Commissioned to apply realistic graffiti to sets for the popular Showtime series Homeland, three artists and activists took the opportunity to critique their employer by painting satirical and damning phrases in Arabic — such as “Homeland is NOT a series” and “Homeland is racist” — that nobody on the Homeland team seemed to notice. That is, until an episode that aired worldwide in October was watched by viewers who could read Arabic. Within days, the political prank became an international media sensation.

The conspirators behind the Homeland hack, Heba Yehia Amin, Caram Kapp, and Don Karl, come from a diverse array of disciplines and backgrounds. Amin is a visual artist and professor born and based in Cairo; Kapp is a Cairo-born, Berlin-based graphic designer and multimedia artist; and Karl is a Berlin-based graffiti writer and author. When the following interview was conducted, kaleidoscopically via Google Hangout, the trio was collaborating on the edit for Homeland Is Not a Series from three separate cities.

In anticipation of bringing this latest iteration of their project to Field of Vision, the “Arabian Street Artists,” as they cheekily refer to themselves, talked about the effectiveness of humor as a weapon against intolerance, the challenges of making a movie when they don’t consider themselves filmmakers by trade, and how they’re trying to foster further discussion around Western representations of Middle Eastern culture.

So how did this start? Since you’re all coming from slightly different disciplines, as well as different areas of the world — how did you wind up collaborating on this covert sabotaging of the Homeland TV show?

Don Karl: I got a call from Homeland that they were looking for “Arabian street artists.” I reached out to several artists, and one of them was Caram, with whom I worked on several other projects — including Walls of Freedom a book about graffiti art and the Egyptian revolution. We gathered in front of a street art exhibit in Berlin, which is where I met Heba for the first time, and the question was, “Do we want to do this kind of thing? Do we need money so urgently that we need to work for Homeland?”

Heba Yehia Amin: None of us were certain that we wanted to work with them. In fact, Don struggled to find people who actually wanted to take on this job, because we so strongly oppose the politics of this show.

Karl: We had this idea spinning around that we could sabotage them, but it wasn’t really concrete.

Amin: We decided at that point to at least meet with the set designers, and see exactly that they wanted us to do. It turned out that it was a much easier set up than we thought it would be. In fact, they came with references for us — they brought images of what they wanted this graffiti to look like. And the images they brought us were of pro-Assad graffiti — they had no clue about the content of what they were showing us. So we already knew that they didn’t have a concrete idea of what they wanted us to write. They just wanted decoration on the set.

They basically said, “Write whatever you want, we just don’t want you to copy these references because of copyright issues. And oh yeah, we don’t necessarily want anything too political.” Then we discovered that there was no contract — they were making no agreement with us. So just in terms of our concerns about the legalities of doing something like this, we felt like this was really working in our favor. At that point we were really convinced about moving forward with this idea.

Caram Kapp: Visually, they did very good research. On a superficial level, the set is very convincing. When we went there, it was as if we were in parts of Lebanon. But obviously they didn’t know the deeper meaning of what they were talking about, and they’d either never talked to people from an Arab country or learned enough Arabic to be able to know what was actually going to be written on the set.

Did the three of you come up with the text for the graffiti together?

Kapp: Heba and I, and a lot of friends and relations helped us out. We asked them, “Can you send us quotes?” And we actually were prepared to do a less subversive job if the situation developed that way.

Karl: At first we worked with quotes that had double meanings — we were thinking of ways to insert the message very subtly. Then when we found that nobody looks at it, they started to write all those very blatant sayings.

Amin: Arabic proverbs in general have these double meanings, so if you don’t know the language you won’t understand the context of it. If you just take it for its literal face value, it won’t have the critical meaning we were after. But it turned out that we didn’t even need to be that subtle. So we basically improvised once we were on set. Caram and I were having a lot of fun with this, just writing really stupid stuff that was also attempting to undermine the show in a more comical way.

Now I’m not at all a graffiti artist, so that’s also comical, that I was brought on as a graffiti artist and had never held a spray can in my life. I’m very familiar with politically subversive artistic tactics, but it was interesting for me to be represented as this graffiti artist when that’s not what I am at all.

Karl: We were misinterpreted in all kinds of ways. We were called a collection of Muslim street artists, and that doesn’t fit any of us.

Amin: We’ve played with it. We named ourselves the Arabian Street Artists because when the set designers were communicating with us via email, they kept referring to us as the Arabian street artists. We found this quite funny.

Karl: I became an Arab, even though I’m so German.

Amin: We also played with it in the text itself. These Orientalist texts like 1001 Arabian Nights — like “1001 Jokes,” or “1001 Calamities.” We played with that Orientalist depiction that was imposed on us.

Kapp: Once we realized that we could get away with it, we started becoming really spontaneous. We began to tell more jokes after being very serious in the beginning. It was very liberating.

Did anybody notice what you were writing on the walls? Or is it something you had to reveal afterwards?

Karl: I heard from one guy, who was working on set and read it but didn’t tell anyone, because he hated the show himself. Maybe others saw it and didn’t tell. All these lawyers and people looking at every frame, hundreds of people looking at it before it airs, and they have not one person who understands or reads Arabic?

Amin: We were asked to write signs for these makeshift storefronts in this supposed refugee camp. And Caram came up with this really great sign for a falafel joint, where he wrote, “Falafel and Alcohol Made with the Hands of Faiza.” And in his mind he created this whole character of Faiza being a Christian Syrian refugee remembering the old times, this whole comical narrative of who the characters of the refugee camp are.

And the next day we got an email from the set designer and she said, “Somebody just told me that you wrote falafel and alcohol on the sign — why would you do that?” So Caram responds to her very seriously, and says, “Well, you know, this store belongs to Faiza from Syria,” and he gives her this whole backstory of who Faiza is to justify what he put on the sign. After this email we didn’t hear anything back so we were thinking they probably noticed all the other graffiti we put in there as well. So we weren’t sure that any of it was going to show up — that they would have covered it up or taken it out in postproduction.

But then the episode airs, and that’s not what happened at all.

Amin: We were caught off guard. None of us were prepared. I was in the airport when Caram and Don sent me screenshots of the episode. We decided that we needed to write a statement as quickly as possible, which the three of us put together in a day or two. Then we posted it on my website and shared it through social media, and within an hour we started getting messages. The first big paper that wrote about it was Time magazine — they sent me an email saying we want some feedback and before we could even write them back they posted the article. And from there it went viral in a matter of hours.

Kapp: After that it was three days of absolute media mayhem. The phone was ringing about 50 times an hour.

Karl: I gave a shaky handheld phone interview with somebody, I didn’t know who, and it turned out to be AJ+. Three million people saw it.

Kapp: I was brought into a studio interview, watching the news, and I thought to myself — there’s stuff erupting in Palestine, there’s Nigerian stuff going on at the same time, and this is the headline story from the Middle East?

Karl: It was discomforting in a way, but at least it was something to make people laugh.

Amin: It wasn’t just that we made people laugh — it was also a form of criticism. It was in keeping with a point we were making, the idea that media manipulates the narrative, how the region is depicted. The fact that we became a big story kind of furthered our point of what the focus is on in the region. We tried to use the opportunity to talk about those issues — about what consequences a show like Homeland and many others have on an entire region — and not just about our media hack.

Karl: It started a discussion. You could see on CNN people talking about the racism of Homeland, and then good journalists started to write articles that went much deeper, that didn’t just talk about the hack but really about the issues we touched on.

So that’s what happened in the public sphere, but now there’s this other piece, this film you’ve been working on. Do you consider this all part of the same project?

Amin: When Caram and I were on set we were documenting the graffiti, but very secretly. We didn’t have the idea that we were going to make a film, we were just documenting. Then we got an email from Laura [Poitras] who expressed that she really enjoyed the hack and was straightforward about wanting to collaborate with us. From there we’ve been playing around with the footage, trying to further the point that we’ve already made, as well as address some of these deeper issues.

Do you consider yourselves filmmakers?

Kapp: We’ve all worked with film at some point in our lives. Heba uses it in her practice, Don has worked with an animation studio for awhile, and I’ve made a documentary film. But like graffiti, it’s not our main area of expertise. It’s another tool in our toolkit.

How do you employ it as a tool? And since it’s not your primary area of expertise, what have been some of the challenges posed by the form?

[All three start laughing.]

Kapp: You’re asking the most pertinent question to ask at this point.

Karl: We’re challenged for sure.

Kapp: Let’s put it this way: This is a very organic process that we’re engaged in. Basically from the time Laura contacted us, we’ve been working nonstop. Creating new versions, discussing what can be done with it. It’s the challenges of doing something professional that’s spontaneous.

Amin: We’re trying to live up to what we’ve already done. We feel that pressure in some ways. But we also want to use the opportunity to add to it, to not just reiterate what we’ve done. We want to deal with racism and visual representation, which is a very heavy story, but in a way that lightens them up a bit so that we can talk about them, which is why our graffiti hack worked in the first place. It was through that humor that people were able to access it on such a wide scale.

Kapp: This is also something we’re struggling really hard to achieve, the balance between this very sarcastic, very satirical, comedic voice and something on a slightly more abstract level. And to hear an actual Syrian talk about Syria, which doesn’t happen too often.

Whose voice is it in the film?

Kapp: The voice is from a Syrian man who knows many sides of the Syrian uprising. I got the idea that this is actually the guy to talk to. He knows all these facets of life in Syria of life during the revolution, then the whole aspect of being a refugee.

Amin: We’re trying to very carefully work with this text as a way of representing a particular voice, but also putting it within a real context, because this set and this series is surreal.

There is a sense of déjà vu, with that voice walking us through that imagery — Is it a movie set? Is it a real refugee camp? — that is really disorienting and compelling.

Karl: We tried to play with that, with what we called the first Arabian zombie movie, but without going over the top with it. The challenge right now is that I think we have too many ideas for a short movie.

Kapp: The greatest challenge for us is not to undermine what we already did and lessen it.

Who are you working with on the edit? Have you brought another member onto your team?

Karl: Ahmed Hanifa is the editor, and he’s also responsible for all the incredible graphic work.

Amin: Our ideas have been quite abstract, so he’s very integral to the process of deciding how the visuals might turn out. He’s helping us define what we’re doing — his creative energy is a big part of it.

Kapp: We mostly discuss the structural issues among ourselves. We had one discussion about what it might look like and he took it from there and he’s doing this amazing job.

You’ve rolled with things from the beginning, from a for-hire gig that became a media hack, and from managing a media storm to making a film of your own. How do you feel about going out into the world with this film?

Amin: The hope is that this instigates something. We hope it doesn’t end at this act that we did. Our hope is that we can continue this dialogue in other ways, and really address these serious issues.

Karl: It’s not something else or a part two, it’s an extension of what we did.

Kapp: We’re doing something called the Global Watermelon, which brings people together to have a good laugh and celebrate … I don’t know … watermelons.

What is that?

Amin: That was the biggest, most popular graffiti, the one the media most often talked about — “Homeland is a Watermelon.” [The word watermelon can be used to indicate that something is a sham or a joke.] So we’re claiming that. We’re claiming the watermelon. The revolution is on.

Kapp: The watermelon uprising.

Karl: Don’t tell him our secret plan!

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Field of Vision announces today a new fellowship and its first-ever artist-in-residence. 

The Field of Vision fellowship is a year-long, collaborative program designed to support filmmakers in achieving their long-term artistic goals. The four 2018 Field of Vision fellows are: director Garrett Bradley (AloneBelow Dreams); director, actor, and activist Michelle Latimer (RiseChoke); filmmaker Charlie Lyne (Fish StoryBeyond Clueless); and Lyric Cabral, director of the Emmy-winning documentary (T)error.

“We are establishing this fellowship program to support filmmakers beyond project-based commissions, and to invite artists to collaborate in our editorial process," said Field of Vision executive producer Laura Poitras.  

The first year of fellows were selected from filmmakers who had worked with Field of Vision over the last three years. In addition to creating a framework for idea development, creative support, and a grant, Field of Vision will conduct workshops throughout the year in the areas of digital security, research, and legal issues. Fellows will also be invited to participate in Field of Vision’s editorial process, from identifying urgent stories to offering filmmaker feedback and guidance.

“We have wanted to support filmmakers in as many ways as possible since the beginning of Field of Vision,” said executive producer Charlotte Cook. “We are so thrilled to create these fellowships to be able to collaborate further with these incredible artists, all of whom are visionaries whose work is at the forefront of exploring the ways of combining art and storytelling and expanding the form.”

In addition to the four fellows, Field of Vision and First Look Media are jointly supporting data artist Josh Begley as an artist-in-residence in 2018. On staff at The Intercept since 2014, Begley has regularly collaborated with the publication’s co-founder Jeremy Scahill on multiple projects, including The Drone Papers. Begley’s first project as artist-in-residence is Concussion Protocol, a short film made with footage of all reported concussions sustained in the NFL this season. It has been viewed over 1.6 million times. 

January was a landmark month for Field of Vision. Yance Ford’s Strong Island, made with support from Field of Vision, was nominated for an Oscar for Best Documentary Feature, marking the first nomination for an openly transgender director. 

Five Field of Vision-supported documentaries also screened at Sundance Film Festival, and three received special jury awards: Steve Maing’s Crime + Punishment; RaMell Ross’s Hale County This Morning, This Evening; and Maxim Pozdorovkin’s Our New President

Founded in 2015, Field of Vision has funded over 70 shorts and provided support for 10 feature documentaries. Field of Vision is the recipient of the International Documentary Association’s Best Short Form Series award and a News and Documentary Emmy nomination. 

About the Fellows:

Garrett Bradley

Garrett Bradley is a New Orleans-based filmmaker. Her debut feature documentary,Below Dreams, premiered at the 2014 Tribeca Film Festival. Her work has been exhibited in several prominent venues, including the Getty Museum, Hammer Museum, Sundance Film Festival, Tribeca Film Festival, Festival du Nouveau Cinema Montreal, International Film Festival Rotterdam, Rooftop Films, New Orleans Film Festival, Hot Docs, and SXSW. Her short film Alone (Sundance 2017), which was released as part of the New York Times’s Op-Docs series, won a Sundance Jury Award and was shortlisted for an Academy Award. She has received fellowships from the Sundance Institute, Ford Foundation, and Andy Warhol Foundation for the Visual Arts. Garrett is also the co-founder of Creative Council, an artist-led afterschool program that helps high school students develop strong portfolios and applications for college. She currently teaches filmmaking at Loyola University.

Recent Field of Vision films: Like (SXSW 2016), The Earth is Humming (to be released)

Lyric Cabral

Director Lyric R. Cabral creates investigative work that exposes new information for the public record. Cabral’s directorial debut (T)error won an Emmy for Outstanding Investigative Documentary and was hailed by Variety as "a vital exposé.” (T)error has screened at more than 50 film festivals worldwide and is now available on Netflix. Lyric is a recipient of the International Documentary Association’s Emerging Filmmaker Award and has been featured in Filmmaker Magazine’s 25 New Faces of Independent Film. A current Rockwood/ Just Films Fellow, Lyric is a former Sundance Women in Film Fellow and a veteran of Sundance Institute’s Edit Lab and Creative Producing Lab. Prior to making films, Lyric worked as an editorial photojournalist; her photography was recently on exhibit in Gordon Parks: The Making of An Argument at the Berkeley Art Museum & Pacific Film Archive.

Recent Field of Vision film: The Rashomon Effect (in production)

Michelle Latimer

Michelle Latimer (Métis/Algonquin) is a Toronto-based writer, director, activist, and actor. Her body of work includes Choke (Sundance 2011), which received a Sundance Film Festival Special Jury Honorable Mention in International Short Filmmaking and was chosen as one of TIFF Canada’s Top Ten in 2012; The Underground (TIFF 2014); Nimmikaage (Oberhausen 2016); the feature-length documentary ALIAS, which was nominated for a Canadian Screen Award; and the Viceland docuseries Rise (Sundance 2017). Michelle is currently working on her first dramatic feature The Freedom Project, adapting the bestselling novel The Inconvenient Indian (HBO/NFB) for screen, and being the showrunner for the seriesRed Nation Rising, which is in development for Sienna. She has programmed for ImagineNATIVE, Hot Docs Film Festival, and the Dawson City International Short Film Festival.

Recent Field of Vision film: Nuuca (TIFF 2017, Sundance 2018)

Charlie Lyne

Charlie Lyne is a filmmaker and film critic, best known for the essay films Beyond Clueless and Fear Itself. He has also directed a number of shorts, including the award-winning documentary Fish Story, and the 10-hour protest film Paint Drying. His work has screened at festivals including Sundance, International Film Festival Rotterdam, and SXSW.

Recent Field of Vision film: Personal Truth (IDFA 2017)

About the Artist-in-Residence:

Josh Begley

Josh Begley is a data artist and app developer based in Brooklyn, New York. He is the creator of Metadata+, an iPhone app that tracks U.S. drone strikes. Begley’s work has appeared in Wired, The New York Times, NPR, The Atlantic, The Intercept, The Guardian, New York Magazine, and at the New Museum of Contemporary Art.

Recent Field of Vision films: Best of Luck with the Wall (Doc Stories 2016, True/False 2017), Concussion Protocol

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American football is a beautiful sport. There’s a tremendous amount of grace that goes into it. For a moment, men can fly; the highlight reels are spectacular.

It can also be horrific — like watching someone get hit by a car.

Since the season started, there have been more than 280 concussions in the NFL. That is an average of 12 concussions per week. Though it claims to take head injuries very seriously, the National Football League holds this data relatively close. It releases yearly statistics, but those numbers are published in aggregate, making it difficult to glean specific insights.

I have been tracking these injuries all season. Using a variety of methods, including reviewing daily injury reports from NFL.com, I have created what I believe is the most complete dataset of individual concussions sustained during the 2017-2018 season.

The resulting film, “Concussion Protocol,” is a visual record of every concussion in the NFL this year.

This film does not make an argument for ending football. Rather, it invites a set of questions. In the spirit of Saidiya Hartman, I am interested in “defamiliarizing the familiar.”

When we watch American football, what are we seeing?

By cutting together only these scenes of injury — moments of impact, of intimacy, of trauma — and reversing them, I hope to open up a space to see some of this violence anew.

In his recent book “Black and Blur,” Fred Moten asks, “What is it to rewind the given? What is it to wound it? What is it to be given to this wounding and rewinding?”

Representing this series of collisions in reverse — and in slow motion or “dragged time” — I hope to make strange what has for many of us become normative: the spectacular, devouring moment of a football hit that knocks a player out cold.

Rather than making a film about concussions with a flurry of hard hits, however, I am interested — inspired by Hartman — in looking elsewhere. How might we see the totality of this violence without just replaying the violence itself? “By defamiliarizing the familiar,” Hartman writes in “Scenes of Subjection,” “I hope to illuminate the terror of the mundane and quotidian rather than exploit the shocking spectacle.”

In a moment when black athletes are being chastised for kneeling in protest of police violence, it should not be lost on us that calls to “get back on the field” or “stick to football” are also calls for players to subject themselves to the slower forms of violence the football field contains.

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Field of Vision is debuting their new film, A NIGHT AT THE GARDEN by Marshall Curry.

A NIGHT AT THE GARDEN (Dir. Marshall Curry)

In 1939, twenty-thousand Americans rallied in New York’s Madison Square Garden to celebrate the rise of Nazism – an event largely forgotten from American history. A NIGHT AT THE GARDEN uses striking archival fragments recorded that night to transport modern audiences into this disturbing gathering. With chilling resonance in light of events in Charlottesville and around the country, the film is a reminder about the power that far-right ideology once had in America and a wakeup call about the importance of to addressing it today.

From Field of Vision Co-Founders:

Laura Poitras: "When Marshall approached us with the film two days after Charlottesville, my first thought was, 'we need to put this film in cinemas,' and release it like a newsreel."

Charlotte Cook: “When Marshall first showed us this footage we were stunned. We felt that due to this political climate it was essential to get this film out fast, but also that to do so we needed to try a different style of distribution. By playing in theatres across the country first we hope this the film will be able to reach beyond our usual audience, and into a range of communities and cities around the US. Creating a conversation around the film from the ground up. It’s extremely exciting to be able to do this with Marshall, a filmmaker we’ve been wanting to work with for a long time. And this film is so incredibly well, and thoughtfully, made. We can’t wait for people to see it.”

On Sunday September 24, the film will be shown across the country at 22 screens in Alamo theaters in:

Kansas City

https://drafthouse.com/kansas-city/show/american-assassin

https://drafthouse.com/kansas-city/show/it-2017

https://drafthouse.com/kansas-city/show/kingsman-the-golden-circle

https://drafthouse.com/kansas-city/show/mother

Yonkers

https://drafthouse.com/yonkers/show/3-d-rarities

https://drafthouse.com/yonkers/show/solaris-4k-restoration

San Francisco

https://drafthouse.com/sf/show/ingrid-goes-west

https://drafthouse.com/sf/show/beach-rats

https://drafthouse.com/sf/show/infinity-baby

Brooklyn

https://drafthouse.com/nyc/show/zardoz

https://drafthouse.com/nyc/show/dunkirk

https://drafthouse.com/nyc/show/good-time

https://drafthouse.com/nyc/show/mother

Austin Lakeline

Austin Mueller

Austin Ritz

Austin Slaughter

https://drafthouse.com/austin/show/mother

https://drafthouse.com/austin/show/grindhouse

https://drafthouse.com/austin/show/stronger

https://drafthouse.com/austin/show/the-big-sick

https://drafthouse.com/austin/show/brads-status

https://drafthouse.com/austin/show/tough-guy-cinema-repo-man

The film is also playing at the IFC Center in New York until Friday playing before the 12:30pm showing of “The Unknown Girl."

The film will be part of a special event at the NYFF, and more festivals to come, along with an online release.

About Marshall Curry: MARSHALL CURRY is a two-time Academy Award nominated documentary filmmaker. His film, “Street Fight,” follows Cory Booker’s first run for mayor of Newark, NJ and was nominated for an Oscar and an Emmy. His follow up documentary, “Racing Dreams” tells the story of two boys and a girl who live in rural America and dream of one day racing in NASCAR. It won numerous awards, including Best Documentary Feature at the Tribeca Film Festival, and aired on PBS and the BBC. His third film, “If a Tree Falls, a Story of the Earth Liberation Front” peels back the layers of a radical environmental group that the FBI called the number one domestic terrorist group in the United States. That film won the award for Best Documentary Editing at the Sundance Film Festival and went on to be nominated for an Oscar. Marshall was Executive Producer and an additional editor of “Mistaken For Strangers,” a comedy rock-doc about indie band, The National. Most recently Marshall directed and edited “Point and Shoot,” a documentary about a young Baltimore native who set out on a 30,000-mile motorcycle trip through Northern Africa and the Middle East and wound up joining the rebels in Libya fighting Gaddafi. It won the Grand Jury Prize for Best Documentary at the Tribeca Film Festival and was released in theaters and aired on PBS and the BBC. Marshall is a graduate of Swarthmore College where he studied Comparative Religion and has been a guest lecturer at Harvard, Duke, Columbia, NYU, and other colleges. He lives in Brooklyn with his wife and children.

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Before directing Field of Vision’s latest film, “Duterte’s Hell,” with Aaron Goodman, Luis Liwanag worked as a photojournalist for local and foreign press in the Philippines. In the following essay, he reflects on his transition from taking still photographs to filmmaking, and what it was like to capture the horrors of President Duterte’s “war on drugs.

I discovered photography when I was 11. My family did not own a single camera, but our neighborhood sorbetero [ice cream vendor] had a twin-lens reflex (TLR) camera and would take our family photos for us. I remember we had so many that when I opened my mother’s closet, dozens of photo albums would cascade down from the shelves. My dad, an artist and illustrator, kept stacks of old National Geographic, Time, and Life magazines tucked away in his filing cabinet. I bought my first camera at age 12: a Kodak Instamatic. I guess you could say I was destined to be in this line of work.

As a kid, I would just snap pictures of my friends in school. As an adult, being a photographer has given me the power to make observations about daily life in my country and voice my opinion on certain issues.

When President Rodrigo Duterte came into power, the rampage of extrajudicial killings started. My fellow journalists were covering the night shifts at the police headquarters. Reports would come in—either from radio dispatch or via Twitter—and they would travel to crime scenes in convoys. It was only a matter of time before I decided to started going with them, to see the effects of Duterte’s war on drugs for myself.

Shooting this and other documentaries has been transformative experience for me. When working as a hired photojournalist, I didn’t really set up my shots—I just filmed whatever is happening right in front of me.

And as I witnessed the aftermath of the slayings, I felt like I was reconnecting to my old self. I was a police beat photographer at the onset of my career, but later shifted to more varied issues and mainstream news coverage. I became focused on issues dictated by the editorial policies of media entities that employed me.

Now, as a freelancer—and particularly with this film—I’ve had the leeway to choose stories that I feel I can interpret better visually. And although the nightly spate of killings numbed me in some ways, I felt for the people directly or indirectly affected by them.

A couple of months into photographing the killings in Manila and its surrounding metro area, Aaron Goodman, an educator and video journalist whom I had worked with previously, saw my images on social media and asked me if I was interested in collaborating with him on a video documentary about Duterte’s drug war.

While filming, we had to maintain a low-key lighting style, and only expose for the midtones. I wanted to be unobtrusive and invisible while shooting the events so that we left as few traces of ourselves as possible.

We had a limited amount of time to set up each shot. When you’re filming events as they unfold, you don’t really have control over what is going to happen. You have to visualize the image in your mind’s eye beforehand, and shoot whatever occurs in the moment.

While filming, we were very attuned to the sounds, textures, emotions and details of each scene. My approach was to linger in a single framed shot as if it was a single image and slowly transition into another well-composed frame and capture the entire story happening between those frames.

Although I am an advocate of still photographs and what photography great Henri Cartier- Bresson calls “the decisive moment,” I have discovered that video, though more fleeting, can be equally powerful in stringing together single images to make a powerful statement.

See Goodman and Liwanag’s film here:

To see more work by Luis Liwanag, visit his website here. To see the work of Aaron Goodman, visit his website here.

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STANLEY NELSON AND LAURA POITRAS PRODUCED DOC SHORT SERIES TO PREMIERE ONLINE AT FUSION

New York, NY (May 17, 2017) - Starting May 18, 2017, Fusion will unveil the first in a series of short films from the Our 100 Days initiative from Firelight Media and Field of Vision. The films explore threats to U.S. democracy and the stories of targeted communities in the current highly polarized political climate. Episodes will be released weekly, beginning with directors Sofian Khan and Nausheen Dadabhoy’s Act of Worship, a rare behind-the-scenes look at CAIR, the Council on American-Islamic Relations, a champion of civil rights for Muslims in the US that finds itself in the crosshairs of a new administration’s policies.

“The current moment in the U.S. is a result of our collective refusal to tell the whole story of America. Not only do we need new stories, we need new storytellers. At Firelight, we have been committed to supporting storytellers of color for many years,” shares documentary filmmaker Stanley Nelson. “The partnership with Field of Vision has allowed us to deepen that support by providing filmmakers of color with the resources and platform necessary to create powerful cinematic narratives that deepen our understanding of these frightening times.”

The series will also feature work from filmmakers: Cecilia Aldarondo, Chelsea Hernandez & Iliana Sosa, Adele Pham, Lorena Manriquez & Marlene McCurtis, Nadia Hallgren, and Jeff Reichert & Farihah Zaman. The films examine, among other topics, the immigration issue through the intimate lens of motherhood; a history of racially-motivated violence in one of America’s most iconic liberal cities; the fight for protections for trans students through the lens of one Virginia teenager; and the rapid response by Muslim attorneys navigating the chaotic rollout of the travel ban.

“This collaboration with Firelight is a way to channel our collective horror about Trump's election. By documenting these first 100 days from the perspective of communities most at risk - immigrants, Muslim Americans, transgender men and women - we want to reveal the threats our country is facing, and not normalize this political moment,” says Field of Vision co-creator Laura Poitras.

Fusion Editor-in-Chief Dodai Stewart adds, "This series of beautiful short films — highlighting social and economic injustices — aligns with Fusion’s mission to cover underrepresented people and amplify the voices of the vulnerable."

In an effort to maximize the reach and impact of the films, local and national organizations will participate in weekly Twitter chats to engage the broad public in online conversations about the issues in the films. The Twitter chats will occur at 1pm ET / 10am PT every Thursday throughout the series run using the #Our100Days hashtag and will be moderated by Firelight Media. The weekly Twitter chats will give online viewers an opportunity to delve deeper into the issues and engage with the film directors, protagonists, and partner organizations.

###

ABOUT FIELD OF VISION

Field of Vision is a filmmaker-driven documentary unit that commissions and creates original short-form nonfiction films about developing and ongoing stories around the globe. Field of Vision is committed to making cinematic work that tells the stories of our world from different perspectives. Our films are distributed through a variety of partners including news organizations, film festivals, online platforms, broadcast, streaming and cable.

ABOUT FIRELIGHT MEDIA & FIRELIGHT FILMS

Firelight produces award-winning films that expose injustice, illuminate the power of community and tell a history seldom told, and connects films with concrete and innovative ways for diverse audiences to be inspired, educated, and mobilized into action. Through our Documentary Lab, Firelight is dedicated to developing and supporting talented, diverse documentary filmmakers who advance underrepresented stories, moving them from the margins to the forefront of mainstream media through high quality, powerful productions.

ABOUT FUSION

Fusion is news for the new America: a young, diverse, social justice-minded audience.

MEDIA CONTACT After Bruce PR Tracy Nguyen-Chung tracy@afterbruce.com 503-701-2115

Field_Notes

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