As a seasoned cinephile who has traversed the labyrinth of world cinema for decades, I can confidently say that Nicolas Philibert is a rare gem in the filmmaking world. His unique approach to documentary storytelling, characterized by introspection and a profound respect for his subjects, sets him apart from many contemporary directors.
As a movie enthusiast, I wholeheartedly agree with Nicolas Philibert’s perspective on documentary filmmaking: sometimes, not knowing too much can lead to greater creativity and authenticity. This insight came from my conversations with him during the IDFA in Amsterdam, where he shared his experiences as the director of acclaimed films like “To Be and to Have” (a BAFTA nominee) and “On the Adamant” (winner of Berlin’s best film). His unique approach to storytelling has always left me captivated.
This year, the French filmmaker whose works “The Typewriter and Other Headaches” and “Averroès & Rosa Parks” are being screened at IDFA, expressed that when one’s intention becomes too obvious or heavily emphasized, it can become an adversary. This sentiment echoes a quote by fellow actor-director André S. Labarthe.
He explained, “Perhaps it’s the reason I prepare the least amount possible. The less I have to go on prior knowledge about a subject, the more comfortable I feel. I’m not one for extensive preparation. Instead, the research is what shapes the film itself. My movies are born from my lack of knowledge, my curiosity, my desire, my fear – all of these elements combined. If I know too much beforehand, I lose interest in making the film because I create films to learn.
Philibert shared with interviewer Neil Young that occasionally, he doesn’t decide on a movie’s opening scene until he’s working on the edit. This was true for “To Be and to Have,” a film focusing on a teacher and his pupils, which won Best Documentary at the European Film Awards. Philibert explained that sometimes he works from the end: he already knows how the film will conclude, and then he edits his way back to the start.
He desired the initial scene for “To Be and to Have” to showcase two distinct realms – nature and civilization. This would involve a visual of livestock in a wintry setting and a peaceful school classroom with a globe on the floor, a space where interactions of society unfold, he explained, alluding to schools’ function in shaping children’s social skills.
Regardless of the movie’s triumph, it made no impact on my life, thankfully. “I carried on working in a way that suits me best, aligning with my passion, morals, and necessities. The subsequent film, ‘Return to Normandy,’ didn’t fare financially well. However, this was fortunate as it kept me grounded and prevented any inflated sense of self-importance.
Philibert doesn’t see a divide between storytelling in films and directing documentaries. “Everything is fabricated. In my view, a documentary is simply another method of creating fiction. Why do I say that? Because as soon as you point a camera somewhere, you are interpreting reality. A documentary is not an exact replica of reality, but an interpretation. You are uncovering the truth.
Philibert resisted Young’s claim that his characters often appear “charming” and “kind.” He clarified, “I don’t create films to depict people as charming. That’s not my intention. Instead, I strive to portray them in their dignity, which is a unique aspect.” Citing filmmaker Jean-Louis Comolli, he explained, “Film’s political essence lies in evoking dignity that resonates from the screen, all the way to the viewing room.
One difference between fiction and documentaries is that the director has a duty towards the people in the film because they are “imprisoned in an image,” Young said, quoting Philibert. The director responded, “I film you and you are locked in space and time. As a filmmaker, I feel I have a responsibility because when you have a camera in your hands you have a certain power, and one of the questions is how not to abuse the power the camera gives you when you film somebody in a psychiatric hospital [the setting for ‘Averroès & Rosa Parks’] or any place. Every person has to be respected. Making a documentary consists of pushing people from the shadow to the light, and when the film is finished these people go back to their everyday life – to the shadow, in a way. So, what do you leave them? It is an ethical question.”
Philibert emphasized that occasionally it’s wiser to abstain from recording. “There’s an urge to pry open doors, capture spectacle, but I value the confidentiality of personal lives. I understand that the world appears boundless – just look at social media – yet I believe there comes a time when one should refrain from filming – allow for gaps, leave emptiness, leave something for the viewer to ponder over what is displayed and what isn’t – in other words, leave something for the imagination as well.
He expressed his belief that given the abundance of visual content today, cinema – as a form of art primarily defined by images rather than platforms like TV or Facebook – needs to counteract this image overload.
He pondered over his commitment towards the world of films and his habit of keeping production minimal. “I simply focus on what’s essential,” he stated. “I am capable of taking a break from filmmaking for as long as two years.
For me, the appeal of cinema lies in connecting with others and exploring different parts of the world. The world we inhabit today can be challenging, harsh, and unsettling, but experiencing it through films helps me comprehend the world outside, as well as gain a better understanding of myself by observing others.
Speaking about his movie “Nénette,” which focuses on a 40-year-old orangutan living in a zoo enclosure, he explained, “This film is about perception. Perception is always influenced by our perspectives. It’s akin to cinema, as when we watch a movie together in a theater, each of us interprets it differently due to our unique experiences. Nénette serves as a screen for the human voices discussing her and their observations, yet they are essentially projecting themselves onto her. This reminds me of a quote by Gustave Flaubert: ‘Madame Bovary, that’s me.’ In essence, Nénette represents each one of us.
Young posited that “Nénette” centered around communication, which was also a theme in Philibert’s other works; however, the filmmaker clarified that his focus wasn’t communication per se, but language itself. To him, words hold great value and he feels deeply connected to them. They are crucial elements. It’s not trendy these days, even in documentaries, to emphasize words. They often take a backseat. There’s scarcely any genuine dialogue. There’s little space for words that are wandering, trying to discover themselves or be discovered. Everything appears to be structured and interrupted constantly. During television debates, shots seldom last longer than a couple of seconds. Consequently, there’s no room for words in search of meaning.
Truffaut often stated that films are given life by their imperfections. I agree, as I find it’s the delicate, flawed movies – not those that are without blemish – that can have a profound and emotional impact on me.
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2024-11-20 12:47