HEALTHY PLANET DOCS TO SCREEN AMONGST SERENE OZ SCENERY

The advocacy documentary movement thrives through the passion and determination of people like Kevin and Lowanna Doye. The planet-conscious proprietors of a wholefoods superstore in the picturesque northern New South Wales township of Bellingen will launch the Kombu Food Film Festival on May 12, a single-day presentation of four environmentally-themed factual films that the parents-of-four hope will inspire their audience to build a healthier, happier future for all our children.

“Watching films, particularly informative documentary films, in a collective environment is really powerful,” says Brit expat Kevin, who established Kombu Wholefoods in 2004, having relocated with his Australian wife from the U.K. to Sydney in 2002 before heading to the Bellingen hinterland. “It can be a trigger for generating real change and feeling reassured that there’s a community of people who feel the same way on some of these issues.”

Fighting the good fight on behalf of the planet is an ongoing commitment for the Doyes (pictured, right; at home, with their children). Their journey from Oxford to Sydney took the road less travelled, for example; over 18 months, Lowanna and Kevin peddled the Bike2Oz challenge, riding 12,000 kilometres across Europe and Asia to negate the carbon footprint that air travel would have rendered upon the Earth.

The key objective of the Kombu Food Film Festival is to spotlight like-minded people from around the world who are committed to positive change in the generation and responsible harvesting of our food supply. “We’ve selected films that offer solutions,” says Kevin. “They reveal what some of the problems are, but they’re also highlighting discussion points from which we can move forwards.”

The 2018 line-up of films includes:

Living The Change: Inspiring Stories for a Sustainable Future (Dirs: Antoinette Wilson and Jordan Osmond, pictured right; 85mins, Australia/New Zealand). The latest work from the film collective Happen Films, Living The Change explores solutions to contemporary global crises through the stories of people pioneering change towards a sustainable and regenerative way of life (official website).

Unbroken Ground (Dir: Chris Malloy; 26 mins, U.S.A.). Unbroken Ground examines how food can and should be a part of the solution to the environmental crisis – grown, harvested and produced in ways that restore our land, water and wildlife. Profiled are four groups pioneering such practices as regenerative agriculture and grazing, diversified crop development and restorative fishing (official website).

A Simpler Way: Crisis as Opportunity (Dir: Jordan Osmond; 78 mins, Australia). Follows an Australian community who responded to the global crises through the implementation of simple living practices. Throughout the year, the group build tiny houses, plant community gardens, employ ‘simple living’ techniques and define and overcome the challenges of communal living (official website).

Seed: The Untold Story (Dirs: Jon Betz and Taggart Siegel; 94 mins, U.S.A.). In the last century, 94% of seed varieties have disappeared. From the activist film group Collective Eye Films and featuring such high profile voices as Jane Goddall and Vandana Shiva, Seed reveals the challenging and heartening story of passionate seed keepers as they wage a David and Goliath battle against chemical seed companies, defending a 12,000 year food legacy. Executive produced by Oscar winner Marisa Tomei (official website).

The Kombu Food Film Festival screens May 12 at the Bellingen Memorial Hall from 1.00pm. Entry is free; a gold coin donation is appreciated. All proceeds will be donated to the Kombu Community Garden, Bellingen. Event information can be found at the official website.

HEIMWEH: THE ERVIN TAHIROVIC INTERVIEW

In 1992, Ervin Tahirovic was 10 years old when his hometown of Foča was all but destroyed by invading forces during The Bosnian War. An idyllic rural existence, strong community ties and enriching family life was torn away from Tahirovic, who fled with his family, ultimately resettling in Vienna. Twenty-one years later, Ervin Tahirovic was overwhelmed with the need to reconnect with his roots and returned to Foča; his feature directorial debut Heimweh (Nostalgia) documents his quest to reconcile the fading memories of his past with the sadness of his present. As Heimweh continues its festival circuit rollout (it premiered in December at the Sarajevo International Film Festival and recently sold out two sessions at Austria’s prestigious Diagonale event), SCREEN-SPACE spoke with Ervin Tahirovic about his experience making the film, a work that is one of the most moving accounts of the complexities of a displaced person’s struggle ever filmed…

SCREEN-SPACE: Why did you need to make this journey at this point in your life? What compelled you, at an age when most young men are focused on career and adventure and romance, to re-engage with your past?

TAHIROVIC: I always had the feeling that something was holding me back and that I couldn't really progress in my life because of that. It took me 20 years to rebuild a ‘normal’ life, to have a steady job, a serious relationship with someone. I think that at this point, where I thought that everything was fixed and ‘like it should be’, I somehow realized that something was still painfully wrong. There was something deep inside me that made me so unhappy and unbalanced, so that after a while, the only thing I thought about anymore was the question "what the hell is wrong with me?". In my mind, there was no serious space for a career, girls, or anything else that ‘normal’ people do, I couldn't enjoy these things at all. There was just this pain in my soul and recurring nightmares about Foča, and I just had to find out if and how these two are connected to each other.

SCREEN-SPACE: What aspect of your journey back into your homeland proved most warmly familiar? 

TAHIROVIC: Everything there was familiar, and everything was still so deeply engraved in my heart and gave me this feeling of coming home, that I have forgotten so long ago. As soon as I saw my mountains, my river and as I heard that certain dialect the people speak in the region around Foča, I was blown away. So many emotions came back at once, that I simply wasn't able to process them cognitively, they just threw me back into being a child again, and for the first time in 20 years I felt that everything is going to be alright. I somehow felt a calm and knew that from this point on everything will change in my life. (Pictured, right; Tahirovic overlooking his hometown, Foča)

SCREEN-SPACE: And what, in hindsight, was the most surprising, even shocking?

TAHIROVIC: The most shocking thing was the realization that I'm really traumatized, and that that's the reason why I always felt so unhappy and wrong. It felt as if I'd awakened from a deep dream in which I lived for years, only to realize that in the meantime I have lost ‘my life’ and that I'm scarred for life. That was a hard thing to swallow. When I returned to Vienna, I got very sick because my thyroid completely broke down and I had to take some serious medicine for about three months; my heart was regularly skipping beats, which was a very scary feeling. My doctor said, “Whatever you did, you freaked out your body so much it's now trying to eat itself.”

SCREEN-SPACE: Without a horrible war to put the country in the headlines, western audiences know little about contemporary life in Bosnia and Herzegovina. Was it ever an aim of yours to convey a fresh perspective on your homeland? 

TAHIROVIC: Not really, I didn't know that much about contemporary Bosnia before I returned there. I wanted to return with the memory I had of it and let everything that has changed surprise me. The concept was to do no research but to be naive and to catch up with time by exploring the surroundings and meeting people. (Pictured, above; an emotional moment for Tahirovic, in Heimweh)

SCREEN-SPACE: While it is a deeply personal film - one man’s story, set in a specific region with specific history - it is also a narrative that embraces classic pilgrimage mythology; of returning home, rediscovering and defining oneself by seeking out a lost past. 

TAHIROVIC: I tried hard to make this film follow a classic ‘hero’s journey’ plot, It was obvious to me that it is the right format for this story, even though it is unusual to use this kind of plot in documentaries. And this kind of plot is indeed very old, because humans always used to lose their homes and had to keep telling these kinds of stories to save their identity from breaking apart. Not long ago, I read in a Bosnian newspaper that more than the half of Bosnian citizens are not in the country, but spread all around the world. They are foremost the audience I would like to reach with this film. I want every Bosnian to know about this movie, because there are so many out there who never returned to their homeland and probably never will and I would like to inform all of them how important and beautiful it can be to return home. (Pictured, above; Tahirovic rediscovering his hometown of Foča)

SCREEN-SPACE: What do you hope your film will convey about the experience of the many displaced persons in the world today?

TAHIROVIC: Of course, I would like to reach other refugees with the same problem, no matter where they are from. I think that's the realistic part of what I can hope for the film. And then there is this unrealistic part, where I hope that the people who hate refugees and blame them for everything, see this film and understand that refugees are not some kind of ‘bad tourists’, but people who have often suffered the unspeakable and now need love and all the help they can get. At this right-winged time in Europe, that would be my greatest wish.

KANGAROO A LOVE/HATE STORY: THE KATE MCINTYRE-CLERE INTERVIEW

The directing team of Kate McIntyre-Clere and her husband Michael have travelled the world with their searing expose Kangaroo A Love/Hate Story, a challenging documentary that examines Australia’s complex, often exploitative relationship with its national icon, the kangaroo. The film has drawn protests from culling industry advocates, who are determined to expand import markets and don’t need footage revealing a multi-million dollar industry steeped in misinformation and cruelty. With their film now in Australian cinemas, SCREEN-SPACE spoke to Kate McIntyre-Clere about some of the hotbed issues raised in her fearless film (WARNING: Some content is of a graphic nature)…

SCREEN-SPACE: When did you and Michael become aware of the breadth of issues faced by the kangaroo population?

McINTYRE-CLERE: We set out to explore the wonder of this magnificent and unique animal. We knew opinion was split and that would make an interesting story but once we started the research and interviews we were surprised to learn that millions of kangaroos are shot each year and sold for profit. It seemed incongruous to us that Australians, who are immensely proud to hold up the kangaroo as their beloved national symbol, would sanction their nightly killing, with so little interest in questioning what is going on.

SCREEN-SPACE: There would be a global outcry if your footage - killing of young animals, often still on the teat; killing of breeding females - impacted any other form of wildlife. Why are those in power largely turning a blind eye in the case of the kangaroo?

McINTYRE-CLERE: That is the question the Australian public need to be asking their government: to come clean about all the permitted killing of kangaroos that is happening across the country. We think Australians do not know that killing kangaroos is the largest terrestrial wildlife kill on the planet. Or that kangaroos are killed and eviscerated in the bush and carried on the back of open trucks through the dusty tracks for hours until refrigeration. Most Australians do not know how cruelly the baby joeys are treated, or how many kangaroos are mis-shot and left to die from horrific injuries. We believe Australians will be shocked to hear how their beloved national emblem is being sold for pet food, sausages and soccer boots. It’s time they did hear. We have found from making the film that the government and civil society has let the kangaroo down. (Pictured, above: Kate McIntyre-Clere)

SCREEN-SPACE: Was there ever a concern that some of the content might just be too much for your average viewer?

McINTYRE-CLERE: Every shot was discussed fully. We decided that the audience needed to witness what is happening to kangaroos. Much of the footage has been stylised, leaving the audience with an impression rather than the gruesome details. We left many more violent images out of the film.

SCREEN-SPACE: Have you been surprised by the coverage from some mainstream media? Several outlets have sided with the industry and sought to discredit the claims you present.

McINTYRE-CLERE: It is a much more balanced film than some press have stated, but it seems to have hit a sensitive nerve. We worked to get a cross section of voices, including politicians, scientists, farmers, shooters, kangaroo industry leaders and indigenous Australians. If the audience doubts the treatment of kangaroos or if people have strong opinions, we recommend they see the film to learn more and make up their own minds. There is very little open discussion in mainstream media of the population (levels), hygiene or cruelty surrounding our misuse of our wildlife.

SCREEN-SPACE: How are US audiences, who perhaps see the kangaroo as a more mythical, iconic creature, reacting to the film?

McINTYRE-CLERE: The film was very well received and got rave reviews from the press including The New York Times, Los Angeles Times, and Variety. The US audiences were shocked to learn how Australians treat their national icon. They have no idea that kangaroos are killed, often treated as pests instead of the wildlife they are and exported for pet food, human consumption and leather goods. Some states have very strict laws about the importation of wildlife so there was concern about this at government levels.

SCREEN-SPACE: Disregard for our iconic wildlife is not without precedent – koalas only exist is pockets of population due to deforestation. What action needs to be taken to ensure the best outcome for the kangaroo population?

McINTYRE-CLERE: Interestingly, the kangaroo is similar to the koala in its low slow breeding capacity, and kangaroo’s woodland and shrub land habitat has also been cleared since colonisation. We want Australians to be interested in the treatment and future of the kangaroos. We want them to notice when kangaroos are no longer in areas and be more critical and knowledgeable. We hope to initiate a robust, transparent, national conversation that brings together all concerned scientists, indigenous people, land owners, politicians, animal activists, citizens and give the kangaroo the respect it deserves as our national icon that has lived on this continent for 25 million years. (Pictured, above: Kate and husband/co-director, Mike McIntyre, with their star) 

SCREEN-SPACE: What might be the worst outcome?

McINTYRE-CLERE: Australia already has the highest loss of biodiversity in the world after Indonesia, and the highest rate of terrestrial mammal extinctions in the last few hundred years. Kangaroos are slow-growing, have low fecundity and high juvenile mortality.  Their habitat continues to be cleared and environment damaged, and industrial-scale killing has only got more efficient and organised since colonisation. When people see a mob of kangaroos in a video or image and don’t notice the rest of the landscape is completely empty, then perhaps that is the disturbing answer to this question. As filmmakers, we think the worst possible outcome is we sit on our hands and don’t do anything.

KANGAROO A LOVE/HATE STORY is in Australian cinemas now.

HAVE YOU SEEN THE LISTERS?: THE EDDIE MARTIN INTERVIEW

IFFR 2018: Compiled from a lifetime of footage courtesy of the subject himself, the immense task of collating the images into a coherent whole ensures Have You Seen The Listers? is a groundbreaking feat for director Eddie Martin. That the life story of Anthony Lister should also prove such a profoundly personal insight into both the creative process and turbulent family life of the internationally acclaimed Australian artist is a remarkable cinematic achievement. “Individuals that push themselves and challenge the status quo inspire me,” says Martin, who has celebrated the outsider’s spirit in his films Jisoe (2005), Lionel (2008) and All This Mayhem (2014). The director spoke with SCREEN-SPACE ahead of his latest film’s international premiere at the prestigious International Film Festival Rotterdam…

SCREEN-SPACE: When the footage became available to you, did you search for content that served a specific vision you had of Anthony’s life? Or were the twelve terabytes a kind of ‘co-storyteller’, guiding and influencing your own creativity?

MARTIN: There’s no question the available archive material will dictate elements during the making of a documentary film. However to begin the process of making this particular film, first and foremost it was about spending time with Anthony, getting to know him, his story and world. It was later when he presented me with his personal archives, I was able to evaluate the material in relation to the narrative and draw a greater sense of what l could utilise. Once I had a handle on all the elements, I was able to activate my vision for the film.

SCREEN-SPACE: Did Anthony give you free rein to tell his story through your eyes, or were there moments when he was ‘over your shoulder’ during the editing?

MARTIN: Being artistic by nature, Anthony (pictured, right) was incredibly trusting with the process and gave me the space to work independently, which I greatly appreciated. With that said I did show him an edit. I have a great deal of respect for my documentary subjects. You have to be incredibly brave to share your life with the world and it’s a responsibility I don’t take lightly. I didn’t want there to be any nasty surprises and I also wanted to ensure he was okay with everything we were putting out there. There are some incredibly personal and confrontational scenes. We talked through any concerns, there were a few things we had to look into due to legal reasons, but apart from that he was happy to share his story with audiences. Anthony is a unique, highly creative individual and I’m genuinely honoured for the trust he’s given me.

SCREEN-SPACE: What was the human trait, the essence of Anthony as both a man and an artist, that you felt had to be conveyed?

MARTIN: Anthony’s a really passionate character. While he makes mistakes along the way his battle to make art accessible and understood is a honourable one. Prioritising the passion he has for his work over family isn’t uncommon. Repeating the behavioural patterns of our parents is also universal. He has the confidence to express himself and the self-awareness to be honest about his mistakes.  I think this is something to be valued.

SCREEN-SPACE: I’m interested in Anika’s involvement with the production. She seemed open and willing to discuss their time while together on-camera, yet all but disappears from the film after they separate. Was that your call or hers?

MARTIN: It was both. Firstly Anthony’s story is told in a linear fashion, once separated Anika (pictured, left) was no longer present in Anthony’s world. So it didn’t make sense for her to provide commentary. The interview she gave was what she was comfortable with. Anika is an artist in her own right. She was incredibly open in revisiting, an at times, difficult past.  For me it was extremely important to hear her side of the story, we were very fortunate to have her involvement and I think it’s a side of the story we don’t hear often enough.

SCREEN-SPACE: The subjects of your films have been immensely talented individuals, rising from tough beginnings and overcoming social stigma and personal demons, to face the world on their own terms. What draws you to these types of enigmatic personalities?

MARTIN: I’m drawn to anti-heroes on the fringes of society, especially in today’s mainstream where corporate interests stifle personality. I think it’s important to hear stories from these alternative voices that present different ways of viewing the world while also sharing lessons learnt.

SCREEN-SPACE: From chronicling the life of one street artist in Jisoe twelve years ago, to revisiting the street artist’s existence in …Listers, how have you noticeably developed as an artist/filmmaker/storyteller?

MARTIN: Jisoe was my first film and therefore a purely instinctual process. I had no budget, but I did have a camera and a computer to edit on. It was all I needed to get excited and motivated to try making a documentary film. Now twelve years later, I still rely on my instincts. But what’s changed put simply is a developed understanding of story and structure. I’m grateful to have the support to work with budgets and more importantly a team. Filmmaking is a team sport and for good reason. I have worked with some amazing people and learnt a great deal from all of them along the way. I’m still learning with every film and that’s part of the experience I value the most.

HAVE YOU SEEN THE LISTERS? will screen at the Inetrnational Film Festival Rotterdam from January 29. Ticket and venue information can be found at the IFFR official website.

McLAREN: THE ROGER DONALDSON INTERVIEW

Bruce McLaren remains one of New Zealand’s most beloved sons. A giant in the world of sport to this day, the driver died aged 32 doing what would define him – striving to better the sport he loved, while leading those around him with a rare integrity. “Like James Dean or Buddy Holly, he’s one of those icons who were cut down in their prime and yet their work still lives on,” says McLaren director Roger Donaldson, whose latest study in speed and obsession (the last was The World’s Fastest Indian in 2005) is a thrilling and deeply moving tribute to a national hero. Ahead of the film’s home viewing launch in its homeland, the director of Kiwi classics Smash Palace and Sleeping Dogs and Hollywood blockbusters Cocktail, Species, The Getaway, Dante’s Peak and Thirteen Days sat with SCREEN-SPACE to discuss the legacy and legend that is Bruce McLaren…                         (Photo credit: Chris McKeen)

SCREEN-SPACE: Hollywood lent on you to be ‘The Starmaker’. Gibson in The Bounty; Cruise in Cocktail; Costner in No Way Out. They were all actors on the cusp that the studios needed to be big stars. Good times?

DONALDSON: The people you get to be in your movies are your movies. If you’re lucky enough to make a good movie and you’ve got the right talent, the whole lot comes together and people turn up to see them. The 80s were definitely a good place for me to be making films in America.

SCREEN-SPACE: When did the young Roger Donaldson first become aware of Bruce McLaren?

DONALDSON: As a boy, I lived in Ballarat with a dad who was very keen on car racing. His father had been a doctor out in the Linton and Skipton region, 30 miles out of Ballarat, and he would drive the ambulance flat out to and from Ballarat. That was his excuse for driving fast and having fast cars all the time, ’34 V8s and a Vauxhall 3098. I remember going to see Bruce race at Sandown Park against Jack Brabham. I kept my diary from the day, so I know that Jack won and Bruce got third.

SCREEN-SPACE: The bond that the elite drivers shared from that period was a unique type of friendship…

DONALDSON: I think Jack was the reason Bruce got to the UK. When he’d return from Europe and visit New Zealand, Jack would leave his cars in the garage owned by Bruce’s father, who’d fix them up. Jack became a close friend of the McLaren family. He was 10 years older than Bruce and he became very much a mentor, someone who recognised how talented the young Bruce was and who encouraged him to come to England. It was a much more intimate group of people. They’d drive from race meet to race meet, the wives and families always being together. Jim Clark and Jack remained close friends of Bruce.

SCREEN-SPACE: From your very first film, Burt Munro: Offerings to The Gods of Speed (1971) to The World’s Fastest Indian (2005) to McLaren, you’ve had a filmic fascination with men obsessed with speed and danger…  

DONALDSON: Only in retrospect do I ask myself why am I so interested in this subject. Truth is I’m no more interested in car racing than I am in going to an art gallery or great concert. My true passion is filmmaking, and if you can embrace the things you’re most interested in you make better films. I have subjects in the world of art that I want to make films about, for example, but the projects that have gained traction are those set in the world of speed. Perhaps what fascinates me about people who do dangerous jobs as entertainment is that their choices pose the question, “What is your life worth?” I did some work with mountaineers, with Sir Edmund Hilary, these people who know what the negative odds are that they are up against but are still prepared to do it for the exhilaration and empowerment. If people were scared of consequences, nothing would go forward. Risk-taking should be a major element of anybody’s life. The risk I took is that it might not all work and I might be a complete failure, that I make movies that nobody showed up for; if you’re a race car driver and you fuck it up, you’re in much bigger trouble.

SCREEN-SPACE: You’ve mastered the craft of capturing the essence of speed on film. What are technicalities of conveying the experience of life threatening momentum?

DONALDSON: The technical side of capturing speed on film is not that easy. One of the first things I discovered was that you have to be going three times the actual speed to make it look fast. Real-time speed, especially without sound, doesn’t look fast. It requires many filmmaking elements, including the great pulsating score that David Long did for us on McLaren, for the essence of true speed to be conveyed.

SCREEN-SPACE: Your interviewees look directly into the lens, a method which imbues the film with a profoundly affecting, first-person perspective. The moment where the ‘fourth wall’ collapses and Phil Kerr addresses you before breaking down is heartbreaking

DONALDSON: Yes, I know. Phil knew Bruce since they were teenagers; they flatted together in Europe. Iknew this story was going to be deeply personal, so I wanted those on camera to talking directly to the audience and not me or my camera. I rigged a system so that they could look directly into the lens but were actually addressing a reflected image of me.

SCREEN-SPACE: One of the themes of your film is the memory of loss, of time passing. Did Bruce’s late widow Patty ever see the film?

DONALDSON: No, she didn’t. Key people are acknowledged at the end of the film, like Phil and Patty, who never got to see it. Those that knew him and have seen the film got a charge out of how it honoured Bruce’s legacy and captured his spirit and contribution to the sport. And Bruce’s daughter Amanda was very helpful, providing access to family history and much of her Patty’s personal material. She went on film and provided some lovely thoughts on her dad, but she was so young when he died her recollections are largely those of others she’s spoken to over the years. It was hard to leave some material out of the film, that is for sure.

SCREEN-SPACE: What do you hope McLaren conveys about the legacy left by the man?

DONALDSON: I think genuinely he was quite an extraordinary person. Not many people come along like Bruce; he didn’t have a bad bone in his body. He was an inspired, motivated leader of people, filled with innovation and bravery. The tragedy of a life like that cut short and the determination of the guys around him to preserve his legacy, to continue forging the company and brand reputation, speaks volumes.

Transmission Films presents McLAREN on home entertainment platforms in Australia on August 16 and New Zealand from August 30; check local distributors in other territories for release details.