Night cap with Ligne noire
An interview with Francesca Scalisi, co-director of Ligne noire
What exactly does the “ligne noire” refers to? What does it symbolise?
The title Ligne noire refers to the trail of oil that, in the aftermath of the Sundarbans oil spill accident, left its indelible black mark on the coastal areas of Bangladesh for hundreds of kilometers. Symbolically, this black line embodies the idea of a divide between two worlds: that of the exploiters and that of the exploited people, who fight with dignity their daily battle for survival.
Can you tell us more about where the film was shot?
The short documentary was shot in Bangladesh, in the Sundarbans, the biggest coastal mangrove forest in the world. It is a precious ecosystem, one of the last places in the world where the endangered Bengali tiger can still be found together with the rare Irrawaddy and Ganges dolphins.
What events or environmental issues inspired you to develop the film?
On December 9, 2014, a wrecked tanker released approximately 94,000 gallons of heavy fuel oil into the Shela River, which runs through the Sundarbans. When we heard about this tragedy, we were about to leave for Bangladesh to shoot a feature-length documentary on a different topic. After hearing about the accident, we decided to change our itinerary and headed to the Sundarbans to see what was happening. When we arrived there we quickly understood that the situation was catastrophic not only for the ecosystem – oil had spread through the myriad of canals formed by the mangroves, making it impossible to clean – but also for the local population whose livelihoods depended on the now contaminated river. It was clear that the government had left them to themselves and that no real assistance was being provided.
In the aftermath of the disaster, the oil company involved in the accident asked local villagers to collect the spilled oil in exchange of money, paying 30 taka (0.30 euros) for each liter collected. The poor local population started to see this situation as an opportunity to make profit, which led to them to ignore the risks they were being exposed to. About 1,000 people started to collect oil from the river using no protection. As time passed, oil near the coast started to solidify, so people were heating it in order to turn it into liquid and sell it, inhaling highly toxic fumes. When the “collection phase” ended, locals went back to using and drinking water from the river as if nothing had happened, amidst the total indifference on the part of the institutions.
Can you tell us about the filming process? How was it shot and how long did the shooting last?
The film was shot in a couple of days. We decided to shoot from the boat and portray a small world scarred by the disaster. We decided to take the standpoint of the “injured” river, gazing at the coast, at the villages, at the people, all lost in a surreal atmosphere. Our intention was to tell the story of the accident in an indirect way, transmitting the same sensations that we felt when we arrived: that of a seemingly quiet place where life goes on as always, although the disfigured background reveals the magnitude of the tragedy.
While shooting was quick, the editing phase took more than two years. Finding the right tone was very difficult. In the beginning, we were too emblematic, then, too concise. So, we left the film in standby for more than one year and a half. Until, last summer, we decided to give it a last chance and… it worked out! Then, I started to work on the sound with the sound editor, which is a fundamental component of this short doc. In fact, we erase some sounds and added different soundtracks, such as the muezzin’s call for prayer, to enhance the surreal – almost apocalyptic – mood that we felt.
How did you cast the lady in the film?
We came across Ranu, the protagonist, by chance. We were exploring the devastated area when we saw her. She was fishing, walking in the pitch black water with incredible grace, as if nothing had happened. We immediately understood that it would be a very powerful picture, able to synthesize in the best way the idea of the film. We started shooting straight away, following her with our camera for 15 minutes non stop.
How did you work together? Do you plan on collaborating on future projects?
Mark and I have been working together since 2010, when we made Heart-Quake, our graduation film. Our collaboration continued and, in 2011, we created our own film production company, Dok Mobile, in Switzerland. Making films allows us to express ourselves, giving a shape to our feelings and to the messages that we have at heart. When we make documentaries, we work in a very smooth and coordinated way. Often, we are both in charge of direction. Mark does the camera and I do sound recording and picture editing. Currently, we are in the editing phase of our latest feature-length documentary, Digital Karma, which deals with the topic of women empowerment and is the reason why we went to Bangladesh in the first place.
What sort of freedom would you say the short format allows?
Making a short film is very different from making a feature-length one. The difference in complexity, duration and financial resources involved makes short film an incredibly fertile ground for experimentation. You also have the challenge to condense feelings and emotions in a very short time. You need surgical precision and there is no room for waste. Every single frame is fundamental to convey the appropriate depth and emotions.
If you’ve already been to Clermont-Ferrand, could you share with us an anecdote or story from the festival? If not, what are your expectations for this year?
It is our first time at this festival and we are very excited! We hope to watch great films and get to know interesting people. We know how much Clermont-Ferrand is an important market for many professionals around the world and we want to take the chance to create connection with world sales agents, distributors, producers and fellow filmmakers.
Ligne noire is being shown in International Competition I7.
