Makes rivers comes back to life?

I didn’t know that rivers could die and comes back to life. Like many friends around me, I alos thought that the ecological disaster was inevitable. Then, one day in India, I met Rajendra Singh, the man who transformed a desert into a prosperous and sustainable territory, where even tigers came back. Here’s the beginning of the movie…

« Transform a human and ecological desert into a prosperous and sustainable territory in Beekhampura was the crazy bet of a man and today, it has become a collective exemple for all. » this is how our documentary starts.

In 1985, a young medecin named Rajendra Singh, settle in the small village of Beekhapura in Rajasthan and notice that a strange evil is rampant. Many people suffer from night-blindness and the link with malnutrition is undoubtable. Drough has destroyed soils for a long time and as many places in India, young generations have migrated to the city. It is a human and environmental desert. On day an old man gives him a precious advice. « If you really want to heal people, you should start to find a treatment for the village itself ».

30 years later, the food chain is restaured, the tigers themselves are back, life is prosperous and human communities are reconstitued, to the point that, exceptionnaly, the rural exodus is reversed.

…it’s also our story

« The solution to the problems is to find in the heart of where to problems are »

This maxim tha Gandhi sometimes pronouned to illustrate the democratic ambitions of India i well known by Rajasthani people. As simple as it seems, it brings an answer to complex questions, that arise both in Beekhampura and elsewhere. Can we still invent a form of flourishing social organisation based on both ecological resilience and emancipation ? And if so, how ?

If water is a good and a common issue, we need to show how a solitary initiative became powerful social dynamic.

What you’ll see

During my first trip, I collected informations and images. This is how I could record and edit the snippet you can watch here. It also helped me to understand the aesthetic approchaf of the film, wich will be based on a series of portraits of the « water warriors », including Rajendra. And then, because the beauty of our subject comes from nature itself, I want to show the power of its colours : the deep blue of the water, the string green of the plants, and the pale yellow of the sand in the deserts around. We need to organize a second expedition with more time and the help of a team for sound recording. We want to show the collectif dynamic from wich the dream came true and understand how it set up.

What we ofter

Publication, screening, conferences, workshop and of course the film itself ! Years of practice helped us to develop a craftsmanship that we want to develop in favor of a process that will make sense. The social and ecological trheat that we are experiencing on a global scale, generates great uncertainties. Can we resist the fatality? How to act? This is how we decided to stat this project, to finish the film and bring the debate. The aim of this film is twofold: not only to sensitize the public to the ecological question, but also to share a joyful and mobilizing vision of the collective action. The experience led by Rajendra Singh demonstrates that the collective reappropriation of a social issue can be a source of unprecedented, life-saving and joyful solutions.

So this crowdfunding campaign is an essential tool for subscription. We want to make a beautiful movie but also propose a generous project, a sharing process dedicated to a public reflection. This is why « Resurrecting the rivers » is not only a film project, but also a social project. We want to build relationships, talk about the social and ecological issue, connect people and associations, provoke meetings, debates and workshops that will helps new utopian dynamics to emerge.

Support us

To carry this project we plan to go there in february and september 2020. Take time to stay and shoot in Beekhampura will help us to show the work accomplished by people there. We wish to work with contributors and friends their to make interviews in Hindi and translate, so people can tell their stories with their own words.

Our 6000 euros goal will help us to

Go back there

Work with a local team

To cover the costs for equipment

To cover publishing costs

Who we are

Vincent Delbos-Klein

PHD researcher in visual sociology, I practice cinema since fifteen years. I make films and color-grading especially. The question of emancipation inin all its forms, from the ecologist activists to the worldwide punk scene, is in the heart of my reflection. As a lecturer and filmakern I can propose a screening of the movie with conferences dedicated to the theme of social and ecological organization, especially about the issue of the water cycle.

Leïla Tazir

After studying law and political science, Leïla is develops her skills in sound recording and the production of sound documentaries for an international radio. She is currently pursuing a doctorate in visual sociology, between the University of Evry and Cordoba. Specialized in the study social movements, Leïla has been working on the effects of the Indignados movement in Spain since 2011 especially her institutional reconfiguration through the “town halls of change” inspired by municipalism. In addition to her research work in the social sciences, she develops a multimedia PHD. In 2019, she organizes an interactive photographic exhibition dedicated to pro-democracy social movements around the world. For this project, she hopes to contribute as much to the sound quality of the film as to the diffusion of her emancipatory and ecological experiences.

 

Independant filmmaking in Japan

The pulsating district of Shinjuku in Tokyo. The rendezvous is given to the north of the station (which is also a shopping center), under the giant screen. I’m half an hour late because I must admit that the thousands flicking images and multicolored neon makes me a little dizzy. Daisuke Miyazaki introduces himself: he shares his name with a famous filmmaker, but the comparison stops there because Daisuke is above all an independent filmmaker, a real one. But what is a true independent exactly?

To produces his films, he leads his own production company. Being completely independent of the financial strength of large international consortia has a price: that of being dependent on its economy of life. If he does not lose money with his activity of producer-director-distributor, he specifies not to earn much either and hardly cover his expenses with his films, which he diffuses nevertheless abroad. They spend in festivals and also in the few independent Japanese arthouse movie theatre that, he says, still exist.

But what have become of neighborhood movie theatre that I have hardly seen when visiting the country? “There are still some here and there, but in general, cinema in Japan is over.” A little stunned, I start an inventory of these Nippon filmmakers who wrote the national story. Yes, they are many but, Daisuke argues, all that is over. On the one hand there are the big films of the studios, the television films, the animated films, the industrial branch of the entertainment. On the other hand, what we call in France the cinema of the “middle” no longer exists.

“Middle films” are, a thing difficult to conceive of as a unified entity. In a article wrote in 2009, Alexandre Olivier reminded us that it was an implicit notion between “the poor and the rich”, “the ambitious and the conventional”, but especially a fragile “biotope” where to coexist artistic ambitions with perennial economic models, where renowned authors rises. “» 1.. Beyond this undefined frame, the middle films symbolizes a certain idea of ​​French cinema characterized by a singular artistic autonomy. The middle films largely owe their existence to the CNC’s redistribution system, which makes Daisuke humorously say that Japanese filmmakers may be in the diaspora, which France is at the promised land (without, however, it is the best country to live in).

In any case, this testimony of a passionate filmmaker who admits that his choice of life is perhaps not the ideal way to happiness, puts in perspective many things. In a global context of precarisation of the workers and the economy of the cinema, this model of self-producer seems to rises as a model of independent entrepreneur left on its own. Therefore the democratization of digital tools is both a boon and a burden; a boon because it allows to develop an artistic work and a burden because it requires to work as ten for the same result. Like others, Daisuke assumes the functions of a whole team going from screenwriter to distributor. He is not alone and many technicians come to work with him never the less, mostly for friendship and the love of art. Finally, Daisuke manages to broadcast his films at festivals and in a few independent cinemas theaters, where other independent Asian filmmakers embark on the adventure of VOD platforms (Netflix & co). A new economy of micro-budget cinema is thus created where entrepreneurs assume almost alone the risk-taking of their artistic research, assuming in some ways an uberized function of “research and development” of the cinema world without benefiting from economic benefits, however prolific, of the dream factory.

https://www.daisukemiyazaki.com/

Vincent

Alexandre, Olivier. « Le cinéma du milieu ou le peuple introuvable », Mouvements, vol. 57, no. 1, 2009, pp. 37-43.

Bungalow sessions

Third feature lenght self-produced by Nicolas Drolc, Bungalow session will be screened on April 2nd 2019 before a concert of Andy Dale Petty.

Synopsis: Some native American tribes believe it is impossible to truly know a place outside of a 500-yard radius of your own home.

It seems French filmmaker Nicolas Drolc shares that belief.

Drolc wanted to make a film about contemporary American roots, folk and gospel music – however, he couldn’t afford to leave his home base known as “the bungalow” in North Eastern France.

He solved the geographical problem by inviting his favorite musicians to visit him, play in a local dive bar and subject themselves to improvised questioning and field recordings the next morning at Drolc’s dwellings.

The result is a loose, yet intimate discourse on a variety of issues ranging from the creative process to day to day life in this rather confused era we refer to as the 21st century.

The Bungalow Sessions feature Alabama troubadour Andy Dale Petty, former GORIES & Detroit legend Danny Kroha, the one-eyed soul-saver Reverend Deadeye, California folk prophet Willy Tea Taylor, folksinger and teacher Possessed by Paul James, and the grand seigneur of basement-gospel known as the Dad Horse Experience.