News
26th of August, 7pm
Gothersgade 55, 1123 Copenhagen, Denmark
check out the full program
check it out!
Read the report from André
Check out the news!
Burg Giebichenstein
University of Art and Design
16. and 17. July 2022, 10 to 6 pm
opening
Friday, 15. July, 6 pm
Check out full program
Full Programm here
Collaboration and Authorial Diversity in Film
Collaborative Projects
25.5. 13:00
Fonja - Speaker: Lina Zacher
Paulinerkirche, Göttingen
New York University presents the Global Artists Convening
on Monday, May 23, 2022
at the President‘s Residence
37 Washington Square West
6:15 pm
„Fonja“
To be followed by a discussion with
Anna Deavere Smith, Professor Patricia Williams, Dr. Joshua Lubin-Levy and Lina Zacher
Wednesday 25-5-2022
Student Film Competition
Fonja - 13:00, Paulinerkirche Göttingen
+ Q&A afterwards
Participatory Video
Speaker: Lina Zacher about „Fonja“
and Paneldiscussion
Full programm here
Werkstattgespräche
11.15 - 12.00 Uhr
Participatory Video
Speaker: Lina Zacher about „Fonja“
Filmhaus Köln • Maybachstraße 111 • 50670 Köln
27.01.2022
Full programm here
Q&A with Lina Zacher and Alexander Scholz, festival director of Duisburger Filmwoche
Bozar Centre of Fine Arts
Dates Tuesday 6 July, 20:00 → 22:00
Location Studio Rue Ravenstein 23 1000 BRUSSELS
Followed by a Q&A with the director
Bozar
Färbergasse 15, 6850 Dornbirn
Programm
Film Expanded
Check it out!
DaFilms
Postproduction of "Fonja" in Antanimora
the youth minors are working on the postproduction of Fonja
All our filmmakers:
Adriano Raharison Nantenaina, Sitrakaniaina Raharisoa, Alpha Adrimamy Fenotoky, Jean Chrisostome Rakotondrabe, Lovatiana Desire Santatra, Sitraka Hermann Ramanamokatra, Erick Edwin Andrianamelona, Ravo Henintsoa Andrianatoandro, Elani Eric Rakotondrasoa, Todisoa Niaina Sylvano Randrialalaina
8.2.2021
16:30
SZFE
SZÍNHÁZ -
ÉS FILMMŰVÉSZETI EGYETEM
1088 Budapest, Vas u. 2/c.
+36(1) 318 8111
read more
Welcome / Tonga Soa
Thank you to Jairus Nouvel!
6.2.2021
18:00
A portrait project from Hartmut Bühler
VON HARTMUT BÜHLER
Wir leben in einer besonderen Zeit. Und der müssen wir uns stellen.
Wie stellt sich die Situation derzeit speziell in ihrer madagassischen Film-Haftanstalt dar?
read more on
Website
Jeden Svet in Slovakia
Don't miss!
Live-discussion at One World film festival / Jeden Svet in Slovakia
Is Western aid always necessary and beneficial? How do we view the countries that receive our help? Do we sometimes do more harm than good? In the discussion on the films Stop Filming Us and Fonja, we will look at the positive as well as the negative aspects of the European Union’s development aid. Moreover, we will consider not only the view of Slovak humanitarian and development organisations on neocolonialization, but the depiction of the countries of the global south in audiovisual and visual arts as well.
GUESTS: Lucia Kišš (Slovak Aid), Andrea Najvirtová (People in Peril Association), Lina Zacher (director of the film Fonja)
MODERATOR: Frederika Halászová
Join online or watch later!
Kinorama filmtip November 6 2020
www.kinorama.sk
Kulturzeit
7:20pm on 3Sat
Filmscheinwerfer blenden ein fast kindliches Gesicht. Ein junger Gefangener erzählt von Waffen und Raub, Scham und Stolz. Beim Hofgang gibt ein Anderer Regieanweisungen: Seine Kameraden sollen gefälligst gerade stehen, während er den Appell filmt. Gemeinsam zeigen und inszenieren seine Insassen ein Gefängnis in Madagaskar. Mit der Kamera vermessen sie Räume, die zu eng sind für weite Einstellungen. Und bedenken die Welt außerhalb der Mauern, die ihre Perspektiven begrenzen.
verfügbar ab
Mi 4.11. / 19.00 Uhr
Interview mit Christiane Büchner
Full interview on Vimeo
Join!
Thursday, 29.10.2020
7pm Birkenstrasse 47, Düsseldorf
Today!
7pm Birkenstrasse 47, Düsseldorf
with Q+A
Join!
www.baustelle-schaustelle.de
7pm with Q+A
Kino
filmforum
Dellplatz 16
47051 Duisburg
with Q+A
Metropolis Kino Hamburg
Kleine Theaterstr.10
Duisburger Filmwoche
7pm Birkenstrasse 47, Düsseldorf
with Q+A
Programm Baustelle Schaustelle
Samo Oleami 22.10.2020 13:30 / Kinobar
https://radiostudent.si/kultura/kinobar/čuza
at Top Kino Vienna
Rahlgasse 1, Vienna, Austria
26th of August, 7pm
Gothersgade 55, 1123 Copenhagen, Denmark
check out the full program
check out the program and events!
7-9pm
areál Výstaviště 67 170 00 Prague
Czech Republic
Read the report from André
Luru Kino in Leipzig
in the Spinnerei Leipzig
Luru-Kino in der Spinnerei
Spinnereistr. 7
04179 Leipzig
04.10.2020
17:00
Check out the winners!
in the Spinnerei Leipzig
Luru-Kino in der Spinnerei
Spinnereistr. 7
04179 Leipzig
27.09.2020
27.09.2020
15:00
International Film Festival!
24.09.2020
18:00
at Sehsüchte International Student Film Festival, Filmuniversität Babelsberg Konrad Wolf
Holešovice, Výstaviště 67, Praha7
program
17.09.2020
19:30
Programm Baustelle Schaustelle
12.09.2020
14:00 Screening
15:30 Q&A
04.09.2020
22:30
Welcome to the Dokudoc Film Festival!
Mednarodni festival dokumentarnega filma DOKUDOC
04.09.2020
21:OO
18.09.2020 Echoes Ji.hlava International Filmfestival in Bratislava, Slowakei
4.-6.9.2020 Dokudoc Filmfestival, Slovenien
12.09.2020 International Filmfestival Cologne, Deutschlandpremiere im Cinenova in der Herbrandstr. 11
23.9-27.9.2020 Sehsüchte International Student Film Festival, Filmuniversität Babelsberg Konrad Wolf, Berlin
26.9 + 27.9.2020 Latent Space, Luru Kino, Spinnerei, Leipzig
9.10.- 1.11.2020 Fotograf festival, Galerie GAMU, Prag
15.10.- 25.10.2020 Kinostart in Wien, Kick-off: Topkino Wien
29.20.2020 Baustelle Schaustelle Art Gallery Düsseldorf
5.10-11.10.2020 One World Film Festival, Slowakei
13.11.2020 Filmstart Slowakei
Nova Cvernovka
21:30
Echoes Ji.hlava International Filmfestival in Bratislava, Slovakia + Masterclass with Lina Zacher
Venue:
Račianska 1575/78, 831 02 Bratislava, Slovakia
Date
Aug 18, 2020 8:00 PM
Organizer:
Film Exanded
Venue:
Bohemian National Hall, 321 East 73rd Street
NY 10021 New York
United States
Date
Feb 27, 2020 7:00 PM
Organizer:
Czech Centre
Tue 28.1. at 18.45, Kinopalatsi 6
Kinopalatsi, Kaisaniemenkatu 2, Helsinki
Fri 31.1. at 15.00, Maxim 1
Maxim, Kluuvikatu 1, Helsinki
Sun 2.2. at 15.15, Maxim 2
Maxim, Kluuvikatu 1, Helsinki
Das vielschichte Kammerspiel führt uns in einen geschlossenen Mikrokosmos, verwebt Dokumentarisches mit Fiktionalem und erzählt dabei gleichzeitig vom handwerklichen wie vom sozialen Moment des Filmemachens: ein Film im Film im Film.
Eine junge deutsche Regisseurin erschafft den Insassen einer Jugendstrafanstalt in Madagaskar einen Möglichkeitsraum in der Isolation. Sie entfacht Leidenschaft, Zuversicht und Vertrauen und überreicht ihrem Team die Werkzeuge um sprichwörtlich ein Fenster zur Welt in ihre Gefängnismauern zu schneiden. Eine vermeintlich verlorene Generation verleiht sich mittels kollektivem Selbstportrait eine starke Stimme. Dabei gewähren die Filmemacher uns nicht nur Einblick in ihre Schicksale, sondern erlauben uns an einem Reflexions- und Selbstermächtigungsprozesses Teil zu haben, der weit über das finale Filmprodukt hinaus geht.
Schikaneder, Vienna
30.Nov. 2019, Top Kino, Vienna, 20:15
Jury statement:
For the warmth, the intuition, the trust, the courage and generosity that are holding together a film that keeps on reafirming the power of the innocent gaze while echoing the voices of the old masters.
Special mention
Jury statement:
For the intelligent and inspired use of the cinematographic device in her search for the ineffable.
Fonja wins best documentary and special mention
Dukla Cinema – Reform
Saturday 26. 10. 2019, 20:00
Dukla Cinema – Reform
Fonja at creative documentary film festival ji.hlava
Nova Cvernovka
21:30
Nova Cvernovka
21:30
The first film made by juvenile detainees
«Fonja» is a documentary film made by the youngest and possibly most exceptional filmcrew of Madagascar. Over the course of a four months film production workshop, ten detainees from the male youth prison of Madagascar’s largest detention center in the capital Antananarivo discover the camera for the first time.
While they learn about the specifications and rules they also develop their very own approach to use the camera. It becomes a tool to play around, to visualize their own ideas, to rediscover their familiar surrounding upside down, through a filter of purple or fully zoomed into detail.
“Fonja” takes us on a journey into their daily life in the prison through images independently shot by the young prisoners themselves. We get a glipmse into a world which is shaped by a strong hierarchy and the obedience of internal rules on the one side and social cohesion and solidarity on the other side. - A story about struggles and dreams, told by a strong bonded group and their great spirit to invest all of their creativity, energy and inspiration to make their own film.
Antanimora
The youth prison Antanimora is part of the „Maison centrale Antananarivo“, the largest prison in Tana and surroundings. The approximately 2600 inmates exceed the capacity of 800 over three times. The prison consists of a building complex with three different sections, each organized as a collection cell; the women‘s and children‘s prison, the adult wing and the unit for underage male adolescents. 80% of young people are in so-called protective custody and wait usually for several years or in vain for a lawsuit. Approximately 70% of the youth are orphans and grew up on the streets of Antananarivo.
Direction on-site
Camera, Cinematography
Idea, Production, Editing
additional camera
Country of Production
Assistant producer
Distribution
Thanks to
Alpha Adrimamy Fenotoky, Adriano Raharison Nantenaina, Sitrakaniaina Raharisoa, Todisoa Niaina Sylvano Randrialalaina, Elani Eric Rakotondrasoa, Erick Edwin Andrianamelona, Jean Chrisostome Rakotondrabe, Sitraka Hermann Ramanamokatra
Lina Zacher
Madagascar, Germany
Jairus Nouvel
FilmExpanded
Mio e.V.
Fujifilm (sponsoring)
Crew
Sitraka entered the prison when he was 14. Since then he has taken over many duties and has started to organise activities on his own. He is the room-leader of one of the two cells (dorms) and is responsible for instructing the room members, to solve internal conflicts and to report major problems to the prison-guards. He organises small commissions like food-orders for the prisoners from outside and also leads the ‘playtable’ where he rents out cards to others for a small fee.
Since 2016 Sitraka has started a theatre-group with around 15 members. Every half a year they perform their self-written theaterplay to the rest of the prisoners. Other activities Sitraka conducts include a self-managed preaching-service inside the cell at night, story-telling gatherings and slam-events.
Over the course of the film-shootings he played a major role both as camera-man, for organising the day-schedule, leading interviews and as main character behind the camera.
When he will be released in 2021 he wants to continue working in the field of film both as cameraman/cinematogrpher and director.
Jean Chrisostome
Jean Chrisostome also belonged to some of the eldest and long-term detainees until he was released in 2018. Together with Sitraka he conducted a lot of the activities like the theatre-group and slam-events. Instead of documenting right in the center of attention he preferred to take the camera and step back to capture more quiet movements like the proceeding of a small ant or the slow passing-on of clouds in the sky. Besides the camera, music is one of his biggest talents. He writes songs and raps which he performs behind the camera and with the audio-recorder always on his side, sometimes solo and sometimes with a whole dance-crew next to him.
Adriano entered the prison at the age of 16 and was released in April this year. He belonged to one of the eldest and used to spend his time by drawing pictures, cartoons and designs or logos for all kinds of announcements of prison activities. During the workshop Adriano specialised himself in the technical handling of the cameras. To choose and change lenses, menu settings and decide what angle and frame is appropriate for the action to be documented were the tasks he was responsible of during the project.
Alpha was detained for 3 years and is already enjoying freedom during these days. He also belonged to Sitraka‘s group, helping him with everything that was on the plan for daily film-shootings. Next to his duties at film-activities, he was also responsible for the opening and closing of the main gate, to check everybody who passes through and to communicate with the guards about the upcoming program. He has earned himself this job after a long way of lower tasks and he belonged just like Sitraka to some of the ones who enjoy high social status and respect among the fellow prisoners. Oftentimes he did camera-man work and handed-on his obtained abilities in terms of camera-handling to others.
Lina Zacher, born in 1991, is a german documentary film director and visual artist. The focus of her work is on dealing with socio-political subjects and human behaviours in spacial and social contexts through a participatory approach. Together with Delphine Bishop she developed the video exchange project „Mio“, a concept for improving intercultural learning in schools and then founded the same-named association „Mio e.V“. In the Philippines, Lina Zacher spent more than half a year working with refugee children of the indigenous tribe ‚Lumad‘ and realized together with the Philippine artist Aba Dalena the exhibition ‚Batang Lumad‘ (Lumad Child), which addresses the current problem of ‚landgrabbing‘.
For her latest project „Fonja,“ a documentary film shot by juvenile detainees, she spent more than five months in a youth prison in Madagascar, teaching camera handling, image composition, and editing techniques.
The collective debut film «Fonja» won multiple awards including the "best word documentary award" in Jihlava (IDFF), the "Up & Coming » award in Vienna (Human World), the "Cinegate Prize » in Colone (IFFC) and the award for best documentary at (International Student Film Festival (ISFF) in Berlin.
This film is not only an important portrait which is highly relevant for human rights discussions but also a symbol for the great talent and individual creativity lurking in all of us even at a place being despised of society like prisons. My goal is to push those unusual young filmmakers and to make their effort a success. I want to reach out and spread the great spirit and positivity of this strong group to inspire and create wonder among others.
How did you start working with the minors in the youth prison? What was your objective?
The idea for a film project in the juvenile detention center was mainly due to the experiences of a supervised theatre project in the same prison in 2013. I observed the great curiosity of the young people to express themselves creatively, each in a personal way, some impulsively and radically others very conscious and quiet, yet all with the same sincerity and determination.
My objective was to create a portrait of the place which had inspired me so much out of un unusual perspective - with the eyes of the young detainees themselves.
Where did the idea come from to let the minors film themselves instead of using a camera-man to do the job?
This project attempts a documentary approach from the point of view of the boys. No outsider can capture, describe or portray what moves them, what they see and how they perceive their environment, except themselves!
With this approach I wanted to find a sensible and close way to capture everyday-life in the prison and practice an alternative concept aside from the usual procedure of filmmaking where the filmmaker with his camera, entering a new surrounding will in many means stay always a foreigner.
Why not let somebody being part of that environment tell the story?
What exactly did the workshop include? How did your everyday schedule look like?
First of all there were two parts of the workshop. The first half was held in 2017. It was a kick-off workshop with a basic introduction to camera-handling, composition and framing as well as a short journey into film history.
The second half took place one year after and was a post-production workshop only. The minors learned how to use an editing program and about the different steps in p-p-process.
Both workshops had a duration of each two months and were designed in the same way. The first two weeks of
theoretical learning in class, after that the young detainees took over the organisation and were free to work on their own or in groups. This way they had the opportunity to practice managing themselves and to develop their film in the direction they wanted to. At the same time this method gave the freedom for each individual to find his/her own way of expression with the camera and later on in the assembling-process inside the editing program.
What was the most important development of the minors over the time of the project?
What was visible over the course of the project was the obtained ability to wait, to listen closely and to observe thoroughly the action behind the camera. This way the boys learned to see familiar things and their fix surrounding consisting of the never changing yard and the two cells through different eyes.
Another qualification I thought was stunning, was the experimental kind of way the young prisoners dealt with the camera. Far from the usual rules of filmmaking they developed their own techniques to capture whatever was meaningful to them and whatever they wanted to express for very individual reasons.
What have you seen and experienced during the time in the prison?
What I have seen and experienced in the youth prison Antanimora are bad living conditions, malnutrition and lack of hygienic facilities and educational programs on the one hand but a an inspiring atmosphere, strong-bonded community full of spirit and a big amount of solidarity on the other hand.
I was amazed by the motivation and positivity the boys were spreading everyday. And still I could see that they were part of a strong and hierarchical system in which some have to obey and some are in the position to rule. A system - a small microcosm or society in miniature format in which everybody has a clear role and function to serve or lead the group.
An experience that I was not prepared to and that almost made me stop the project was the encounter with the different stories and backgrounds of the boys. Although I never directly asked them what has brought them into the prison, I eventually found out over time. I got confronted with crimes that exceeded the kind of minor offences like pickpocketing in all matters. I felt a strong aversion to continue working and supporting people who have harmed others with brutal manner. Finally I could overcome my misgivings and decided to treat everybody equally regardless of their history. With the film-project I wanted to provide them a platform on which they can unfold and develop themselves freely and for once - not get judged.
How was your feeling being the only women in-between 120 male detainees?
During the first weeks the boys tried to propose to me about a hundred times. It is very special for them to not only see but be around a girl for a long time after they haven’t seen any since they got arrested. Even more unusual it is for them to see a white person, in malagasy language called « vazaha », which usually get admired and looked up to in society because they reflect all the dreams from the « outside world » that is oftentimes so unreachable for them.
Over time the boys and I got used to each other and I became an accepted member of their group. I remember a circumstance where my pocket got stolen on the streets and I told them about what had happened. In total solidarity they assured me that they would tell their friends, the gang on the streets who were most possibly responsible for the disappearance of my bag, to immediately give it back since I now belonged to their group where all members enjoy protection among each other.
Although they couldn’t manage to get my bag back in the end, I was very touched that they considered me a full part of malagasy society.
What are the reasons for the imprisonment of the minors in Antanimora?
Minor offences driven by poverty are the most common reasons for arrest among young people. According to the detainees, some arrests were preceded by no criminal offences and relied only on allegations. 80% of young people are in so-called protective custody and usually wait several years or in vain for a legal action. Approximately 70% of the youth are orphans and grew up on the streets of the capital Antananarivo.
How do everyday living conditions look like?
The boys in Antanimora are in a special condition. The limited contact with the „outside world“, with friends and family, the catastrophic living conditions of accommodation and the unfairness of their seemingly inevitable destinies, create extraordinary and tragic living conditions. It is about coping with everyday life, dealing with other prisoners, observing and setting up internal rules, developing habits and solving problems. It is about adaptation and quiet stamina, but also about cohesion and solidarity.
The daily program in prison is limited to two meals (consisting of rice or cassava) and a church-initiated, irregular morning education program. A small gathering room can be used for courses. The yard is the main and inevitable place to stay for the boys. At 6 o‘clock in the evening, the 120 inmates are distributed in two sleeping bays and locked up at 6 o‘clock until the morning call.
What is your vision for this project?
My vision for this project is to carry out this personal and unique film with and from the minors of the youth prison Antanimora. It is not only an important portrait which is highly relevant for human rights discussion but also a symbol for the great talent and individual creativity among all of us even at a place being despised of the society such as a prison. My goal is to push those unusual young filmmakers and to make their effort a success.
My long-term vision is to set up a proper film school in Madagascar which can provide people from financially and socially problematic backgrounds a space of reflection and creation, as well as the opportunity to develop themselves artistically through a professional educational program.
for inquiries about filmscreenings or general questions, please contact: lina@mio.world
Legal Notice
Angaben gemäß § 5 TMG
Lina Zacher
Reilstraße 2
06114 Halle Saale
Deutschland
Kontakt:
E-Mail: lina@mio.world
Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:
Lina Zacher
Haftungsausschluss:
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Crew
Sitraka entered the prison when he was 14. Since then he has taken over many duties and has started to organise activities on his own. He is the room-leader of one of the two cells (dorms) and is responsible for instructing the room members, to solve internal conflicts and to report major problems to the prison-guards. He organises small commissions like food-orders for the prisoners from outside and also leads the ‘playtable’ where he rents out cards to others for a small fee.
Since 2016 Sitraka has started a theatre-group with around 15 members. Every half a year they perform their self-written theaterplay to the rest of the prisoners. Other activities Sitraka conducts include a self-managed preaching-service inside the cell at night, story-telling gatherings and slam-events.
Over the course of the film-shootings he played a major role both as camera-man, for organising the day-schedule, leading interviews and as main character behind the camera.
When he will be released in 2021 he wants to continue working in the field of film both as cameraman/cinematogrpher and director.
Jean Chrisostome
Jean Chrisostome also belonged to some of the eldest and long-term detainees until he was released in 2018. Together with Sitraka he conducted a lot of the activities like the theatre-group and slam-events. Instead of documenting right in the center of attention he preferred to take the camera and step back to capture more quiet movements like the proceeding of a small ant or the slow passing-on of clouds in the sky. Besides the camera, music is one of his biggest talents. He writes songs and raps which he performs behind the camera and with the audio-recorder always on his side, sometimes solo and sometimes with a whole dance-crew next to him.
Adriano entered the prison at the age of 16 and was released in April this year. He belonged to one of the eldest and used to spend his time by drawing pictures, cartoons and designs or logos for all kinds of announcements of prison activities. During the workshop Adriano specialised himself in the technical handling of the cameras. To choose and change lenses, menu settings and decide what angle and frame is appropriate for the action to be documented were the tasks he was responsible of during the project.
Alpha was detained for 3 years and is already enjoying freedom during these days. He also belonged to Sitraka‘s group, helping him with everything that was on the plan for daily film-shootings. Next to his duties at film-activities, he was also responsible for the opening and closing of the main gate, to check everybody who passes through and to communicate with the guards about the upcoming program. He has earned himself this job after a long way of lower tasks and he belonged just like Sitraka to some of the ones who enjoy high social status and respect among the fellow prisoners. Oftentimes he did camera-man work and handed-on his obtained abilities in terms of camera-handling to others.
Lina Zacher, born in 1991, is a german documentary film director and visual artist. The focus of her work is on dealing with socio-political subjects and human behaviours in spacial and social contexts through a participatory approach. Together with Delphine Bishop she developed the video exchange project „Mio“, a concept for improving intercultural learning in schools and then founded the same-named association „Mio e.V“. In the Philippines, Lina Zacher spent more than half a year working with refugee children of the indigenous tribe ‚Lumad‘ and realized together with the Philippine artist Aba Dalena the exhibition ‚Batang Lumad‘ (Lumad Child), which addresses the current problem of ‚landgrabbing‘.
For her latest project „Fonja,“ a documentary film shot by juvenile detainees, she spent more than five months in a youth prison in Madagascar, teaching camera handling, image composition, and editing techniques.
The collective debut film «Fonja» won multiple awards including the "best word documentary award" in Jihlava (IDFF), the "Up & Coming » award in Vienna (Human World), the "Cinegate Prize » in Colone (IFFC) and the award for best documentary at (International Student Film Festival (ISFF) in Berlin.
This film is not only an important portrait which is highly relevant for human rights discussions but also a symbol for the great talent and individual creativity lurking in all of us even at a place being despised of society like prisons. My goal is to push those unusual young filmmakers and to make their effort a success. I want to reach out and spread the great spirit and positivity of this strong group to inspire and create wonder among others.
How did you start working with the minors in the youth prison? What was your objective?
The idea for a film project in the juvenile detention center was mainly due to the experiences of a supervised theatre project in the same prison in 2013. I observed the great curiosity of the young people to express themselves creatively, each in a personal way, some impulsively and radically others very conscious and quiet, yet all with the same sincerity and determination.
My objective was to create a portrait of the place which had inspired me so much out of un unusual perspective - with the eyes of the young detainees themselves.
Where did the idea come from to let the minors film themselves instead of using a camera-man to do the job?
This project attempts a documentary approach from the point of view of the boys. No outsider can capture, describe or portray what moves them, what they see and how they perceive their environment, except themselves!
With this approach I wanted to find a sensible and close way to capture everyday-life in the prison and practice an alternative concept aside from the usual procedure of filmmaking where the filmmaker with his camera, entering a new surrounding will in many means stay always a foreigner.
Why not let somebody being part of that environment tell the story?
What exactly did the workshop include? How did your everyday schedule look like?
First of all there were two parts of the workshop. The first half was held in 2017. It was a kick-off workshop with a basic introduction to camera-handling, composition and framing as well as a short journey into film history.
The second half took place one year after and was a post-production workshop only. The minors learned how to use an editing program and about the different steps in p-p-process.
Both workshops had a duration of each two months and were designed in the same way. The first two weeks of
theoretical learning in class, after that the young detainees took over the organisation and were free to work on their own or in groups. This way they had the opportunity to practice managing themselves and to develop their film in the direction they wanted to. At the same time this method gave the freedom for each individual to find his/her own way of expression with the camera and later on in the assembling-process inside the editing program.
What was the most important development of the minors over the time of the project?
What was visible over the course of the project was the obtained ability to wait, to listen closely and to observe thoroughly the action behind the camera. This way the boys learned to see familiar things and their fix surrounding consisting of the never changing yard and the two cells through different eyes.
Another qualification I thought was stunning, was the experimental kind of way the young prisoners dealt with the camera. Far from the usual rules of filmmaking they developed their own techniques to capture whatever was meaningful to them and whatever they wanted to express for very individual reasons.
What have you seen and experienced during the time in the prison?
What I have seen and experienced in the youth prison Antanimora are bad living conditions, malnutrition and lack of hygienic facilities and educational programs on the one hand but a an inspiring atmosphere, strong-bonded community full of spirit and a big amount of solidarity on the other hand.
I was amazed by the motivation and positivity the boys were spreading everyday. And still I could see that they were part of a strong and hierarchical system in which some have to obey and some are in the position to rule. A system - a small microcosm or society in miniature format in which everybody has a clear role and function to serve or lead the group.
An experience that I was not prepared to and that almost made me stop the project was the encounter with the different stories and backgrounds of the boys. Although I never directly asked them what has brought them into the prison, I eventually found out over time. I got confronted with crimes that exceeded the kind of minor offences like pickpocketing in all matters. I felt a strong aversion to continue working and supporting people who have harmed others with brutal manner. Finally I could overcome my misgivings and decided to treat everybody equally regardless of their history. With the film-project I wanted to provide them a platform on which they can unfold and develop themselves freely and for once - not get judged.
How was your feeling being the only women in-between 120 male detainees?
During the first weeks the boys tried to propose to me about a hundred times. It is very special for them to not only see but be around a girl for a long time after they haven’t seen any since they got arrested. Even more unusual it is for them to see a white person, in malagasy language called « vazaha », which usually get admired and looked up to in society because they reflect all the dreams from the « outside world » that is oftentimes so unreachable for them.
Over time the boys and I got used to each other and I became an accepted member of their group. I remember a circumstance where my pocket got stolen on the streets and I told them about what had happened. In total solidarity they assured me that they would tell their friends, the gang on the streets who were most possibly responsible for the disappearance of my bag, to immediately give it back since I now belonged to their group where all members enjoy protection among each other.
Although they couldn’t manage to get my bag back in the end, I was very touched that they considered me a full part of malagasy society.
What are the reasons for the imprisonment of the minors in Antanimora?
Minor offences driven by poverty are the most common reasons for arrest among young people. According to the detainees, some arrests were preceded by no criminal offences and relied only on allegations. 80% of young people are in so-called protective custody and usually wait several years or in vain for a legal action. Approximately 70% of the youth are orphans and grew up on the streets of the capital Antananarivo.
How do everyday living conditions look like?
The boys in Antanimora are in a special condition. The limited contact with the „outside world“, with friends and family, the catastrophic living conditions of accommodation and the unfairness of their seemingly inevitable destinies, create extraordinary and tragic living conditions. It is about coping with everyday life, dealing with other prisoners, observing and setting up internal rules, developing habits and solving problems. It is about adaptation and quiet stamina, but also about cohesion and solidarity.
The daily program in prison is limited to two meals (consisting of rice or cassava) and a church-initiated, irregular morning education program. A small gathering room can be used for courses. The yard is the main and inevitable place to stay for the boys. At 6 o‘clock in the evening, the 120 inmates are distributed in two sleeping bays and locked up at 6 o‘clock until the morning call.
What is your vision for this project?
My vision for this project is to carry out this personal and unique film with and from the minors of the youth prison Antanimora. It is not only an important portrait which is highly relevant for human rights discussion but also a symbol for the great talent and individual creativity among all of us even at a place being despised of the society such as a prison. My goal is to push those unusual young filmmakers and to make their effort a success.
My long-term vision is to set up a proper film school in Madagascar which can provide people from financially and socially problematic backgrounds a space of reflection and creation, as well as the opportunity to develop themselves artistically through a professional educational program.