“Manic” is Kalina Bertin’s first feature. It will premiere at the 2017 Hot Docs Canadian International Documentary Festival on April 30.
W&H: Describe the film for us in your own words.
KB: “Manic” chronicles my struggle to make sense of the legacy of mental illness wreaking havoc over my siblings’ lives. Convinced that my father holds a key piece of the puzzle, I set out to find the truth about him, and discover a man known alternately as a cult leader, a scam artist, a prophet, and a father of fifteen. “Manic” invites the viewer on a compelling and intimate journey through time and through the mind, where past and present collide.
W&H: What drew you to this story?
KB: I still have vivid memories of my childhood with my father when we lived on the Caribbean island of Montserrat. When his love shone on me, my existence was filled with meaning and purpose. Occasionally experiencing his wrath, no matter how terrifying it could get, seemed to me at the time a natural compromise — part of the process of receiving his love.
But he was constantly in and out of my life. I didn’t have the basic information you normally should have about your father: His name was always changing, so I was confused as to what it actually was; I had no idea where he was from and not a clue what his profession was.
When I was five years old, my mother ran away with my three siblings and myself to Montreal to start a new life. Since then, my father has remained a mysterious character that I longed to know more about. When my father’s sudden murder was announced to us years later, it came as a shock.
It was around this time that my family’s mental health started falling apart. My sister had her first psychotic episode and was diagnosed with bipolar disorder. My brother François had been living with bipolar disorder for seven years, but his state was deteriorating.
Could our father have something to do with this? Could his story hold the key to understanding what was happening to us?
There was a deep sense of urgency for me to understand and shed light on the mental illness that became very much part of my daily life, and I suspected it played a major role in my father’s own demise. Filming became my way of coping with what was happening at home but it also became a gateway into my siblings’ worlds, whom I loved and desperately wanted to understand.
W&H: What do you want people to think about when they are leaving the theater?
KB: The film has so many layers so I hope that everyone will come out with their own special take on the story. However, I can say that ultimately my goal was to shed light on bipolar disorder, a complex and larger than life condition which most people are unfamiliar with, but which is far more common than you would imagine.
I’m hoping people will leave the theater with a better understanding of what it is like to live with mental illness and how disastrous it can be to lead a life without seeking a successful treatment plan — not only for people suffering from the disorder, but for their loved ones as well.
My father was never successful in treating his own illness and it created a storm that engulfed and shattered so many lives. Ultimately, his children are the ones paying the price for the chaos he created.
On another level, I hope that by exposing this very personal story it will inspire others to tackle their own family issues. I had been haunted by our family secrets all my life and felt the need to face them head-on to set myself free. It was the only way for me to attempt to put an end to this vicious cycle of mental illness and trauma. I found this process to be extremely healing for myself and my family.
W&H: What was the biggest challenge in making the film?
KB: Meeting and interviewing the person who killed my father.
W&H: How did you get your film funded? Share some insights into how you got the film made.
KB: I pitched my project at the Cuban Hat Pitch in 2013 at the Montreal International Documentary festival and won. This helped establish credibility for the film. I was then able to obtain development funding from SODEC in 2014.
Once I had shot enough footage to put together a demo, EyeSteelFilm, a two-time Emmy winning and independent production company based in Montreal, came on board to help produce the project. We were subsequently able to secure funding through Super Channel, the Canada Media Fund, and SODEC during the production phase.
W&H: What does it mean for you to have your film play at Hot Docs?
KB: It’s an incredible honor to have my film screen in such a respected film festival and to have the opportunity to share the film with a documentary film-loving audience.
W&H: What’s the best and worst advice you’ve received?
KB: The best advice I’ve received is “follow your instinct,” because I’ve found that my instincts have never failed me throughout the process of making this film.
The worst advice would be to “forget about the past.” Growing up, that’s what I was told. But forgetting about the past is dangerous, because that’s how it continues to repeat itself. You need to face it in order to learn from it and build a better future.
W&H: What advice do you have for other female directors?
KB: Don’t wait for anyone to give you permission to be a director. Be a director. Know that you will probably have to work twice as hard as any male director to establish credibility for yourself and your projects. It’s a harsh situation and I am really hoping this will change, but for now this is the reality and it’s important to be aware of that.
The way you present yourself to your collaborators is extremely important — always stay true to yourself and remain confident. Claim what is rightfully yours but remain kind. Don’t take any bullshit from anyone and never be afraid to say no. If you have a story for a documentary film, don’t wait for funding to start filming.
Start now and apply for funding as you build the film. Listen carefully to your collaborators advice, including producers, editors, cinematographers, etc; Great gifts can come of it, but always remember that you are the director, so never hesitate to fight for the film you want to make. Make yourself heard and find efficient ways to communicate your vision.
W&H: Name your favorite woman-directed film and why.
KB: The first film that automatically comes to mind is “Meshes of an Afternoon,” co-directed by Maya Deren. I was 18 when I first saw it and it had such a powerful impact on me. It opened up a whole other world of storytelling techniques to me. Not only was the film engaging, inspiring, and beautiful, it was made by a women in a male-dominated era. That helped me become more confident in pursuing my dream to become a director.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
KB: Here in Canada, the National Film Board, Telefilm, and SODEC have all recently announced concrete plans to reach woman-men equality by 2020 in the film industry for key creative roles such as director. These measures are important and necessary to give women their rightful place within the industry and to initiate a much needed cultural change.
Even if imposing quotas is just a first step, I must say that these measures have given me hope. Until we reach equality, it will remain a daily combat for women fighting against stereotypes within the industry.
