Greenlandic Doc ‘Walls-Akinni Inuk’ Filmmakers on a Story About ‘How Human Connection Can Wash Away Prejudice’ (EXCLUSIVE)

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The documentary “Walls-akinni inuk” from Greenland will have its first showing at the CPH:DOX documentary festival in Denmark this Friday, amidst a contentious discussion about the future of the Arctic island. As Denmark resists President Donald Trump’s attempts to take control and Greenland strengthens its push for independence following fresh elections, this film offers a relevant message of harmony and comprehension through the perspectives of its co-directors, Sofie Rørdam from Denmark and Nina Paninnguaq Skydsbjerg from Greenland.

Under the tense political climate surrounding its release, Rørdam tells EbMaster before the film’s premiere in the NORDIC:DOX competition that it’s unusual for our movie to emerge. We aim for our film to serve as a platform for dialogue about Greenland and its connection with Denmark, given the current wave of Danish colonial arrogance. Our movie, however, poses specific questions – like scrutinizing the Greenlandic prison system under Danish control – through a narrative that focuses on human experiences.

As a movie enthusiast, I’d like to share some trivia about the title of the film ‘akinni inuk.’ In Greenlandic, it translates to ‘the person in front of me.’ The intention behind this movie is to spark curiosity among viewers about the individual standing before them, and remind us all that we each have immense potential for change.

Given the current spotlight on Greenland in media,” she notes, “I’m somewhat apprehensive about granting interviews due to people attempting to twist the film into something other than its true nature, for their own agendas. However, I wish for this movie to be recognized for what it truly represents: a narrative that explores themes of love, friendship, and the power of human connection in overcoming all forms of bias.

Directed by esteemed filmmaker Emile Hertling Péronard, known for the Oscar-nominated short film “Ivalu” and the CPH:DOX opener “Twice Colonized,” the documentary “Walls-akinni inuk” initially delves into Greenland’s prison system. However, it transforms into a captivating narrative of an unexpected friendship between Paninnguaq Skydsbjerg and detainee Ruth Mikaelsen Jerimiassen. Despite their apparent differences – one being a successful, career-driven film producer/filmmaker, while the other is a woman serving an indefinite sentence for attempted murder – they gradually uncover shared experiences of trauma and sexual abuse through extended conversations within prison walls. When Ruth’s case is revisited, Paninnguaq Skydsbjerg and Ruth are offered a chance at redemption.

Skillfully captured by the filmmakers alongside Anders Berthelsen and Inuk Silis Høegh, the movie offers a blend of intimately portrayed prison scenes contrasted with poetic vistas of Greenland’s breathtaking scenery. This balanced presentation is masterfully edited by Biel Andrés, a frequent collaborator of Bille August, along with Nanna Frank Møller, who has worked on films such as “The Sky Above Zenica” and “Ambulance”.

The film combines close-up prison scenes with stunning views of Greenland’s landscapes, which are expertly edited by two skilled editors.

Initially inspired by her father’s work in Greenland as a biologist in 2015, Rørdam found herself drawn to the unique prison system on the island. Having previously delved into similar topics in Asia, she seized this opportunity to investigate further. Captivated by the island’s rehabilitation-focused penal system, she managed to gain access to a correctional facility and began filming in 2017. This allowed both the prisoners, such as Ruth, and herself to capture their daily lives using small cameras. Upon receiving the footage, Rørdam was incredibly moved and reached out to Emile [Hertling Péronard] for collaboration with a local producer.

Later on, he – Greenlandic from his mother’s lineage and Danish from his father’s – recalls the initial encounter with Rørdam and the evolution of the movie. “Initially, I couldn’t join the project, but recommended Nina as the producer while I watched from the sidelines. Nina and Sofie initially planned a short film, but the course of events altered the destiny of the film. The cameras given to the inmates were taken away, Nina lost her mother, COVID-19 prevented Sofie in Denmark from traveling to Nuuk. As a result, the entire process extended over several years. During this time, Nina, who had lengthy discussions with Ruth, continued filming in Nuuk, leaving the camera in a corner.

In my critique as a movie enthusiast, I found myself drawn into the narrative when Paninnguaq Skydsbjerg transitioned from an observer to a co-protagonist, alongside Rørdam. Recognizing Nina’s deep emotional investment in the story, we approached Hertling Péronard with a request: to assume the producing responsibilities. Rørdam eloquently expressed, “Nina was so immersed in the tale, she could no longer make impartial decisions.

In the presence of Ruth, Paninnguaq Skydsbjerg confided: “For years, I had constructed fortresses to shield myself from the harsh reality of my traumatic childhood. Yet, in Ruth’s company, these walls crumbled unexpectedly. She didn’t pity me; instead, she acknowledged my struggle, saying – ‘I understand, I feel the same.’

Having endured similar ordeals, Ruth resonated with my emotions, the grime I was carrying or attempting to escape. She too found herself in a place where there was no escape, and similarly, I realized I could no longer hide from my own troubles in her presence.

In the sensitive matter of alcoholism and domestic violence within Greenland, Hertling Péronard emphasizes the importance of Greenlanders taking ownership of this topic, even though it’s challenging. He believes this is a step towards reclaiming their personal narratives. “Other filmmakers have been drawn by the contrast between Greenland’s stunning landscapes and its social issues, creating films about us. It’s high time we told our own stories on screen, at our own rhythm, allowing us to eventually overcome not only these issues but also our post-colonial trauma.

Regarding production matters, Hertling Péronard – recognized as the Danish “Producer on the Move” in 2023 – notes that the unique post-colonial dynamics between Greenland and Denmark influence film financing, although progress is being made. He elaborates that when Greenland gained self-rule from Denmark in 1979, it assumed control over domestic issues such as culture. Funding access, including from the Danish Film Institute, was restricted to Greenlanders. However, through the NORDDOK fund (established by the Danish Film Institute in 2019 to support documentary filmmaking and TV productions from Denmark, Greenland, and the Faroe Islands), Hertling Péronard managed to create “Walls” via his company Ánorâk Film’s Greenlandic branch, marking a rare instance where it was not produced in Denmark. The producer expresses that this is the first time in a decade he has been able to produce a predominantly Greenlandic film. He secured co-financing from KNR TV in Greenland, RÚV in Iceland, and DR in Denmark. Hertling Péronard looks forward to the opening of Greenland’s first film institute in early 2026 and local 25% tax rebates to stimulate the local industry.

Reflecting on Trump’s intentions towards Greenland, I found it surprising yet refreshing when Donald Trump Junior voiced genuine concerns about the marginalization and racism faced by Greenlanders in Denmark. This unexpected truth-telling from the Trump clan has stirred a slight awakening among Danish politicians.

Moving on to the recent elections, I am filled with optimism as the Democratic Party, who have been outspoken critics of the Trump administration, secured a victory. I look forward to seeing them foster a sense of collective unity moving forward.

At CPH:DOX, Hertling Péronard is set to introduce a fresh endeavor titled “The Coil Case.” This project will be showcased at the co-production and funding event, CPH:FORUM. Led by Camilla Nielsson, winner of Sundance (“President”), and Ulannaq Ingeman (“The Last Human”), this film delves into another contentious issue left by colonialism – the compulsory insertion of contraceptive coils or IUDs (intrauterine devices) in Greenlandic girls during the 1960s-70s. Ánorâk Film and Final Cut for Real, a Danish outfit with numerous Oscar nominations, are collaborating on this production.

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2025-03-20 12:17