The second meeting of the “Just Talking” forum for communication and discussion took place on Monday, December 6th at the Electra Palace Hotel, under the coordination of the journalist, Ms. Eleni Christopoulou. The filmmakers Morag Mc Kinnon (Donkeys), Maria Sodahl (Limbo), Burhan Qurbani (Shahada) and Dragomir Sholev (Shelter) were asked to develop their views on the main issues underlying each one’s film and explained the ways their academic education in filmmaking defined their directorial style and approach.
The Scottish director, Morag Mc Kinnon, whose film Donkeys participates in the International Competition section, was the first to talk. The artist, referring to the main issue of her film, pointed out that: “I am glad that I am able to admit here, even though I am far away from home, that the story of the film is about my family as well, as it speaks of incomplete emotions, pain, words and thoughts that have never emerged, that have never been dealt with. Maybe, after all, that is the main issue I wanted to bring up through this film.”
Maria Sodahl from Norway is the director of Limbo, a film which also participates in the International Competition section of the 51st TIFF and has as its central character, a woman who redefines everything after discovering her husband’s infidelity. “Maybe the plot seems a little banal, but it is a movie that activates thinking, as the spectator constantly feels the main character’s emotional agony. A woman who “loses” herself at an age and a phase of life when something like that is least expected. The main issue of the film to me, having lived with my six children in Trinidad where the story takes place, is no other than the real aspects of a mother’s life nowadays, as well as in the past, for example my mother’s life who had four children in the 70’s.
On his part, the German director of Afghan origin, Burhan Qurbani, explained that in his film Shahada, the main question he was “called” to answer, concerned religion. “What are the best and the worst aspects of the religion, an institution that revolves around something vague, which can provide shelter and heal, but cause you problems as well?”, wondered the artist.
The Bulgarian director, Dragomir Sholev, pointed out that in his film Shelter, which is screened at the “Balkan Survey” section of the 51st Festival, he did not intend to give answers to any existential questions, but to depict a situation he had experienced in the past. “There was a guy, whom I wanted to approach. I ended op joining his gang, we went through a lot together, until we were arrested. That’s how the film begins. Nevertheless, the film is not autobiographical, maybe just this part.”, confessed the artist.
As the discussion went on, the artists expressed their concerns over Film Schools, as well as to whether it is “necessary” for a film to emanate from the director’s emotions. Burhan Qurbani underlined that: “In many Film Schools in Germany, students are taught not to direct in this way. On the contrary, I want my films to embody my personal emotions and opinions, for example I want my films to have a lot of music.” He went on to say, revealing his humble character: “Until a while ago, I was just a student and it seems odd to me that now people call me a director and I get the chance to meet my cinematic idols. To be honest, I don’t know if I deserve all this, if making a film gives me the right to be considered a director, like all the great artists I admire.”
Maria Sodahl, who studied in Denmark, explained: “My generation studied cinema abroad, but today’s generation is the first to have the chance to study in Norway, but at a School that, in my opinion, was set up in the wrong way. Everyone in charge of the project just wanted to make use of the buildings constructed on the occasion of the Winter Olympics that were held in village an hour and a half from Oslo, leaving these students in a state of cultural isolation.”
Dragomir Sholev disagreed with that approach, as he wishes his university wasn’t situated in Sofia’s city center. “I would enjoy a little isolation, an opportunity to think and concentrate. Speaking for myself, I see nothing wrong in the way the Norwegian School works. Besides, the most important factor is the teacher and not the school.”
On her part, Morag Mc Kinnon, with no academic background but with a surplus of talent, pointed out that: “I get jealous when I hear you talk about the Film Schools where you studied. I just had courses with a professor in Scotland. He was a Cinema Professor, but he had never made any films. In reality, I am still learning everyday through work. I started with commercials and TV series, I am now entering the world of cinema and I am really enjoying it.”
