I didn’t know that a simple conversation with my grandmother would become my secret weapon for editing Creative Force, a documentary about Ukraine.

The story she told, about her desperate escape from the Soviet invasion of in the 1940s, seemed like distant history. Just another homework assignment for the 3rd grade. But it became the emotional foundation of how I approached the story.

As filmmakers, we strive for authenticity. But we sometimes question how to tell stories of people whose language and culture we haven’t experienced directly. My experience growing up between worlds – Black and Latvian, Danish and American – has given me the experience to see the humanity that we all share.

Today, I want to break down how to look past those false barriers and see the truth. Using that truth to make every film you create honest and impactful regardless of your connection to the culture.

A MOMENT IN TIME

I sat across from my grandmother, who we called Tata (don’t snicker), at a small table inside of her kitchen with a tape recorder and notepad. For a school assignment I was to recount what I thought would be a simple story:

 

Her choosing to come to America for a better life.

 

But she revealed that she never wanted to leave her home country of Latvia. She was forced by the invasion of Russian troops who swallowed the independent nation into the Soviet Union. She escaped alone to a refugee camp in Germany where she met her husband, and had 2 children.

I remember the sadness and anger in her voice when she spoke about losing her home. But also the joy at finding a new one and the family she had built. She had discovered what we all want – the opportunity to have love, safety and family.

It was this story that I remembered when the invasion of Ukraine began. It was like my grandmother’s experience had come to life once more. I could almost imagine seeing soldiers pouring into the streets and hear the roar of tanks coming up from behind.

 

I carried this into the editing of Creative Force, a documentary about Ukrainians using their skills for resistance. And I could now bear witness to what she had revealed to me more than 3 decades earlier.

CONNECTING TO THE UNKNOWN

For the record, I don’t speak any Ukrainian. Before this project, I had only met one other Ukrainian while living in Denmark as a teenager. Who had to explain that:

1 – Ukraine wasn’t Russia

2 – Where it was on a map

 

So there was a challenge ahead in telling this story:

 

How could I be respectful and truthful?

 

While I had my grandmother’s story of escape. I didn’t know much about her life in Latvia itself. I knew she was a schoolteacher and came from a somewhat affluent family. We didn’t like to talk much about her life inside of Latvia. Mostly because I was a kid when we spent the most time together.

There wasn’t a lot I could draw on, except the anger felt towards the country that took your life away. But there is a way that I’ve found to approach any story, no matter your familiarity with the culture.

THE HUMAN EXPERIENCE

 

This isn’t the first time I’ve told a story about cultures unfamiliar to me. My method to approaching it is simple:

 

Immersive Study.

 

In a lot of films I see, research seems like an afterthought. Yes, you are trying to tell a story and you can’t stick to all the facts.

 

But it also helps not to make shit up (like most police shows).

 

Research doesn’t just mean read one book. It means reading a series of books, learning the history and talking to people. When I made a film about Guatemalan farmers called Sprout, here are some of the steps I took:

  • Speaking directly with the actress (Evelyn Lorena) about her family’s experience.
  • Researching Guatemalan agricultural history (corn devastation).
  • Learning about daily life (dishes, clothing, cultural nuances).

I took the same approach to this documentary. I relearned the timeline of the war. I looked back at the history of the country. I had studied the Russian Revolution and the rise of the Soviet Empire so I had some familiarity with the original invasion of the Eastern Europe. I also watched Winter on Fire about the Orange Revolution in Ukraine. The film showed me the fighting spirit of the Ukrainian people as they rebelled against their oppressive government which attempted to prevent the country from joining the EU. I watched documentaries about people resisting against larger forces. The key for stories in unfamiliar territory is this:

 

The Human Element.

 

I may not know the linguistic nuances of speaking Ukrainian. But I know what it feels like for someone to treat you less than. To say that your life doesn’t matter. When all you want is to find love, friendship, community and have a good life. After all, that’s the same experience being a person of color in America.

 

And it’s through my own identity lens that I connect with their story.

 

The mistake that many filmmakers make when approaching stories from the outside is this:

 

They are not listening.

 

You have to have a vision for how you see a film unfolding. But, especially in documentary, you have to listen and respond accordingly. It’s about listening to what someone is saying and seeing who they are. Just being a witness and adjusting accordingly.

 

Americans (and some Western Europeans) often tackle subjects like they are at the zoo. They are observing a different creatures rather than engaging in dialogue with another human being. Looking at the parts they find “interesting” and approach from their perspective only. Thinking of what they would like to see vs what needs to be shown. This also comes from not having someone in the production who is given the authority to provide insight and nuance.

 

This is what causes backlashes in modern cinema.

COMMON GROUND

 

The greatest part of my experience living in Denmark and attending an International School was this:

 

Meeting all types of people.

 

When you’re in a place where very few people are from your part of the world. All of the nonsense slips away and you bond over the things you have in common. You ask questions about each other’s backgrounds in a way to bring yourselves closer together rather than cast judgement. That’s the difference between going somewhere on vacation vs becoming immersed in someone else’s culture. You start to realize this:

 

We’re really not that much different.

 

The language might have different emphasis. The cultural practices might vary. But in the end, most people (outside a few psychos) want the same thing. So approach your characters or your subjects as people first.

 

What do they want, what do they need, what influences their thinking, and how does their thinking align both with and against their cultural influences. This practice applies not just for creating films. But when trying to understand and engage with people from a culture different than ours.

 

Combined this with getting input from people inside of that culture. This will help you approach any subject in a way that’s respectful, truthful and has the impact we all want as filmmakers.

Because film is about revealing truth and building empathy. That is the approach we all need to take.

 

Going through a lens of identity can help us all connect better.

 

So as you work on your next film, especially one that feels culturally distant, ask yourself a few questions:

  • What is the human element I can connect with?
  • How will I use my identity lens as a bridge to reveal truth and build empathy?

 

Your story will be better served for it.