Alison McAlpine has worked in theater in Ireland, and in Canada, where she formed a theater company, and wrote and directed plays that were presented at festivals in Canada, Ireland, and France. She subsequently received a commission to write a TV Opera based on a play she had written. Her mid-length film “Second Sight” was screened at more than 35 international film festivals, and inspired two BBC Commissions. “Cielo” is McAlpine’s debut feature.
“Cielo” will premiere at the 2018 Full Frame Documentary Film Festival on April 7.
W&H: Describe the film for us in your own words.
AM: The unforgettable Chilean sky, and the remarkable characters we filmed are at the heart of “Cielo.” These desert dwellers and scientists who live and work in the Atacama Desert — their stories, their reflections, their humor and humanity, and the endless beauty of the sky — were, and are, my continual inspiration.
So few of us look above and pay attention to the stars or planets in our daily lives; what would it be like to live among these extraordinary people in this otherworldly landscape, whose gaze is totally directed upward?
“Cielo” is also an exploration of what a story can be. The unfolding of our narrative is more associative than logical. We reveal with juxtapositions of image and sound — for instance, the intimacy of a human moment vis-à-vis the epic scale of the night sky.
“Cielo” is an invitation to slow down, reflect, and rediscover our world, hopefully offering the audience an evocative space in which to think and imagine for themselves, or even experience a moment of transcendence — what photographer Robert Frank calls “the poetry behind the surfaces of things.”
W&H: What drew you to this story?
AM: I was walking outside at night in a tiny village in the Atacama Desert, Chile. Suddenly, all the street lights went out. There was no moon, and I looked up. I had never seen such beauty. I felt a profound freedom inside, so many questions arose. I set off on a journey in this desert to explore and discover the night sky.
W&H: What do you want people to think about when they are leaving the theater?
AM: “Cielo” means “sky” in Spanish. It also means “heaven” and “mi Cielo,” which commonly spoken means “my love.” These meanings float through the film.
I would like the audience to reflect, turn their thoughts to the infinite, the unknowability of our surroundings, to the sky in all its mystery, and limitless grandeur. My hope is that the audience is provoked and inspired to slow down, look up, and ask questions that truly matter.
W&H: What was the biggest challenge in making the film?
AM: I found it ever-challenging to write and record the voiceover in “Cielo.” I do not like voiceover in most films yet I felt my voice was necessary at times to weave the encounters together. Finding the tone of the voiceover, and the “character” of the narrator evolved slowly after many drafts and recordings.
After our world premiere at the New York Film Festival, I further refined, and cut the voiceover, which allowed the sky and the characters to assume their central role. I am now happy with the balance of voiceover but at times it felt impossible to evaluate the voiceover, and how/if my recordings were working.
W&H: How did you get your film funded? Share some insights into how you got the film made.
AM: The first funding for “Cielo” came from Canadian Arts Councils, followed by the support of CBC documentary channel. Then came an investment from La Sodec, the Canadian Media Fund, and two Chilean government Funds.
“Cielo” became an official co-production with the Chilean company Errante Producciones in order to give my Chilean team the credits they deserved.
I was extraordinarily lucky to work with commissioning editor Bruce Cowley at CBC documentary who gave me his full support and allowed me to maintain creative control.
W&H: What does it mean for you to have your film play at Full Frame?
AM: I am truly honored “Cielo” has been invited to Full Frame, a festival with such a fabulous history and reputation. I would love to attend and experience the festival one day.
W&H: What’s the best and worst advice you’ve received?
AM: Anything and everything is possible. A story does not need to have a big dramatic arc. A story can be an evocation of a moment, a place in time, a gesture, an associative link, a juxtaposition etc.
Trust your gut completely, and how you see and feel the film — not any expectations of what the film should be.
The worst advice: “Don’t be so ambitious,” or “Film a sellable story.”
W&H: What advice do you have for other female directors?
AM: Mainstream TV still funds and most often demands a narrative that is journalistic rather than visual or aesthetic. Let us never buy into this or get coerced into accepting such narrow limitations but instead re-invent the form of documentary, and return to notions of cinema.
W&H: Name your favorite woman-directed film and why.
AM: “Toni Erdmann,” directed by Maren Ade. I have watched it twice, and each time I laughed with abandonment — I so rarely laugh at films — and I was deeply moved. The film is so beautifully written, and the acting is extraordinary. It always surprises you with its freshness and absurdity yet sincerity. And you are left with so many wonderful unanswered questions.
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?
AM: As women directors we must have the confidence to tell our stories our own way, and support each other, and of course never accept sexual harassment or intimidation etc.
Yes, the film industry is sadly male Caucasian dominated, and the #TimesUp movement has, at times, helped to provoke discussion and change, but I am saddened by the dogmatism, blame, and political correctness that has arisen within the movement, dividing not uniting women, which only helps maintain the status quo.
