The 19th Doc Edge Festival kicked off in Christchurch, New Zealand, with a captivating film by Dutch filmmaker Petr Lom, whose humble and collaborative approach makes I Am The River, The River Is Me a rich, sensory, and thought-provoking film. We had the pleasure of speaking with the artists and protagonists behind the film.
Last night, the 19th edition of the Oscar-qualifying Doc Edge Festival opened in the heart of Ōtautahi Christchurch, New Zealand. Traditionally held in Auckland and Wellington, the international documentary festival has changed its setting this year to assert its new ambition: to establish itself as the premier documentary hub in the Asia-Pacific region. The festival will also captivate audiences in Auckland, Wellington, and nationwide online next month.
With no fewer than 66 short and feature-length films, nearly 30 immersive projects, and a total of 30 festival world premieres, the festival set the tone for its expanded scope by drawing a large audience at its inaugural event in Christchurch, which has always been the essence of the festival.
As a prelude to this documentary cinema feast, the Doc Edge audience had the pleasure of discovering the feature film Ko au te Awa, ko te Awa ko au – I Am The River, The River Is Me by Dutch filmmaker Petr Lom, presented as the opening film of the 19th edition.
This remarkable feature film is surprising in its construction, inspiring in its approach, and deeply human and spiritual, centered around a local yet universal story: the protection of rivers and the recognition of the Whanganui River in New Zealand as the first river in the world to be granted personhood rights.
To tell this story and observe the powerful connection between indigenous peoples and the Whanganui River, the filmmaker structures his film around a journey along the river. Māori river guardian Ned Tapa invites a First Nations Elder from Australia and his daughter, who are activists dedicated to saving their own dying river back home, on a five-day canoe trip down this sacred river. Both mirror and inspiration, the river organically unites all the travelers, where everyone has a voice to share stories of humor and light, and a space to heal from the darkness of the past and enduring historical injustice.
What stands out in the film is the filmmaker’s great humility and curiosity, with a very horizontal and participatory approach, creating a genuine space for dialogue and reflection for his protagonists. This approach may sometimes seem disconcerting, as it can resemble a series of raw footage, but it is in this authenticity and organic co-construction of the film with its characters that the film succeeds in taking the viewer on a metaphorical journey, suggesting that we are all in the same boat, descending the river together and unable to live without it.
Another strong point of the film is its sensory work, particularly in sound, using cinematic language to personify the river, giving it a body, a personality, and a character. The river is the link and the binder between all the characters in the film, among all the individuals who travel on or live around it. It constantly communicates with the film’s protagonists, the film crew, and the audience.
Alongside the screening, we had the pleasure of speaking with the filmmaker, the film’s producer, the main protagonist, the composer, and the Ambassador of The Netherlands to New Zealand, all present at the festival’s opening.
Ard van der Vorst, Ambassador of the Kingdom of The Netherlands in New Zealand, highlighted the film’s relevance in addressing climate change by drawing from indigenous perspectives. He remarked, “We sometimes forget to listen what’s already there. It was right in front of us.” This sentiment underscores the film’s message that solutions to environmental challenges often lie in indigenous wisdom and practices.
Director Petr Lom emphasized the film’s activist stance on climate change, advocating for a fundamental shift in values. “It’s not going to be enough to buy an electric car or not use plastic bags. It has to be underwritten by a real, real change in how we all live our lives,” Lom stated. He described the film’s unique approach to storytelling, where every participant, including the film crew, becomes a character, creating an immersive experience for the audience.
The collaborative aspect of the film was indeed a significant highlight, with contributions from various international participants. Puoro Jerome, the film’s composer, reflected on the project’s global collaboration. “It was a beautiful collaboration not only between my own people from the Whanganui River, the Māori people, but also people from the Netherlands and from Canada,” he said, emphasizing the powerful unity in their shared goal of environmental stewardship.
Producer Corinne van Egeraat shared the film’s mission to support the global rights of nature movement. She explained their decision to focus on the Whanganui River, saying, “We really thought this is something that we would like to do and put our shoulders on there.” Van Egeraat expressed admiration for the Māori perspective on nature, noting, “They think that we should be guardians of nature and not owners.”
Māori river guardian Ned Tapa stressed the importance of rivers, both spiritually and physically, and the need for continuous protection. “Without water, it’s all over,” Tapa stated, highlighting the critical necessity of preserving natural water sources.
The film captures the organic and raw interactions among its participants, as described by Lom. “Half the people that you meet in the film, we were meeting them for the first time on the first day of filming,” he noted, attributing the open and organic nature of the experience to the welcoming spirit of their Māori hosts. This authenticity is a cornerstone of the film, providing an unfiltered view of the journey and the deep connections formed along the way.
Dutch filmmaker Petr Lom also touched on the sensitive issue of story sovereignty, arguing for a collaborative and respectful approach to storytelling. “Think of storytelling not as taking ever. Think of it as being a gift, something you’re offered when you are offered a story,” he said, advocating for a more inclusive and shared narrative.
Addressing the sensitive nature of indigenous subjects due to colonialism and power imbalances, Dutch filmmaker Petr Lom argues that the key is respect and openness. “Now when you approach an indigenous subject, that’s very sensitive because there’s a horrific past of colonialism and power imbalances, but it’s not so complicated. What it means above all is you have to approach it with an open heart and with respect. And that’s not that difficult to do, especially when you’re working with people who you admire and you look up to, and so you don’t want to let them down as well. So there’s that. And that’s really all it takes.”
Lom challenges the concept of story sovereignty, suggesting that maintaining fixed identities can perpetuate a form of colonial oppression. “I understand it’s necessary because we want to redress colonial injustices of the past, but if it turns into still maintaining identities, fixed identities, it’s still a form of repeating colonial oppression, even though it’s in another way.” He points out that this notion often comes from those in power, historically colonial figures. “Most interestingly, this notion of story sovereignty often comes from people who are in power, who tend to be ex-colonial people.”
In the film, when asked about story sovereignty, Māori leader Ned Tapa responded simply, “I don’t care who’s carrying the camera, I want my story to be shared.” Lom echoes this sentiment, advocating for a cosmopolitan approach to storytelling where stories are shared freely without borders. “We can tell who our friends are and everybody can. So that’s kind of our cosmopolitan plea that we don’t like borders. We wish there were none in general, no passports. That would be our dream. And also with storytelling that we would all share.”
On this eloquent and profound note from the filmmaker, we can conclude that I Am The River, The River Is Me is a call to action. Through its powerful storytelling, stunning visuals, and deep respect for indigenous wisdom, the film challenges viewers to rethink their relationship with nature and to embrace a collective responsibility for the planet’s future.
We are thrilled to be covering Doc Edge 2024 on the ground in Christchurch, New Zealand. Explore our exclusive coverage here.
