Darlene Naponse is an Anishinaabe Kwe from Atikameksheng Anishnawbek, Northern Ontario. She is a writer, film director, and a video artist. Her previous feature, “Every Emotion Costs,” was screened worldwide, winning various awards. Naponse retains creative control over all of her films and works with dedication to the protection of the stories, history, images, and traditions of First Nations people. Her work is deeply connected to her community, First Nations realities of the 21st century, and Mother Earth.
“Falls Around Her” will begin screening at the 2018 Toronto International Film Festival on September 9.
W&H: Describe the film for us in your own words.
DN: “Falls Around Her” is about the journey back home. It is about walking the land and finding yourself in your community. It is also about how people and companies feel that they own what is not theirs.
W&H: What drew you to this story?
DN: I was drawn to the ideas of desire and want — how people try to take more than what is given to them. Because of desire, relationships become distorted. I was also drawn to the idea of finding oneself back on their own and land and community.
W&H: What do you want people to think about when they are leaving the theatre?
DN: I hope the audience leaves with a sense of strength and resilience and notes the beauty and the power of the land and Mother Earth. I hope they think about how communities work together and how we can create new beginnings in familiar spaces.
W&H: What was the biggest challenge in making the film?
DN: Financing is always a challenge. Once we had financing, it became an issue of the weather. We worked through snowstorms, ice storms, and a lot of mud. We brought incredible beauty to the screen, but we had to challenge the cast and crew daily.
We had very remote areas to get to, so every day consisted of a new challenge. The cast and crew were not only talented but they were tough, and we came together to get through each day. We managed to get around with ATVs, Argos, 4×4, and on foot.
We shot this film on the Atikameksheng Anishnawbek reserve in Northern Ontario. It was essential that we follow protocol and include traditional knowledge. The talent of the local cast and crew gave us another level of support, which created a stronger crew and built new relationships.
W&H: How did you get your film funded? Share some insights into how you got the film made.
DN: The film was funded through a number of private and government sources in Canada including the CBC, NOHFC, Telefilm, OMDC and the Canada Council for the Arts.
W&H: What inspired you to become a filmmaker?
DN: Bringing story and imagery together is magical, and film allows you to connect with people on several levels. Film can connect not only through story but with landscapes, art direction, costumes, imagery, and sound. Putting these different aspects together opens up creativity and different worlds.
W&H: What’s the best and worst advice you’ve received?
DN: Filmmaker Alanis Obomsawin reminded me of the importance of storytelling: to find truth and to connect.
W&H: What advice do you have for other female directors?
DN: Keep going, even when you are told it won’t work. No matter how many doors are closed, there are other doors that open. You determine your own work!
W&H: Name your favorite woman-directed film and why.
DN: There is a long list. Two I must mention are “Kanehsatake: 270 Years of Resistance” by Alanis and “Vagabond” by Agnès Varda. Both films have a strong understanding of the power of resistance and its outcomes.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. What differences have you noticed since the #MeToo and #TimesUp movements launched?
DN: I have noticed a rise in consciousness. People are taking note not only of the past but of their future actions. We included protocols for respectful engagement while shooting “Falls Around Her.” They were included on the call sheets every day. It included not only protocols for the respect for people but respect for the land and the community we were working in.
