Alba Sotorra is an independent filmmaker and producer based in Barcelona. She has directed a number of documentaries, including “Unveiled Views,” which premiered at Guadalajara International Film Festival, and was awarded best documentary at REC and at Som Cinema, and “Game Over,” which was her first feature.
“Commander Arian” premiered at the 2018 Hot Docs Canadian International Documentary Film Festival on April 29.
W&H: Describe the film for us in your own words.
AS: “Commander Arian” tells the story of a woman committed to a dream: freedom for the next generation of women. She is a member of the YPJ, the Women Protection Units, the all-female army fighting in Syria against the most patriarchal and brutal enemy of all: Daesh (ISIS).
We follow Arian at the frontline as she engages on the dangerous mission of freeing the besieged city of Kobane. At her side, we discover the female fighters’ lives; their sacrifices, their dreams, and their ideals.
Hit by five bullets, Arian is forced to deal with the wounds of war — both visible and invisible — and to find new ways to fight for women’s emancipation.
W&H: What drew you to this story?
AS: When the war in Syria broke out, Kurdish women took up arms against Daesh, and formed the YPJ. Having followed the news about the atrocities that Daesh was committing in the region, especially against women, I thought it was incredible that a female force was emerging as the fiercest power against those monsters.
Towards the end of 2014, Daesh attacked Kobane, a Kurdish city in Northern Syria. The YPJ led an epic defense of the city that had the whole international community on the edge of their seat for months. In January 2015 they managed to force the Islamic fundamentalists out of the city but it was kept under siege by Daesh. That was when I decided to travel to Kobane and meet the women who had led that battle. I had read a lot about them, and I wanted to meet them in person. I wanted to share their feminist struggle, and — as a woman filmmaker — it almost felt like my duty to document it.
I met Commander Arian a few days after arriving in Kobane, and we got on well. I felt she embodied the spirit of those warriors, so I decided to tell her story. Little did I know at that time that a year later she would be shot five times in an attack by Daesh.
W&H: What do you want people to think about when they are leaving the theater?
AS: There are thousands of women like Arian fighting in Syria for women’s freedom. Their struggle is for justice, equality, and democracy. Hundreds of them gave their life for it, and thousands are wounded. I hope my film makes people aware of this reality, and makes us reflect on the importance of showing solidarity with them. Their cause is [for] all women; [it’s] all people’s cause. Like Arian, we should never give up in fighting for a better world.
W&H: What was the biggest challenge in making the film?
AS: The most complicated part was to deal with the human losses. I saw a lot of dead people, among them dozens of civilians that had been brutally attacked by Daesh. But the idea that a Turkish airplane could bomb us was even more frightening than having Daesh half a mile away. Many female friends died under Turkish attacks, among them Anna Campbell, a very special friend. I haven’t recovered from the fact that she is no longer with us.
W&H: How did you get your film funded? Share some insights into how you got the film made.
AS: The film was produced over three years by Barcelona-based company Alba Sotorra SL, in co-production with Berlin-based company Boekamp&Kriegsheim Gmbh. It has the support of the European Union — Creative Europe, Media Program.
In Spain, the film has the support of ICEC, ICAA, Catalan Films, Institut Ramon Llull, Magical, Antaviana, Movistar+, and the co-production with TVE and TVC.
In Germany the film was made possible by the Medienboard Berlin Brandenburg and the co-investment of Post Republic Gmbh. The film is distributed worldwide by Dogwoof.
W&H: What does it mean for you to have your film play at Hot Docs?
AS: It is an amazing opportunity to drive attention towards the invisible fight of these women. It makes it worth all risks taken, and all the effort put in this three-year process.
W&H: What’s the best and worst advice you’ve received?
AS: The best advice comes from my mom: the things that you will regret in life are the ones that you won’t do.
I forgot the worst advice.
W&H: What advice do you have for other female directors?
AS: Work with women! Put women in your team!
W&H: Name your favorite woman-directed film and why.
AS: “Thirty Souls,” directed by Diana Toucedo, and photographed by Lara Vilanova. It’s a sensorial journey to the inner world of childhood through the eyes of a girl; a true cinematographic experience that makes you feel and sense. It’s poetry.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. Many women — and some men — in the industry are speaking publicly about their experiences being assaulted and harassed. What are your thoughts on the #TimesUp movement and the push for equality in the film business?
AS: I’ve realized how silent we have been! And how much work is still needed. I’ve discussed this with a few male colleagues because they feel we women are overreacting. And when I explain to them my own experiences they are shocked. Speaking out — and loud- is very important.
Regarding equality between women and men in the film business, I am completely engaged. As a director, we have the chance to choose our team: let’s work with women! Let’s help younger women directors with their projects! Let’s tell stories about women!
