Is there a particular documentary film or filmmaker that had a major influence on your career?
Ruth Beckermann, Philipp Scheffner, Abbas Kiarostami, Sergei Parajanov, Maksym Nakonechnyi, Eric Baudelaire
What motivated you to make this film?
Originally, we were researching a documentary on the history of the barracks in the city of Schweinfurt. Daniel was born and grew up in the city. In the course of the research, we spent time on site and in archives to find out about the history of the building, which was originally built for the Wehrmacht, was used by US troops after the Second World War and has been used as a refugee home since 2015. After the full-scale invasion by Russia against Ukraine, the situation in the barracks changed again abruptly, as around 200 people from Ukraine were now housed there. It quickly became clear to us that we wanted to respond to the changed conditions in the barracks.
Mila herself emigrated from Kyiv to Germany with her family at the age of 13.
One of the main reasons why the perspective of the children was important to us. So we began to establish contact with the people in the barracks over several months. From the very beginning, it was important for us to pursue a participatory approach and involve the communities in the process of developing the film.
Please tell us what camera(s) you shot with primarily – and any other special equipment that you used and why you used it:
The whole film was shot analogue, on 16mm, using an Arri SR3 and Zeiss Prime High Speed lenses.
Please tell us about any special styles or techniques that you used during the production of your film to help tell your story:
The film “waking up in silence” is based on a day the children spent as refugees in the barracks. In the course of our research, we decided that we didn’t want to shoot the film in people’s private rooms in order to give the people, who were often traumatized by war, the opportunity to retreat. So for the most part, we limited ourselves to filming in the courtyard of the facilities. Due to the self-imposed limitation of 16mm material, we worked on the scenes in a very concentrated way, based on our observations of the children’s games. We wrote a loose sequence of scenes, about one page long. We started shooting with this framework, constantly deleting and adding scenes. We always involved the children in this process so that we could compare our observations with their perspective.
How did your story evolve from day one, to the very last day in post? Is your story what you thought it would be?
The impressive thing about documentary work is the fact that you can be surprised by the reality that happens around you while filming. We started shooting with a clear idea of how the film should feel later on. It was always important to us that we and the film would interact with the environment in which it was shot. This allowed us to react spontaneously to observations and weave them into the film. In editing, our main focus was to find a balance between the children and the location. It was important to us not only to make a film about refugees, but also to show where these people live, how they interact with the place, and how the past resonates with the present.
Please describe the most rewarding experience you had while making this film:
From the very beginning, we asked ourselves how we, as filmmakers living in Germany, could react to the situation in Ukraine. Due to Mila’s personal connection through her shared migration history, our top priority was to critically reflect on the conditions in which we work and to be aware of our privileges. It was not a matter of course for us that people gave us an insight into their lives. Without the people, our film would not exist!
In addition to filming, we were always available to help the mothers with administrative and bureaucratic tasks. Mila helped with translations, the film team took on leisure time tasks when mothers had to attend appointments and we contributed to social interaction to the best of our ability. These encounters were the most rewarding experience during the shoot.
But above all, seeing today how much publicity the film, and therefore the stories of our protagonists, have received is particularly moving. As filmmakers, we see it as our duty to make their individual stories visible, but also to keep talking about Ukraine to the public two years after the full-scale invasion so that the people and their situation in Ukraine are not forgotten.
What advice can you give to other impact filmmakers?
Never stop being open, attentive, curious, empathetic and sensitive – both towards the people you accompany with the camera and with whom you work, but also towards your social and political responsibility that goes hand in hand with this work.
What’s your favorite part about the filmmaking process and why?
That as a filmmaker you are in a constant process of learning from your own environment. That our view can make a positive contribution to a more empathetic, tolerant and open society.
What’s the one item you always take with you when working out in the field and why?
Notebook and Pen
Please share a personal story about your experience making this film:
We spoke to a woman who worked as a florist in Ukraine. Not only her house and yard, but also her greenhouses were completely destroyed.
Today she lives with her husband in a room in the barracks.
We were very touched to see how much love she puts into decorating her small room with the most beautiful flowers.
She is surrounded by them everywhere, often in improvised containers.
Can you describe any obstacles you encountered in making your film and/or in your distribution/exhibition efforts?
The situation of filming in a camp for refugees is a big challenge in itself.
It is a constant balancing act as to how you present yourself in this microcosm, how much space you take up or when it is better to withdraw.
What do you want audiences to take away from this video?
The situation of filming in a camp for refugees is a big challenge in itself.
It is a constant balancing act as to how you present yourself in this microcosm, how much space you take up or when it is better to withdraw.
Please list key points that should be covered in a post-screening discussion:
The development of the project and the actual shoot.
The artistic decisions in image and sound design.
Please provide information on any recent developments regarding the issue or subjects of the video. How have things changed or not changed?
We are continuing our work and are currently in the process of financing a feature film about the barracks site. For this reason, we are still in close contact with the families from our short film. Some have found private accommodation and have left the barracks. Others have moved on to other countries. But none of them have yet been able to return to Ukraine.
What opportunities are available for those interested in getting further involved?
Talk about Ukraine, donate money to support the ukrainian army, or filmmakers at war in Ukraine, like Babylon´13
Please provide any additional resources (websites, links to additional videos, forms, articles, etc.):
http://asadifaezi.com/waking-up-in-silence/
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