Tania Anderson is a British, American, and Swiss filmmaker based in Helsinki, Finland. She has worked as a writer and journalist, most recently as a writer for National Geographic, where she discovered her passion for telling ordinary people’s extraordinary stories. “The Mission” marks her first feature-length documentary film.

“The Mission” is screening at the 2022 Sundance Film Festival, which is running online from January 20-30. More information can be found on the fest’s website.

W&H: Describe the film for us in your own words.

TA: “The Mission” is a coming-of-age story about four regular teens who are compelled by their faith and communities to take two years out of their life to “serve others.” These unlikely heroes embark upon a journey that is hyped up to be “the best time of their life.” They meet the challenges and harshness of another country and reality head-on, with open hearts. They return, convinced of their truths, and changed. For the better? 

W&H: What drew you to this story? 

TA: The backstory to “why I was drawn to this story” came out of essentially a clash between my natural sense of curiosity and my anti-religious upbringing. On the one hand, I’m drawn to groups of people that inspire stereotypes – I enjoy digging around to see what’s true and what’s myth. And on the other hand, I was taught from a young age to distrust people with a religious or theistic message.

I was one of those people that crossed the street when I saw missionaries coming towards me, with an “I know what they have to say, and I don’t want to hear it” kind of self-reasoning. And at some point, I became aware of my own hypocrisy – among other things – that I could be fearless with and enjoy most people, except those that make me feel uncomfortable. One day, I came across a couple of missionaries and actively chose not to run. I had overheard a personal conversation they were having and for that moment saw them simply as a couple of teenage kids in suits. A lot melted for me in that moment. My natural curiosity could flow again. 

W&H: What do you want people to think about after they watch the film?

TA: People are welcome to think whatever they’d like to think after watching “The Mission.” My goal was to make people feel – feel, for a few moments, what it’s like to be in the shoes of an LDS missionary.

W&H: What was the biggest challenge in making the film?

TA: The biggest challenge for me was to accept that I couldn’t capture everything. Ha! You film what you film. And you have to find the story in the material. That’s what makes documentary filmmaking challenging for me. I guess it’s also what makes it easy – you’ve got what you’ve got, and you need to roll with it!

W&H: How did you get your film funded? Share some insights into how you got the film made. 

TA: The main local Finnish production company of the film, Danish Bear Productions, did a really good job in securing the financing. The bulk of the money came from Finnish public funding mainly – from the Finnish Film Foundation, the Finnish broadcasting company YLE, and AVEK, The Promotion Centre for Audiovisual Culture.

We even participated in a couple of international film forums from where we were able to secure international finances, and a German co-producer, Dirk Manthey Film. 

W&H: What inspired you to become a filmmaker?

TA: People. I love people. I really do. And mundanity! There’s nothing more beautiful than watching someone do something they’ve done a thousand times before, like peeling an orange, or waxing skis. There’s an effortlessness about such actions that encapsulates both the sheer strength and ultimate fragility of humans and human activity that I like noticing and sharing with others. 

W&H: What’s the best and worst advice you’ve received?

TA: The best advice I got was from my producers, both of whom are directors in their own right. The advice was: “Try stuff. Trust your gut.” Best advice ever! Not only for filmmaking. 

The worst advice came during some of the financing forums, which encouraged me and my producers to clearly “pick a side” when documenting the lives of missionaries. The idea was “the more distance you have, the more critical you can be, the more credibility you will have.” For me, it was clear from the start that intimacy and closeness is the key to this film. Without it, there would be no film. I had a hunch that remaining close would not, in fact, compromise objectivity – and it turns out I was right! We got unique insight into the lives and world of these young people and their faith. 

W&H: What advice do you have for other women directors? 

TA: My advice: “Keep plugging away when you can.” I’ve spent the last five years or so getting up at 4 am so I can squeeze in a little work before my son wakes up and the day begins. 

W&H: Name your favorite woman-directed film and why.

TA: “Lost in Translation” by Sofia Coppola is one of my all-time favorite films. It’s tender, it’s stringing together random moments, it looks at human connection, however fleeting. It’s true to life! I remember walking out of the theater feeling like I had truly had an experience. It made me realize that films don’t have to be action-packed to be captivating.

A close second is “The Rider.” Chloé Zhao’s work is incredibly inspiring. Her attention to detail is par-none. I can almost smell the scenes in her films. That’s exactly what I want to do – but in documentary format. 

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

TA: Life’s been rocky, especially on the personal front. The pandemic accelerated a long-impending separation from the father of my son. Juggling everyday life and work commitments as a single parent to an only child amidst illness and erratic daycare can be challenging – no doubt about it! As far as keeping creative goes, well, I get to draw and build Lego every day!

The key, for me, is to pay attention. Life is happening all around, inside and out, all the time – there are countless stories to be told. As I see it, my job is to keep my eyes and ears open, and to give space for stories to grow inside me. 

W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing – and creating – negative stereotypes. What actions do you think need to be taken to make it more inclusive?

TA: One step could be more public funding.