Tell us about ‘Our Grandparents Hunted Here’. How do you describe it?
‘Our Grandparents Hunted Here’ is a short documentary film that follows the heroic stories of Indigenous forest defenders from the Brazilian Amazon. They have traded their bows and arrows for cameras and drones on their journey to expose forest crimes and protect the Amazon rainforest from transitioning into an open savannah. Through a first-person narrative, the forest defenders take the viewer to the frontline of a dangerous fight for the world’s forests and rivers, where we start to understand how Indigenous community members across the Brazilian Amazon are using the art of filmmaking, photography, and activism as a powerful visual weapon against illegal logging and environmental destruction. Threads include origin stories, the fight in which our characters find themselves and the legacy they would like to leave behind to encompass past, present and future. The story is told in contrast: the Indigenous protagonists walk a careful line between modern and traditional societies. Scenes cut from city scenes to river scenes in a heartbeat, as these are two different worlds that the protagonists inhabit with equal confidence and skill.
Please tell us about your favorite filmmakers.
I am deeply inspired by filmmakers who bring untold stories to light with authenticity and purpose. Directors like Joshua Oppenheimer and Chloé Zhao stand out to me for their ability to blend cinematic storytelling with human empathy, creating narratives that linger long after the credits roll. I also admire the work of Wim Wenders, particularly in The Salt of the Earth, for his poetic approach to documenting human struggles and environmental issues, making complex topics resonate universally.
If you were given a good budget, what would be your ideal project?
With an ideal budget, I would create a documentary series spotlighting Indigenous communities worldwide, weaving their struggles and triumphs into a narrative tapestry of resilience and climate action. The series would combine breathtaking visuals, intimate storytelling, and actionable solutions, serving as both an artistic journey and a global call to arms for environmental justice and cultural preservation.
Describe how you would ensure that production is on schedule. What steps would you take?
Keeping production on schedule requires meticulous planning and clear communication. I prioritize creating a detailed timeline with milestones for each phase—pre-production, shooting, and post-production. Regular check-ins with the team help address challenges early, and I build flexibility into the schedule to accommodate unforeseen delays. Collaboration with a strong producer and empowering team members to take ownership of their roles are key to staying on track.
What was the hardest part of making ‘Our Grandparents Hunted Here’?
The hardest part was balancing the urgency of exposing environmental crimes with the cultural sensitivity needed to tell the story authentically. It was crucial to honor the trust of the Indigenous communities involved while navigating logistical challenges in remote locations. As documentary filmmakers, we must keep our eyes and ears open and remain versatile during production. This adaptability proved invaluable, as it allowed us to capture raw, unexpected moments and stay responsive to the community's input, ensuring their voices were central to the narrative. Balancing these dynamics was both a challenge and a profound responsibility.
If possible, tell us about your next work. What plans do you have for your future work?
My next project unfolds in the heart of Papua New Guinea, where 12 clans, torn apart by mining interests, are locked in a devastating civil war. At its center is a courageous community leader who, with unshakable resolve, embarks on an extraordinary journey—a Walk for Peace. Traversing vast stretches of land and sea, this odyssey becomes a powerful call for unity, weaving together the threads of conservation, reconciliation, and resistance. As the clans rally against the mining industry’s relentless encroachment, the story becomes a testament to the strength of collective action and the enduring spirit of a people fighting to protect their island and their future. Beyond this, I remain dedicated to advancing People’s Planet Project, an initiative empowering Indigenous filmmakers to tell their own stories. By providing training and tools, we aim to foster a global network of storytellers who use their voices to advocate for social and environmental change, amplifying grassroots movements through the lens of their unique perspectives.
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