Interview by Gabriela Rico
Sacha Polak is an award-winning director and screenwriter. Her feature films “Hemel” and “Zurich” were both screened ata range of international film festivals. “Hemel” was awarded the International Federation of Film Critics Award at the Berlinale Forum, and “Zurich” won the International Confederation of Art Cinema Award, the jury prize for Best Film at the Berlinale Forum.
“Dirty God” is now available in virtual theaters.
W&H: Describe the film for us in your own words.
SP: For Jade and her friends, London nightlife is a weekly highlight. But Jade meets mostly stares now that her face is scarred after a cowardly acid attack by her ex. Painful experiences are not enough to daunt the tough young mother, but will her life ever return to normal now that even her daughter is afraid to look at her?
On a road of denial, shame, hope, and betrayal, Jade learns that in the end she needs the courage to look beyond her vulnerable appearance to find her indestructible core.
W&H: What drew you to this story?
SP: Some years ago I attended the Lowlands music festival, and among the partygoers there was a woman whose face was severely burnt. I looked at her and flinched – my first reaction was to look away. Her face twitched and just looking at that response to my reaction hurt.
I thought of how terrible it must be to live with scars that you can’t possibly hide. Your face is your identity. It’s the first portal of communication. The idea to make a feature film about a young woman with a burnt face who has to deal with her life planted itself in my head. She struggles with everything that most young women struggle with, but she’s also dealing with something horrible that has happened to her [that hasn’t happened to most other women].
W&H: What do you want people to think about when they are leaving the theater?
SP: I considered Jade a heroine right from the start. She is someone who has an emboldened attitude towards life. She has no option but to accept what is in front of her in the mirror, and she regards her situation with humor and an armor of aggression. What sticks in my mind is that all the women I’ve met who have suffered from burns were forced to find a way to come to terms with their new appearance. Whichever path they chose and however they did or did not manage, it was their path.
What is universal about the film is that for each and every one of us it is challenging to be confronted with feelings of external beauty versus internal dignity — a challenge for every woman in the world. I hope that people see Jade as an inspiration and feel empowered by her story when leaving the theater.
W&H: What was the biggest challenge in making the film?
SP: It was a challenge having a four-country co-production. Most of the interiors of this film were shot in the Netherlands for financial reasons. There were no chronological scenes. Everything was shot completely out of order. This was sometimes boring because we would spend a day just shooting walks from one door to the next at the estate!
W&H: How did you get your film funded? Share some insights into how you got the film made.
SP: This film was a co-production between The Netherlands, UK, Belgium, and Ireland. It was funded by the public funds and tax incentives from these countries and Eurimages, the European Cinema Support Fund.
W&H: What inspired you to become a filmmaker?
SP: My father and stepmother were both filmmakers. They, above all, inspired me to pursue the most beautiful and interesting profession I could think of.
W&H: What’s the best and worst advice you’ve received?
SP: The worst advice was given by another director who said I should always start on day one of shooting with a very difficult track shot in order to impress the crew.
The not-so-original best advice was follow your own path.
W&H: What advice do you have for other female directors?
SP: The same as I would give to all directors. It’s as simple as this: follow your heart. There is only one moment to get what you need during shooting. Try to listen to your inner voice even if you can’t always explain why something needs to be shot the way you want it.
W&H: Name your favorite woman-directed film and why.
SP: I love the work of Lynne Ramsay, particularly her sensibility and the way her films are shot. I am also a big fan of Sofia Coppola, Andrea Arnold, and Claire Denis.
W&H: What differences have you noticed since the #MeToo and #TimesUp movements launched?
SP: Luckily, I have never experienced anything involving #MeToo. It’s a horrible thing, and I feel for the women who have experienced anything concerning #MeToo. My working conditions have always been safe.
In the Netherlands I have always felt that the number of female directors was equal to that of male directors, but worldwide there is still a lot to do. However, I have the feeling we are on the right track.
