio’s “The Supper at Emmaus” (1601), Vincent van Gogh’s “Starry Night” (1889).

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

EDUCATION / Photography

Stronger Composition: Golden Ratio

0, 1, 1, 2, 3, 5, 8, 13… This is called Fibonacci sequence – a series of numbers where each number is the sum of two previous ones. The ratio between consecutive Fibonacci numbers corresponds with the Golden Ratio. The concepts have been known since ancient Greece where it was explored by mathematicians, such as Euclid.

The Golden Ratio, often represented by the Greek letter phi (Φ), equals 1.618. This ratio has been found in various aspects of art, nature, and architecture. It looks like a spiral that involves dividing an image into squares.

Golden Ratio example on a photo — Picture SKRC 7.1, Golden Ratio

The choice between the golden ratio, the Rule of thirds or Symmetry in photography often depends on the specific goals of the photographer and the characteristics of the subject/landscape. Each composition can be effective in different contexts. Here are situations where the golden ratio might be preferable:

Spiraling Compositions (curves or spirals);
Subtle Emphasis on Key Areas (no domination by the main subjects);
Artistic or Abstract Photography.

The form of a spiral that is based on the rule of the Golden Ratio can be compared to natural phenomena too, for example, Sea Shells, Sunflowers and Flower Petals, Pinecones and Pineapples, Hurricanes and Galaxies, fingerprints etc.

The video below visualises all the philosophy laying under the Golden Ratio.

Here is a brief overview of the evolution of the Golden Ratio:

Historical Use: Artists and architects in ancient Greece, such as Phidias and the builders of the Parthenon, were likely aware of the aesthetic qualities of the golden ratio, even if they didn’t explicitly name it. Elements of the golden ratio can be seen in their works.

Renaissance Artists: During the Renaissance, artists like Leonardo da Vinci and Michelangelo showed an interest in the golden ratio and incorporated its principles into their compositions. Da Vinci’s “Vitruvian Man” is often cited as an example of the golden ratio in art.

Mathematical Treatises: In the 19th and early 20th centuries, mathematical treatises explored the properties of the golden ratio, and its relationship with aesthetics gained attention in academic circles.

Photography: When photography became an established art form, photographers and educators began to apply compositional principles inspired by the golden ratio. The idea was to use the ratio to guide the placement of key elements within the frame for a more balanced and visually pleasing result.

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

EDUCATION / Photography

Stronger Composition: Symmetry

Think about a butterfly’s wings – they’re the same on both sides, right? That’s symmetry in nature. Now lets imagine you’re taking a picture of your favorite toy or a beautiful flower, and you want it to look extra special. Try placing things so they match on both sides of your invisible line.

If you draw an invisible line right in the middle of your picture (vertical or horizontal), everything on one side should be like a twin or a reflection of everything on the other side. It’s like creating a perfect world of doubles. Symmetry makes your photo feel calm and balanced.

The rule of symmetry in photography is a compositional guideline that involves creating balance and harmony in an image by aligning elements along a central axis. Symmetry can be found in various forms, such as reflective symmetry (mirror image) or radial symmetry (circular balance).

This rule is directly connected with human biology. Particularly, our brain has a natural affinity for symmetry, and this preference is believed to be rooted in both evolutionary and cognitive factors.

Evolutionary Advantage:
Evolutionary psychologists propose that the preference for symmetry may have evolved because symmetrical features are often associated with good health and genetic fitness. In the animal kingdom, asymmetry can be a sign of developmental issues or genetic abnormalities. Therefore, individuals with more symmetrical features may be perceived as healthier and more likely to pass on robust genes to their offspring. Over time, this preference for symmetry may have become ingrained in human psychology.

Cognitive Efficiency:
Symmetrical patterns are often simpler and more regular than asymmetrical ones. The human brain tends to process and recognize familiar, regular patterns more quickly and efficiently. Symmetry provides a sense of order and predictability, making it easier for the brain to process visual information. This cognitive efficiency may contribute to the aesthetic appeal of symmetrical designs.

Aesthetic Pleasure:
The brain also experiences a sense of pleasure and aesthetic satisfaction when encountering symmetrical patterns. This response is evident in various forms of art, architecture, and design. Symmetry can create a feeling of balance and harmony, which is pleasing to the human eye and contributes to a positive emotional response.

Neurological Processing:
Studies (1, 2) using brain imaging techniques such as fMRI (functional magnetic resonance imaging) have shown that the brain responds differently to symmetrical and asymmetrical stimuli. Symmetrical patterns may activate certain areas of the brain associated with reward and positive emotions.

Cultural and Environmental Influences:
While there may be some universal aspects to the preference for symmetry, cultural and environmental factors also play a role. Different cultures may have varying preferences for symmetry based on artistic traditions, historical influences, and aesthetic norms (for example, African Textile Designs, Ancient Chinese Calligraphy and Art, Baroque Architecture in Europe, Mesoamerican Art and Murals, Armenian Carpet Patterns etc).

In the picture SKRC 2.1 you can see an example of symmetrical composition. Meanwhile the SKRC 2.2 is an example of how the composition can’t be considered a symmetry as the background, particularly the building, appears differently on the right and left sides of the central axis.

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

EDUCATION / Photography

Stronger Composition: Rule of Thirds

Avez-vous entendu parler de la règle des tiers?

Imaginez que vous fassiez un dessin ou que vous preniez une photo de quelque chose ! La règle des tiers est une astuce secrète qui peut rendre votre image encore plus attrayante et agréable. Selon cette règle, au lieu de tout placer au milieu, imagine que ton dessin est divisé en neuf carrés, comme une grande tablette de chocolat. Deux lignes montent et descendent et deux lignes traversent. Ces lignes créent neuf parties égales, comme les morceaux de votre chocolat préféré !

La philosophie de cette règle est la même que celle qui consiste à préparer une délicieuse pizza en répartissant uniformément toutes les garnitures. En d’autres termes, vous devez essayer de placer les parties/objets les plus importants de votre photo là où les lignes se croisent ou le long des lignes, comme si vous cachiez un trésor dans un endroit spécial.

rule of thirds with grids — Picture SKRC 1.2.2, Rule of Thirds

Vous ne savez toujours pas de quoi il s’agit? Continuez!

La règle des tiers est une ligne directrice de composition utilisée dans les arts visuels, y compris la photographie/vidéographie, la peinture et le design.

L’origine de la règle des tiers n’est pas attribuée à des personnes ou à des auteurs spécifiques, car elle a évolué au fil du temps et constitue un principe largement accepté dans les arts visuels. Elle remonte toutefois à l’art grec ancien et au concept du nombre d’or, qui consiste à diviser une composition en proportions esthétiquement agréables (par exemple : le nombre d’or, dont nous parlerons plus tard sur mon site web).

L’expression “règle des tiers” a gagné en popularité aux XVIIIe et XIXe siècles, en particulier dans le domaine de la peinture. Les artistes et les théoriciens ont prêté attention aux compositions asymétriques afin de créer des œuvres d’art plus dynamiques et visuellement attrayantes. Bien que le concept n’ait pas été nommé exactement “règle des tiers” à l’époque, le principe consistait à diviser la toile en tiers.

Dans le cas de la photographie, la règle des tiers s’est répandue au 20e siècle avec l’apparition des directives de composition photographique. Les photographes et les éducateurs ont commencé à utiliser le terme et à promouvoir la règle comme un outil utile pour créer des images dynamiques.

Par exemple, dans l’image SKRC 1.2.2, le navire est positionné dans le point de croisement supérieur droit de la grille de la règle des tiers. La ligne d’horizon, qui sépare le ciel de la mer, s’aligne sur la ligne horizontale supérieure de la grille. En outre, la ligne entre le rivage et l’eau correspond à la ligne horizontale inférieure de la grille. En respectant la règle des tiers, la photo présente une composition agréable à l’œil, qui guide le regard de l’observateur sur l’image tout en mettant en valeur des éléments clés tels que le navire et la ligne d’horizon.

Voici comment vérifier si l’appareil photo de votre smartphone respecte la règle des tiers :

Paramètres de l’appareil photo :

Ouvrez l’application de l’appareil photo.
Cherchez l’icône des paramètres/options.
Naviguez jusqu’à l’option “Grille” ou “Lignes de la grille”.

Activez les lignes de la grille et l’écran de votre appareil photo sera désormais doté de la grille de la règle des tiers (il peut également y avoir d’autres options de lignes de la grille).

Il s’agit d’un outil précieux pour les photographes amateurs et expérimentés utilisant des appareils mobiles.

Les photos publiées sur cette page relèvent du droit d’auteur.
Crédits photos à : Seg Kirakossian

Non-Formal

DOCUMENTARY FILMS IN EMOTIONAL LEARNING

Documentary cinema is a type of art but it also speaks with a voice of reality which contains divers colors. And the youth work is a way to try solving problems of young people through giving them competences. Combining youth work and the documentary film is a good way to bring more attention on youth problems, to raise awareness about the rights and opportunities and to share a culture of a group or an individual that they want the world to see.

My first tries in this field were in 2008 when I, as a member of World Independent Youth Union NGO and as a film directing student, made a 3 part interactive 20 minute documentary film on people who faced a discrimination in Armenia. Later it was used to make debate series in Armenian schools with support of the European Youth Foundation and in frames of the Youth Peace Ambassadors project (2 year course) by the Council of Europe. It was my way to become a trainer.

Later it became my aim to let youth workers know about the potential power of the documentary art to be used in the emotional education.

The first large-scale try was the Erasmus+ training course in Armenia called “MovieDoc” (2017) aimed to make a space for youth workers and people with autism to work together using documentary filmmaking as a tool of communication and dialogue. It was organized by “Foreign Students of Luxembourg”, Co-hosted by Doctor Cinema and financed by Erasmus+ National agency of Luxembourg: Service National de Jeunesse. Participants were from Luxembourg, France, Greece, Portugal, Georgia, Belarus, Russia, Armenia. For the youth workers it was a possibility to gain experience in a safe environment and to use it later in their communities. For the young people with autism it was a safe learning and communication space. The overall training mood and the feedback that we got from the group after the project was motivating for our team and in 2018 the idea came back to life again in different form.

The project “DocuSpeech Against Hate Speech” was consist of a Training Course in Luxembourg and a Seminar in Armenia. It organized by Foreign Students of Luxembourg, Co-hosted by Doctor Cinema with a financial support of Erasmus+ Programme granted by Luxembourgish National Agency – Anefore. The aim of the project was to empower youth workers from Luxembourg, Norway, Poland, Portugal, Georgia, Russia, Armenia with the skills of documentary filmmaking and using their films in their own projects. Participants created 5 session outlines about the topics of discrimination, disability, media literacy, critical thinking and Love Speech using the videos they’ve created n frames of the project. 4 session outlines are published in the Salto-Youth website and the links are below.

https://www.salto-youth.net/tools/toolbox/tool/love-speech-for-a-world-without-hate.2607/

https://www.salto-youth.net/tools/toolbox/tool/workshop-on-critical-thinking.2606/

https://www.salto-youth.net/tools/toolbox/tool/check-the-fake.2608/

https://www.salto-youth.net/tools/toolbox/tool/not-just-words.2553/

The positive resonance among participants of the previous experiences not only made us to feel the importance of the topic but also the Norvegian Erasmus+ National Agency Aktiv Ungdom, which supported the realization of the project “DocuRights”. It was organized by Frie Filmere NGO and hosted by Doctor Cinema in Armenia. The aim was to promote usage of international documentary movies in youth work as tool of emotional education.

https://www.facebook.com/DocCinema/videos/657542984654679/?__xts__[0]=68.ARAqdKmDfppMOYD-MH1qbEvnGUkv83tZy_Fj3SW184GI7BbNbpcZ5pbtPNdbiA-IPf8l8d5-qqHPMGcE2klrYu7Ay8D11ye3sQyKBwe2uCwTFxRWtfN9IpeUp4fGoiH1esh9G3_HtYN_yGtgw9zM8nIekaftdOSWIn_ocEaFvVhPGhEeuYQnFGMTPhJ-zpBxctBevnqnebLX2bGd6ZNV9-FyLAIXyCK5tzUztpFt-bLsT4Ps9gyecB6PceHTSXY9OvQatljlmYZ4rEbZnK_zwYVpbUxsEtsFd2nfx8efXxhPdPpwy9SVxwvw4azU5fh45ErfQB9Y5bkX-wlhzz5lrFbTOuYZ6_w7cvxoFg&__tn__=-R

The practice showed that the long-term involvement of participants creates an additional motivation for learning so we plan to continue promoting the usage of documentary films in youth work as a tool for dialogue, emotional learning tool, co-working space, a way to raise a voice and an intellectual entertainment.

P.S. I am grateful to Foreign Students of Luxembourg, Amities Luxembourg Armenie, Frie Filmere for their trust and support to me as a trainer, to the National Agencies of Erasmus+ in Luxembourg (Anefore, Service National de Jeunesse) and in Norway (Aktiv Ungdom) for believing in our projects, and to my colleagues who give me lots of energy to go on.

Film Critic

Nanook of the 21st century

A review about the documentary film Makala (2017) by by Emmanuel Gras

A man is sitting near the huge tree that he just cut, and the leaf shadow is moving on his head as it strokes him. Such scenes are the core of the film Makala by Emmanuel Gras. It has more to show than to tell.

“Nanook of the North” was the first film about which, in 1922, the term documentary was used as a movie characteristic. Nowadays, when the film Makala is shot with a similar topic (the daily struggle of the “man of nature), there is a worldwide tendency to erase the border between fiction and documentary as it’s difficult to define. And really, if the story of Makala wouldn’t be too simple, it would be less likely to believe that that it’s a documentary. Everything that happens in the film is more than natural, more than well-prepared. The only scene when the camera gets into a documentary panic is when the heavily loaded bicycle falls down on the road and obviously, the protagonist can’t fix it alone.

It’s usual to say that films are good if they create a feeling of identification and empathy in the audience with the protagonists. That makes it easier to follow the story. The author of Makala – Emmanuel Gras, didn’t try to follow this principle: who would like to work hard to make coal and get paid for it almost nothing, as the protagonist does? On the other hand, there are not many obvious conflict situations. So why it’s still interesting to follow the flow of time showing nothing special? The secret is the HOW. First, it’s joyful to follow how the camera plays with objects, lights and shadows. For example, the bike is overloaded with an impressive big-size shipment. It’s riding on a sand road. Its shadow is sliding on the ground and the wheel shadow close-up can make the spectator emotionally experience the suffering of the bicycle. There are also hidden conflicts throughout all the film – a conflict between man and the rules of the world where he loses and which is metaphorically shown in the road scene when the protagonist is lost in the dust made by cars driving nearby.

Though the peaks of the storyline are on-the-road scenes, but the key point is in the end, which makes the film complete, reasonable and independent from being called a remake of Robert Flaherty’s “Nanook”. It’s about the Christian church gathering scene, especially the sentence with the following message – if you are an honest man, then the torture of daily life will not affect you, if you are not honest, then it will.

So the film is about honesty – the protagonist is no t stealing to build his dream house, not taking taxes from other workers like he is being stopped on the road. The director created so an honest character that even the tree he cuts is “stroking” his head.

The work with people shot in the film is another subject worthy of paying attention to. There are 3 main ways to make people not be constrained by the presence of the camera:

hidden camera;
task giving (like actors);
long-lasting shootings.

The director didn’t leave signs in the film to understand which one he used. For example, in the scene where another man (antagonist) asks the protagonist to pay a tax and the camera is shooting from a distance a doubt can appear – does the tax collector knows about the camera? If yes – is he acting, or why did he let them shoot? Usually, people don’t welcome the idea of being filmed while doing illegal actions. If he doesn’t know, then how the flip-on microphone and the camera (probably with a tripod or steady-cam) were not noticed by the people around. But such kind of doubts during the film don’t harm the documentary value of Makala (the word means coal in Swahili) as love and an honest look of the author are present in the movie, and they are dominant compared to the hardly noticeable issues.

At the end of all, Makala is here to prove once again that the documentary cinema didn’t change its nature within 1 century – as worse it is for protagonists in real life as better for the documentary film. It’s crucial to accept but in the 1920s, Flaherty didn’t help his protagonists anyhow to survive the heavy living conditions but only captured it. 2 years later, after the premiere of the film about himself – Nanook died because of hunger. A century later, Emmanuel Gras still captures heavy living conditions and it’s so beautiful on the screen, so poetic.

Seg Kirakossian

The review is written in frames of the film critics’ workshop by Olivier Pélisson during the Golden Apricot international film festival 2019

OTHER

Film Suggestions

There are films that I consider worthy everyone to watch as they can wider your impressions about the cinema art. Here is the list I would suggest to watch and that I’ve found full films online.