A Preteen Lives in Abject Poverty in Doc ‘Flophouse America’: ‘Making Audiences Want to Rescue Mikal Is the Point’

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Monica Strømdahl, a director from Norway, spent numerous years journeying throughout the USA, capturing life within budget hotels or what are commonly referred to as flophouses. In 2017, she encountered Mikal, an 11-year-old boy, in a hotel foyer. Strømdahl had come across various children residing in these budget hotels, but Mikal was the only one who was born into this living situation. After establishing a strong bond of trust, both Mikal and his parents consented to let Strømdahl document their lives at home for three years. Their house, interestingly, combined bathroom and kitchen functions.

The outcome is titled ‘Flophouse America,’ a documentary focusing on Mikal, his family, and their humble dwelling. Despite the backdrop of addiction and disorder, there’s an unexpected abundance of love and optimism. The film underscores that Mikal’s heart-wrenching predicament is more prevalent in the United States than one might assume.

Mikal shares some key statistics at the outset: “The U.S. poverty rate stands at 11.5%, which translates to around 34 million people living below the poverty line. Unfortunately, many families struggling with low income are forced into extended stays in hotels and motels because of a scarcity of affordable housing options. Shockingly, one out of every ten children, totaling roughly 7.5 million, are growing up in households where at least one parent grapples with an alcohol abuse issue.

Strømdahl stated to EbMaster that ‘Flophouse America’ is filmed in America and within a single bedroom, but it’s crucial to recall that countless children across the globe slip through society’s gaps. As documentary makers, we are obligated to reflect those societal fractures. By revealing the lived experiences of these issues, we can only begin to take action against them.

After capturing footage featuring Mikal who was a minor at the time, Strømdahl delayed sharing his story for three years until Mikal turned 18 and gave his consent. In March, “Flophouse America” made its debut in the main competition section of CPH:DOX, Denmark’s documentary festival. It then screened at Visions du Réel in Switzerland, Movies That Matter in the Netherlands, and Docville in Belgium. Prior to its screening at Poland’s Docs without Gravity fest next month, we had a conversation with Strømdahl, the filmmaker.

Why do you think Mikal’s parents let you capture their life and all of its struggles?

Mikal’s parents allowed me to film because they wanted their story to be clear. They had experienced a lot of hardship, but also honesty. They recognized their struggles, but were proud that they could offer Mikal a better upbringing than they had. In their eyes, they shielded him from the difficult life they lived, and in that sense, they considered themselves successful. I believe they saw the film as a means to share the truth about addiction, poverty, and trying to give future generations a fair chance. They also trusted that I would treat them kindly, not critically. It was crucial to me that they understood they were in control during filming or not.

How do you think Mikel felt about you and the presence of your camera in his life during some of his most vulnerable moments?

Mikal viewed the camera as a means of making himself visible in his household, where adult emotions tended to overshadow things. Being an astute and emotionally insightful child, he found the camera useful in reclaiming some of that space. Essentially, he utilized it to reflect his feelings and experiences back to his parents. His intention was for the footage to provide them with a better understanding of his point of view. We had numerous discussions about this during the process. Mikal was never apathetic; instead, he demonstrated a heightened awareness throughout.

There are many scenes in the film where I wanted to reach into the screen and help Mikal out in some way. Did you ever feel the desire to “rescue” or “save” him?

This conundrum – whether to continue filming or take action – is as timeless as documentaries themselves. I never worried about Mikal’s immediate wellbeing, but I was extremely cautious about the potential long-term effects his environment might have on him. That’s why I spent so much time with the family, not just to grasp their dynamics, but also to tread carefully and intentionally. In truth, I believe I did intervene by collaborating with the family on this film. I didn’t withdraw from them; instead, I kept in regular contact throughout, and together we devised a care plan that ensured Mikal received ongoing therapeutic help. I truly feel he felt recognized and emboldened by the experience, and by my presence. In essence, making viewers yearn to save Mikal is the objective of this film.

In the midst of addiction, acrimony, and viciousness, there was a surprising amount of love expressed in Mikal’s household. Did that surprise you?

I wasn’t taken aback at all; love was a constant element throughout. It mattered greatly to me to portray the family not merely as data points, but as intricate human beings with depth. Mikal’s parents had a defined objective: to provide him with a safer, more emotionally open upbringing compared to what they experienced themselves. They aimed for him to feel loved and encouraged him to express himself freely at all times. The way they communicated, their openness, and their emotional sincerity are qualities that many might aspire to possess. In the film, I strove to illustrate not only the hardships but also the bond, the purpose, and the humanity that remained throughout it all.

Mikal and his father have seen the film. What was their reaction?

One reason Mikal chose to participate in the movie was to bridge the gap with his parents and make them comprehend his experiences. When we played the clips in front of both Jason and Mikal, it turned into a significant instance where they could relate on a deeper level. They discussed topics they’d never touched before, fostering an environment of truthfulness. I strongly feel this facilitated their healing process. It brought them closer emotionally. For me, this newfound bond between them will undoubtedly be one of the most impactful moments during the entire filmmaking journey.

Sales agency Lightbox boarded “Flophouse America” in March. The film is seeking distribution.

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2025-04-17 23:47