Can We Find Happiness When Tech-Free?

Tech can leave our heads spinning (artwork by Brittany Truex)

By Craig Phillips

Watching Thomas Balmes‘s Happiness, which premieres tonight on Independent Lens [check local listings], will leave one with a bittersweet feeling about technology. Most of us in the United States have a love-hate (admit it, mostly love-love) relationship with our gadgets, from computers to mobile phones to television — the arrival of the latter in a small Bhutan village is an integral aspect of Happiness and that bittersweetness. We may equally ask “How have we survived without it?” and “How do we survive with it?” Continue reading

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In Pursuit of “Happiness,” a Filmmaker Goes to Bhutan

Peyangki and mother, in Happiness

Filmmaker Thomas Balmès is no stranger to trotting the globe in search of human stories, in films including Bosnia Hotel and The Gospel According to the Papuans, and most famously capturing the stories of several photogenic infants in San Francisco, Tokyo, Mongolia, and Namibia in the acclaimed documentary Babies. For his newest film, Happiness, he nestled himself in the remote Himalayan nation of Bhutan, famous for measuring its own “Gross National Happiness,” for the story of a young boy’s first exposure to technology and television. Balmès captures the innocent beauty in the faces of his subjects and through gorgeous shots of the landscape he illuminates a complicated time when a way of life that has been relatively unchanged for hundreds of years meets the seduction of technology.

Happiness premieres on Independent Lens this Monday, November 17, at 10 pm [check local listings]. After it played at the Sundance Film Festival, The Hollywood Reporter‘s Stephen Farber wrote, “The film won a cinematography award for its stunning images of this Himalayan mountain community, and it paints an evocative, memorable picture of lives in transition.”  Balmès emailed us some of his thoughts about the making of Happiness from his home base in Paris, France.

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5 Independent Lens Films for Veteran’s Day

Bill Jones and Andy Petrus in front of the Japanese monument on Attu Island, Alaska

Veterans Bill Jones and Andy Petrus in front of the Japanese monument on Attu Island, Alaska, in Red White Black & Blue

In honor of our nation’s veterans on Veteran’s Day, we’ve compiled a list of a few Independent Lens films that centered around American soldiers. While the day was initially intended to honor soldiers who fought in WWI (timed with the 11th hour of the 11th day of the 11th month of 1918 when the Armistice with Germany went into effect), it has evolved in the U.S. to be a day honoring all veterans who have served over the years. With that in mind, here are five documentaries that aired on Independent Lens and which really bring the viewer emotionally into the different challenges and perspectives faced by soldiers past and present. [Most of these films can be found either on PBS.org or Shop PBS, or available to download or buy on DVD from various commercial retailers, or via the filmmakers’ own web sites.]

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From an Electrician “Robin Hood” to Real-Life “MacGyvers”

By Kirk Vader

Lamp and crossed wires, From Powerless

From Powerless

There are many memorable characters in Deepti Kakkar and Fahad Mustafa’s Powerless [which premieres on Independent Lens tonight at 10pm; check local listings] but only one star, the man who generates cries throughout the streets of Kanpur: “Loha Singh, Loha Singh, fix my wire!” Kanpur, the largest city in the state of Uttar Pradesh, was once known as “The Manchester of the East” for all its active factories, but now suffers daily power outages. Nests of wires crowd a polluted sky, with clouds of black smoke chugging out of the diesel-powered generators required for the majority of the day.

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Powerless Filmmakers Capture India’s Shocking Energy Crisis

Loha Singh, in Powerless

Outlaw electrician Loha Singh, in Powerless

Powerless is the story of Kanpur, an industrial city in northern India, crumbling under the lack of infrastructure. Filmmaker Fahad Mustafa was born in Kanpur, and partnered with filmmaker Deepti Kakkar, found an opportunity to return to the city of his birth for a fascinating story.  “During research we realized the conflict over electricity in the city seemed to talk volumes about the city’s history, the depravity of its public life, and the deep class divides that characterize it,” he told us. “And then we met Loha Singh, the point from where the film as it is really took off.” Loha is the “Robin Hood of electricity” who is revered by some locals but vilified by frustrated power company officials. Powerless premieres on Independent Lens on PBS Monday, Nov 3 at 10pm [check local listings for date and time in your area], and the filmmakers chatted with us via e-mail about what brought them to tell this story.

Fahad, you’ve lived all over, but what were your own experiences with electricity growing up in India and elsewhere?

Powerless Filmmaker Fahad Mustafa

Powerless filmmaker Fahad Mustafa

I left India with my parents when I was about eight years old. In those times, power cuts were a problem but neither the length of the cuts nor electricity theft were as rampant as now. I remember that we had to tally the time when electricity and water will be available together. Also I remember how there was a stillness in the air when the power was cut, and the joy we felt when it came back, as though our lives had been renewed.

Things really got worse in the coming years, and I saw a lot of this on visits in summer vacations when we had to spend long hours without electricity in heat of more than 45 degrees. Growing up in the middle east me and by sister had become so accustomed to air conditioning that this seemed unbearable.

Then there were stories of businesses of relatives and family friends shutting down in Kanpur over electricity, as well as those of riots breaking out in the neighbourhood when people attacked the electricity sub-station in long power cuts. I remember my cousin who was all of 10 years old once leaning out of the window to attach a katiya during an extended power-cut. As children, my sister and I seemed to occupy two worlds — of comfort and abundance abroad, and of surreality and deprivation at home in Kanpur.

What inspired you to move from writing about energy and development in India to making films?

Powerless filmmaker Deepti Kakkar

Powerless filmmaker Deepti Kakkar

Deepti and I were both engaged with public policy (Deepti is in fact pursuing a degree in Public Policy at Columbia University in New York). I was working with an international watchdog on torture when I started making FC Chechnya, our first feature-length documentary. I think it came from the desire to translate a lot of what we read on paper to the screen. Also I was distinctly aware that a lot of the conversations that we would have in conference rooms during international conferences only reflected a tiny portion of the reality, and not the chaotic, desperate whole, and wanted to show more of that. That’s how FC Chechnya started and that’s how we jumped into Powerless.

What impact do you hope this film will have? What do you think American audiences can take from this film?

We hope that the film brings awareness to the crippling energy poverty that affects over a billion people around the globe. In the western world, electricity is often taken for granted, available at the flick of a switch. But across the world access to electricity is fraught with socio-economic conflict. We hope people realize that and there is greater awareness for the need of a sustainable access to electricity for everyone.

I think it would be good if we could realize that electricity does not simply come from the flick of a switch and that there are many places in the world like Kanpur where lack of electricity breeds violent conflict in which lives and livelihoods are at stake. We will all do well to remember to use our resources, natural and otherwise, carefully to ensure a sustainable future.

What were some of the biggest challenges you faced in making this film?

The access to the characters; it took us 6 months of working with the “Katiyabaaz” (electricity thieves) of Kanpur to be able to shoot freely. At the same time, we had to work very hard to get permissions to shoot with the electricity utility and Ritu, who is a bureaucrat. This is one-of-its-kind access to the workings of the Indian bureaucracy.

Close up of Loha attempting to fix  wiring

For both of you, have you seen any changes in the way electricity is handled in both Kanpur and other places in India since making your film, or is there still a long way to go?

It’s a devilishly complicated problem with no easy solution. The solution lies as much in governance, corporate responsibility, citizen participation and creating an inclusive society than simple arithmatics of demand and supply. We have only seen the situation become worse in the months since we completed Powerless. There is a long, long way to go.

Why doesn’t India’s national government step in or do they still prefer to let local jurisdictions solve their energy issues?

The national government does advise and try and implement policies and projects that would ensure more production of electricity. However, the distribution is the responsibility of the state executives, in this case the state of Uttar Pradesh (UP). The state power distribution companies are on the verge of bankruptcy and do not have the resources to buy extra power of the national grid, nor revive existing infrastructure and far from creating new one. Hence a vicious circle of energy poverty that is drowning out millions of people.

How did you gain the trust of the subjects in Powerless, especially the two main characters?

We were always very open with what we are trying to do. The subjects were aware that we are shooting both sides of the conflict, and were always willing to open up about their viewpoints once we told them the opposing one. Aside from that we spent a lot of time in Kanpur, hence we got to know the people there rather well. Fahad was born in Kanpur, and his family connections also got us some credibility. What would you have liked to include in your film that didn’t make the cut? We would have liked to include more about how the city itself has changed over the years, but since the story became a cop and robber tale between Loha and Ritu there was little scope of expanding on that.

Overhead wires in Kanpur, India

Tell us about a scene in the film that especially moved or resonated with you. [Spoiler Alert:]

It’s the final scene of the film where Loha is drinking with his uncle, who criticizes him for being a thief. Throughout the film Loha is projecting himself to be a messiah of the masses, the people’s hero, but here he is at his most vulnerable. Also, since Loha and I are of the same age and are born in the same neighbourhood, there is a strong connection.

What do you think is the most inspirational food for making independent film?

You could have a whole crew marching on good biryani.

What projects are you working on next?

There is a lot in the pipeline, but at the moment we may be looking at a film on water.

Read more about Powerless on Independent Lens >>

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Independent Lens Nabs IDA Award Nom; Evolution of a Criminal Filmmaker Wins IDA’s Emerging Documentary Filmmaker Award

IDA Award Nominations 2014

Congratulations to all the outstanding films nominated for this year’s International Documentary Association Awards, and for the five documentary television series nominated for Best Curated Series, let’s all give ourselves a round of applause:

We’re excited to be in such great company. A full list of nominees can be found via the IDA’s twitter feed, or here on IndieWire.  Winners will be announced at the IDA Awards on December 5.

Meanwhile, the filmmaker behind Evolution of a Criminal, which airs on Independent Lens on January 12, received some very good news today as well:

Darius Clark Monroe, director of EVOLUTION OF A CRIMINAL, will receive IDA’s Emerging Documentary Filmmaker Award, which recognizes the achievements of a filmmaker who has made a significant impact at the beginning of his or her career in documentary film. The winner of the Emerging Documentary Award receives $5,000 in cash and a donation of post-production services valued at $50,000, made possible by sponsors Red Fire Films and Modern VideoFilm.

From Darius Clark Monroe’s Evolution of a Criminal.

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Is Time Itself Brakeless?

TokyoStation

The Nature of Time

“I know this much: that there is objective time, but also subjective time, the kind you wear on the inside of your wrist, next to where the pulse lies. And this personal time, which is the true time, is measured in your relationship to memory.” ― Julian Barnes, The Sense of an Ending

One of the overriding themes throughout Kyoko Miyake’s film Brakeless (which premieres on Independent Lens on PBS tonight, October 27 at 10pm [check local listings] and was called a “beautiful, philosophical documentary” in the LA Times) is modern societal pressure around time, an obsession with punctuality and schedules.

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Brakeless Filmmaker Explores the Dangers of Time-Obsession

Site of Amagasaki train crash with emergency services

Filmmaker Kyoko Miyake was born and raised in Japan, though she has lived in the UK for the last 12 years, in addition to a year-long stint in Paris. So she’s lived in multiple places where trains and public transportation are an integral part of daily life and culture. Her film Brakeless, which premieres this Monday, October 27, on Independent Lens on PBS [check local listings], looks at one very specific tragic accident in Japan — the 2005 Amagasaki railway crash — as a way to ignite a larger discussion on the value of (and obsession with) efficiency in our lives. The Guardian (UK) called the film “a beautifully made piece of television, combining forensic analysis with intensely moving personal testimonies.”

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Update on the Twin Sisters from the California Mom

Twin sisters Alexandra and Mia, taken May 2014.

We have an exclusive update on the two twin girls featured in Twin Sisters (the film by Mona Friis Bertheussen premieres on PBS tonight, Monday, October 20, at 10 pm; check local listings), from someone who would know: the mother of one of the girls. Angela Hansen, who lives in Sacramento where she’s raising Mia, now aged 11, e-mailed us with some anecdotes about their lives more recently.  After you watch the film, come back here to read more about what Mia and her Norwegian-based twin sister Alexandra have been up to since the filming stopped. [Read more about the film and their story in The New York Times.]

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From Norway to California: Twin Sisters Filmmaker Captures Sibling Bond

Twin sisters Mia and Alexandra

Making its American television premiere on Independent Lens on PBS this Monday, October 20 [check local listings], Twin Sisters tells the story of the remarkable journey of identical twins, adopted by families from opposite ends of the world who discover their daughters are sisters. The film won the prestigious Audience Award at the International Documentary Film Festival Amsterdam, and it’s not hard to see why: it really is an audience-pleaser. We connected with Norwegian filmmaker Mona Friis Bertheussen to learn about her own journey from Fresvik, Norway to Sacramento, California, and back in making Twin Sisters see the light of day. Bertheussen started her career by working for both NRK (Norwegian Public Broadcasting) and TV2 Norway, the biggest commercial TV channel in Norway, and also worked as a news reporter for the national news, before branching off into independent filmmaking. She is based in Oslo, Norway.

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