Rachel Beth Anderson is a Sundance award-winning cinematographer. She began her career filming in Libya, Syria, South Sudan, and Afghanistan for PBS’ “Frontline,” CNN, the Human Rights Watch, and on independent feature documentaries “First to Fall,” “E-Team,” and “Theo Who Lived.” Anderson’s directorial debut, “First To Fall,” had its world premiere screening at the International Documentary Film Festival Amsterdam (IDFA), won two jury awards at the investigative journalism festival FIGRA in France, the Grand Prix Jury Award at IRFF in Poland, and was awarded the Best of Fest prize at the Columbus International Film Festival.
“Unschooled” premiered at the 2019 DOC NYC film festival on November 11. The film is co-directed by Timothy Grucza.
W&H: Describe the film for us in your own words.
RBA: This film is really a coming-of-age story with education as the backdrop. What’s it like to be a young person today dealing with everyday external pressures while trying to juggle the process of navigating the public education system? The viewer gets to witness the growth of our three teenage protagonists, not only in their attempts at an education, but also their process of figuring out who they are in the world.
W&H: What drew you to this story?
RBA: Firstly, it was meeting all the kids and their parents. They wanted the simplest of opportunities in finding an education. Their frustration about what they had faced over the years in the public system was palpable. I wanted to see if they had found their solution within the idea of “unschooling” [wherein learner-chosen activities serve as the primary means for learning].
When I first heard the philosophy behind unschooling, it was hard to believe this type of education could work and that a student would learn anything from the program. I, similar to many of the characters in the film, was truly skeptical, but also intrigued to understand what this type of learning looked like — because it’s not as if I loved doing homework or cramming for tests when I was in school either.
W&H: What do you want people to think about when they are leaving the theater?
RBA: For me, it is about the possibility of taking risks and going against the social norms when your gut is telling you that you or your loved one need something beyond what is being offered — this can be in education, your job, or challenges within your community. The characters in this film took huge risks to try something new.
But in the grand scheme of things, in most scenarios, these options don’t even exist for children as an alternative choice. Of course, there is not one perfect catch-all solution, but there should be a conversation about providing options and allowing access for children from any socioeconomic and racial background to have a choice in whatever learning environment will lead to their own success.
W&H: What was the biggest challenge in making the film?
RBA: One of the most challenging aspects of this film was getting into the headspace of a teenager — remembering what that felt like as you’re learning who you are within your family, and carving space out for yourself in the world. But more than that, being aware that I come from a different background than the young people I was working alongside.
As in many of the films I collaborate on, I remain mindful of the fact that growing up in North Dakota — where my life was mostly uncomplicated and not highly diverse, racially or economically — automatically creates gaps in my knowledge of what challenges are faced or what the realities may be for my characters. So it was always more about listening and learning from Miles, Jaya, and Amani in order to truly connect and portray their full worlds on screen.
W&H: How did you get your film funded? Share some insights into how you got the film made.
RBA: “Unschooled” began as a project funded by a Philadelphia Based foundation interested in telling stories in the education space. As the film grew, and we discovered the dynamic characters who ended up making the subject matter come alive, the team at Wavelength Productions came on board to continue finding the resources needed to finish the film.
W&H: What inspired you to become a filmmaker?
RBA: I actually started out very early in my career being on camera in TV broadcast news, but was continuously frustrated with my limitations to tell someone’s story in 60 seconds or less. I decided to buy a camera, move to Egypt to continue my work as a journalist, and started filming.
This happened to be good timing as the Arab Spring exploded about six months later, and led to me being in the right place at the right time, and following the revolutions from Cairo, to Syria, and to Libya where I captured the footage for my first feature doc, “First To Fall.”
I would say I kind of fell into filmmaking.
W&H: What’s the best and worst advice you’ve received?
RBA: As for the worst advice, I think that beyond a specific incident, it has been more of a consistent lesson of learning whose advice I should follow. To recognize who actually has my best interest at heart, and avoiding depending on the opinions of those who don’t have a genuine investment in me or my future work.
Best advice is that when you have the opportunity to film a moment, even if you’re exhausted, never plan to just pick it up on the next shoot. Nothing ever happens the same way twice, and if you’re witnessing magic, just chug an espresso and press record.
W&H: What advice do you have for other female directors?
RBA: I’ve heard similar versions of my own stories coming from my colleagues from early on in our careers. For example, when you say, “I’m going to make a feature documentary.” The response is usually, “Don’t you know how difficult that is? That you won’t make any money? You’ll spend half of your life in a dark edit room, and be completely cut off from your friends and family. Why do you think you can do it if so and so couldn’t hack it?”
My advice is: don’t listen. Everything you take on in life has the potential to be difficult and uncomfortable at times, but it doesn’t mean you’re not meant to take the roller coaster ride of a lifestyle, and blow all the naysayers away.
W&H: Name your favorite woman-directed film and why.
RBA: “The Piano” by Jane Campion. From the opening shot where you’re looking through cracks in the protagonists hands, you feel like you’re truly connected with the characters and their point of view. It is truly magical storytelling and a good metaphor of women’s experience in a man’s world. She is a rebellious type, even though the circumstances she’s in are dire to say the least.
W&H: What differences have you noticed in the industry since the #MeToo and #TimesUp movements launched?
RBA: I have noticed an emphasis on trying to create a balanced crew. Whether that is through personal job requests or posting on message boards it seems those who make decisions to fill all types of roles are more aware then they have been in the past. But I think there is more to do to find an equilibrium within the industry.
