Filmmakers Speak About Making Documentaries During the Rise of Populism, and the Dangers of Making Films Critical of Repressive Regimes

As a film enthusiast who has spent countless hours immersed in the world of documentaries, I can’t help but feel deeply troubled by the stories that have emerged from this year’s International Documentary Film Festival Amsterdam (IDFA). The challenges faced by documentary filmmakers in various parts of the world, particularly those who dare to tackle sensitive political issues, are not only disheartening but also a stark reminder of the power and danger of storytelling.

This year, documentary filmmakers and influential figures within the industry convened at the International Documentary Film Festival Amsterdam for the annual Europe Conference, a joint event with French public broadcaster Arte. The conference theme centered around “independence and resistance in times of repressive populism.” Orwa Nyrabia, IDFA’s artistic director, opened the discussion by pointing out the growing influence of populist movements across Europe and worldwide, viewing filmmakers as adversaries.

He stated that they swiftly discover that culture isn’t on their side and that documentarians pose a significant threat, as we often critique them without delay. He argued that they shouldn’t possess the authority to hinder our actions.

Nyrabia pointed out instances similar to those in Germany, where it isn’t just right-wing groups censoring opinions, but left-wing too. He cited a recent incident when the official Berlin city portal labeled an Israeli-Palestinian documentary, “No Other Land,” directed by Yuval Abraham, as potentially having anti-Semitic overtones before its German premiere. However, a few days later, the new Berlinale director, Tricia Tuttle, spoke up in defense of the film.

To set the record straight, I want to emphasize that neither the movie nor the statements made by co-directors Basel Adra and Yuval Abraham at the Berlinale are anti-Semitic. It’s crucial to avoid accusations that could potentially harm these filmmakers, both within Germany and beyond its borders. We should stand united in supporting them.

The film titled ‘No Other Land’ will be screened at IDFA in the Best of Fests section, and it was given a special screening with a subsequent Q&A involving Nyrabia and Oscar-winning documentarian Laura Poitras. Nyrabia described the movie as ‘healing,’ stating that despite accusations of anti-Semitism, it actually counters such notions.

The topic of movies perceived as critical of the Israeli government being branded as anti-Semitic resurfaced during the discussion. Notably, during a screening at a festival, Israeli producer Osnat Trabelsi received a live message on stage stating that viewers had shouted “Nazi propaganda” at her film “The 1957 Transcripts” during one of its screenings. This update left her visibly distressed, and she commented, “When you criticize Israel, this is the kind of response you can expect. And we are from there.

The 1957 Transcripts” narrates the tragic event of the cold-blooded killing of 49 residents from the Palestinian village of Kafr Qasim by Israeli Border Police troops in October 1956. The account includes firsthand survivor accounts, historical insights, and a dramatization based on newly unveiled court transcripts, detailing the military trial of the implicated soldiers.

Trabelsi expressed her dilemma over deciding whether to receive financial support from her homeland, which she referred to as a “democratic facade.” She noted that although Israel claims to be the only democracy in the Middle East, it operates more like an authoritarian government. Over the past ten years, it has grown challenging to produce films critical of the administration. The documentary being presented today wouldn’t secure funding if made now, as it did a decade ago.

The producer added, “Censorship in news reporting is present in Israel as well. They often avoid showing events taking place in Gaza, which shapes the public’s perspective differently from what you observe at IDFA.” Discussing the intricate political landscape of being an Israeli documentary filmmaker focusing on the Palestinian cause, Trabelsi stated, “It can be challenging to portray the oppressed as the oppressor. I only create films about Palestine when I am confident I have the right to narrate the story. My film ‘The 1957 Transcripts’ focuses on trial protocols, and I would not have shared the story otherwise. It’s about making ethical choices too.

Many filmmakers, including Petra Costa from Brazil, have reservations about accepting funding from their national bodies due to potential political influence or bias. Costa, who was Oscar-nominated for “The Edge of Democracy” in 2020 and is presenting “Apocalypse in the Tropics” at IDFA this year, has expressed concerns about the actions of Brazil’s national film agency during the Jair Bolsonaro presidency. She claimed that the agency would target progressives by investigating them for minor issues if they opposed the government, which she described as a form of political persecution. Today, under a democratic government, Costa still feels uneasy about accepting state money in Brazil due to these past experiences and concerns about potential biases or repercussions.

She asked, ‘Suppose we meet again in two years, after I’ve been so vocal about my criticism towards the government?’ She reminisced about that day when she received her Oscar nomination, but instead of joy, she was trending on Twitter as a ‘traitor of the Brazilian government.’ A congressman, who supports Bolsonaro, even requested her arrest for allegedly betraying the country.

We’ll have to wait and see how things unfold, as President Lula is investing in culture once more. However, given the past damage done to many filmmakers’ careers, it remains unclear what the state of affairs will be in another two years, according to Costa.

Salomé Jashi, a filmmaker and head of the Documentary Association of Georgia, has stated that there’s no question about accepting public funds for documentary filmmakers in Georgia. In unison, directors through the association have chosen to reject public funding in the country, expressing their stance against collaborating with a government that marginalizes certain groups, such as the LGBTQ+ community. Jashi explained, “This is a show of solidarity. At present, making films has become a political statement. Even the simple act of buying a coffee now carries political implications.

When asked about ways to combat populism as documentary makers, the filmmakers weren’t sure if there were definitive solutions available, but they all concurred that merely producing documentaries isn’t sufficient if the audience doesn’t engage with them. Costa highlighted the importance of re-establishing connections with grassroots activism, stating, “If we don’t do this, the working class might fall victim to the dangerous allure of fascism.

2024-11-20 09:17

Filmmakers Speak About Making Documentaries During the Rise of Populism, and the Dangers of Making Films Critical of Repressive Regimes

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