Shasha Nakhai is a filmmaker based out of Toronto with Compy Films and Storyline Entertainment. Her award-winning films have screened at festivals and aired on TV worldwide. Her last film with partner Rich Williamson, “Frame 394,” was shortlisted for the 2017 Academy Award for Best Documentary Short and was nominated for two Canadian Screen Awards.
“Take Light” will premiere at the 2018 Hot Docs Canadian International Documentary Film Festival on April 27.
W&H: Describe the film for us in your own words.
SN: “Take Light” centers on the tangled web of Nigeria’s energy crisis through a series of characters connected by the grid.
W&H: What drew you to this story?
SN: I grew up in Port Harcourt, Nigeria, where the majority of filming takes place. Much of my life there was framed by a lack of consistent power supply, even as privileged as I was. This was an issue that affected everyone — rich or poor.
I started gaining some perspective on the situation when I moved to Canada for boarding school at the age of 15. Moving between Canada and Nigeria made me realize how little people here knew about life in Nigeria, and I saw a real lack of these kinds of stories in North American media.
W&H: What do you want people to think about when they are leaving the theater?
SN: I hope people are inspired by the resilience of the characters in the film, and begin to develop more complex ideas about Nigeria and Nigerians that push beyond two-dimensional stereotypes.
I also hope people will think about where their energy comes from and realize the urgency in shifting to more green and just economies globally.
W&H: What was the biggest challenge in making the film?
SN: Filming in Nigeria is generally very challenging. Dealing with bureaucracy was the greatest challenge we faced. We spent three months on location, but a huge percentage of that time was spent laying groundwork, gaining trust, dealing with multi-layered approval processes, and spending a hell of a lot of time in waiting rooms. This was a real test in patience and stamina.
W&H: How did you get your film funded? Share some insights into how you got the film made.
SN: The producer of this film, Ed Barreveld, has been a long-time mentor of mine, so I was thrilled when he expressed interest in producing this film. Canada’s documentary Channel came on board first to commission the film, and the rest of the funding and support comes from Telefilm Canada, the Ontario Media Development Corporation, the Hot Docs Ted Rogers Fund, the Rogers Telefund, and tax credits.
It was pitched at Hot Docs Deal Maker, SunnySide of the Doc, and the Documentary Organization of Canada’s Breakthrough Program.
W&H: What does it mean for you to have your film play at Hot Docs?
SN: I started volunteering at Hot Docs in 2008 when I was in university, and every year it is a highlight on the calendar. It means a lot to me to show it in my hometown and to watch it with all the people who worked on and supported it.
W&H: What’s the best and worst advice you’ve received?
SN: As my producer Ed likes to say, “The same people you meet on the way up are the same people you meet on the way down.” I repeat this mantra to myself every now and then just to check myself and remind myself to stay grounded on this journey, and to always strive to treat everyone with kindness regardless of who they are.
W&H: What advice do you have for other female directors?
SN: Thankfully my experiences with the documentary film industry in Canada have been good so far, especially when compared to a lot of people in fiction or in Hollywood. I have definitely dealt with my fair share of issues, but I have also been lucky enough to be able to work with supportive and sensitive men in my career, and alongside powerful yet graceful and kind women.
Find your people and do everything you can to stick together.
W&H: Name your favorite woman-directed film and why.
SN: This question is a bit hard to answer so I’ll just name one I actually worked on. I’d say one of my favorite woman-directed films is Rama Rau’s “League of Exotique Dancers” because I learned a lot from working under Rama and she is one of my real, tangible role models in my industry. The film profiles aging legends of burlesque and is a celebration of womanhood. You feel powerful after watching it and its nuanced approach will have you laughing and crying and wanting to share the experience with other women.
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?
SN: This makes me feel really empowered, encouraged, and glad that we are banding together to end unacceptable behavior and encourage more diverse voices — and not just in terms of gender. It’s going to take some time to change these cultures fully but we are on the right track and need to hold strong on course.
