Alan Berliner was in Istanbul this June as a guest of honour at Istanbul’s Documentarist, to present an extensive retrospective and give a master class. His trip coincided with the early days of the Gezi Park protests when Turkish police carried out a harsh crackdown against demonstrators, with excessive use of pepper gas, water cannon and plastic bullets. Suffering from breathing difficulties as a result of being gassed from a very close range, Berliner bore first-hand witness to the Gezi clashes, which he calls one of the most profound and enlightening experiences of his life. Inevitably, our interview would be marked by the state of affairs of this very historical moment for Turkey.

“I had never been in a position where I had to run for my life before. I‘d never been in such direct confrontation with the power of the state. And to be honest, I’d never experienced the kind of collective solidarity and power that came from the sights, sounds and energy of thousands upon thousands of people so intensely unified.” Berliner says.

I began to move beyond the simplicity of windows and mirrors and was confronted with the power of the frame

Intimate Stranger

Intimate Stranger

“For someone like me, who has spent decades making films about his family, his name, his insomnia and other intimate aspects of his personal life, experiencing the gravity of the situation in Istanbul – how the citizens of a city, of a country, of a society, felt the urgency to confront and challenge the very essence of their social contract- had to challenge the way I understand my role as a filmmaker. Suddenly the particular motivations and aspirations that have always guided me didn’t appear to matter anymore. I was magnetized by the urgency of the Turkish people, and tear gas had now become a metaphor: ‘We either express ourselves or we suffocate.’ It unsettled many of the basic assumptions I had about the role of art in society, and I left Istanbul quite shaken.”

Explaining the transformation in his thinking, Berliner starts with the basic principles he works with:

“In order for my films to work, the screen must somehow function as both a window and a mirror,” he says.

“First, as windows to the lives and experiences of other people, just as they do in most films, whether fiction or documentary. The audience brings their curiosity, their interest, and their thirst to experience the stories of people, places and circumstances outside of their own particular worlds. At the same time, the screen must also become a mirror for the viewer, a surface on which they might also see something of themselves; an opportunity to reflect upon their own stories, their own family dynamics, their own names, their own sleep, or whatever it is that my film is exploring at that moment. For my films to succeed, the audience must be able to see the screen as both window and mirror – sometimes intermittently, or if I’m lucky, sometimes simultaneously. This is how I’ve always understood my work… But given the situation in Istanbul during my visit, I began to move beyond the simplicity of windows and mirrors and was confronted with the power of the frame – that is, the social and cultural milieu (or context) within which the film is seen – the surround. This was a transformative insight for me. It became impossible for me to speak about my work on it’s own terms anymore while I was in Istanbul. I found myself witnessing a moment in Turkish history where people were willing to risk their lives for the freedom to express themselves – something I’ve always taken for granted as an American citizen. I was so magnetized by the situation that I stopped thinking about the reasons for my visit, and wanted to go outside and join the protest. The truth is I went to Istanbul to give a master class and it was I who learned the most!

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