TIFF 2023: Homecoming (TIFF Docs) | Interview of Suvi West and Anssi Kömi
In this insightful interview, Finnish directors Suvi West and Anssi Kömi, a dynamic filmmaking duo, discuss their creative partnership, the balance between activism and filmmaking, and the profound satisfaction they find in the art of storytelling.
Having premiered their latest film at the 48th Toronto International Film Festival as part of the TIFF Docs strand, we had the privilege of engaging in an insightful conversation with Suvi West and Anssi Kömi, the accomplished filmmaking duo behind Homecoming: a profound documentary that intimately explores the repatriation of Sámi artifacts from museums to their homeland, shedding light on the deep significance of cultural and spiritual belonging and the painful legacy of Indigenous relics separated from their rightful guardians.
During this enlightening interview, the directors offer a glimpse into their creative process, discuss their distinctive roles in their collaborative projects, and share their perspectives on the interplay between filmmaking and activism. Suvi and Anssi candidly explore topics such as maintaining authenticity in front of the camera, their mission to be acknowledged primarily as filmmakers rather than solely through their cultural backgrounds, and their deep-seated appreciation for the artistic journey itself.
“While I’m personally committed to advocating for Sami people’s rights, I also want to be recognized primarily as a filmmaker, not solely as an activist filmmaker or a spokesperson just because I’m Sami.”
Mehdi Balamissa: In the film, it’s evident that you, Suvi West, are deeply engaged and emotionally connected to the subject matter, both as a Sami person and as a character in the film. How did you manage to maintain the right balance between yourself and the camera?
Suvi West: It’s not the first time I’ve been in front of the camera, so it doesn’t feel unnatural anymore. As a storyteller, my favorite genre is autobiographical and auto-fictional films. Even in literature, I appreciate when a writer shares their perspective. I actively participate in the story’s development, whether in front of the camera or in the editing room, to accompany the characters’ journey. What I strive to convey is my honesty, the genuine expression of my emotions, even when it’s intimidating. I’m a very sensitive person, and it’s challenging for me to conceal my feelings, not only in filmmaking but also in my personal life. I believe the camera can perceive when you’re trying to hide something. When you sit in the editing room, you can easily sense insincerity on camera. So, when you’re on camera, the only option is to be yourself. Trying to be something else will be noticed by the camera.
Anssi Kömi: As for me, I handle the camera, but we engage in extensive dialogues together for months before shooting. We’re completely aligned when making a film.
Suvi West: As a storyteller, I confront the questions that are painful or even traumatic for me, although they might not be the deepest sorrows I’ve experienced. I don’t recommend using filmmaking as therapy; it can become overwhelming.
Mehdi Balamissa: Premiering the film in Toronto, a country with a complex history concerning its First Nations Peoples, seems fitting. Do you consider your film a political statement?
Suvi West: Raising awareness is important. Our previous film, Our Silent Struggle (2021), was entirely dedicated to that cause, addressing colonialism and how Finland treats Sami people. It received significant awards and media attention and was even screened for members of the Finnish Parliament. However, with our film Homecoming (2023), we aimed to be filmmakers first, not activists. While I’m personally committed to advocating for Sami people’s rights, I also want to be recognized primarily as a filmmaker, not solely as an activist filmmaker or a spokesperson just because I’m Sami. Yes, I’m a female Sami filmmaker, but I want to be acknowledged as a filmmaker above all. I’ve often been labeled a Sami activist, but now I fight for the right not to raise awareness (laughs). We’re often pigeonholed through an ethnic lens. I’ve grappled with this issue, even during this festival. I’m currently writing a book on this topic, addressing how to be a Sami female director while managing the obligations, responsibilities, and expectations that come with it. The central theme of the book is my frustration with the idea that I must always raise awareness and be a spokesperson for my culture. I’ll never be seen solely as a filmmaker; I’ll always be seen as a Sami director. This is a significant question at this point in my life, but it doesn’t mean I don’t care about my people. I view this fight as a struggle for the recognition of other Sami artists as filmmakers. We have the right to be recognized as filmmakers.
Anssi Kömi: Nonetheless, it’s true that in the end, all our actions have political implications. We organized a private pre-screening for friends and family in Finland a few weeks ago, and a family member involved in politics thought that this film was even more politically charged than the previous one, which was explicitly political, unlike Homecoming. He believed that our previous movie was directly highlighting issues, while in Homecoming, the political message was more subtle, which made him consider it a cleverer way of making a political statement.
Mehdi Balamissa: Could you share how you, as a couple, collaborate on your films? What unique contributions do each of you bring to the filmmaking process?
Anssi Kömi: Suvi provides the story’s essence and core. Especially in our last two films, which revolved around Sami culture, and since Suvi is Sami herself, she naturally took the lead. However, in general, our strengths complement each other. We like to say that together, we make a decent filmmaker. Suvi excels at writing and editing; she doesn’t even let me near the editing room (laughs). When we conceptualize the story, we seek an appropriate visual language to convey it, and that’s where my strengths as a cinematographer come into play. When I’m filming, I instinctively grasp what Suvi desires and what’s essential for her in each scene. This is because we extensively discuss the film before shooting. This dynamic also extends to our personal life as a couple; for instance, at birthdays, she bakes the cakes, and I make them visually appealing, that’s our deal (laughs). Suvi is the core, and I’m the decoration (laughs).
Suvi West: Indeed, we approach stories differently. I lead the content and the narrative’s essence. I articulate these ideas and the importance of telling this story aloud, but Anssi assists me in verbalizing my visions. Anything related to the language of the camera is Anssi’s expertise. When we were editing Homecoming, I was impressed by how talented Anssi is as a cinematographer and director. He excels not only in framing shots but also possesses an instinct for positioning the camera around the subjects. He knows precisely where to point the camera. As we’ve worked together, I’ve found myself thinking more about visuals, while Anssi has focused more on the story.
“We made this film with sincerity, […] as if no one was eagerly anticipating our film.”
Mehdi Balamissa: How do you continue to develop each other’s skills?
Anssi Kömi: Recently, for Suvi’s birthday, I gifted her a substantial amount of acrylic paints and pencils. She thanked me but admitted she had never painted before. I said, “No worries, I’ll use them, or the kids will.” Surprisingly, she ended up using them, which helped her express herself visually. For Homecoming, we needed to find a way to depict the concept of “saivo,” a sacred place where ancestors reside, characterized by a world that is upside down. One day, Suvi painted a saivo, which significantly influenced how we would visually portray it in the film. Her painting also enriched her discussions about visuals, providing her with more means to express her visual ideas.
Suvi West: I never thought I could paint, but it’s become a hobby now. Sometimes, I spend entire nights creating unsettling paintings, and it’s so liberating because I don’t need to be successful when I paint. I’m not going to sell my paintings, and I don’t require success as an artist, exhibitions, or anyone buying my art. It’s the only space where I can be completely artistically free. I can paint whatever I want. This freedom doesn’t exist in filmmaking or writing, which are my professions. With those, I always have a goal in mind when I write a script or work on a movie. However, with painting, I have no expectations, and I’m free to experiment. I owe this newfound passion to Anssi, and I’m grateful to him for it. It keeps me occupied, and I think I might marry art. Well, technically, Anssi and I are engaged, but we haven’t found the time to get married because our films always take priority (laughs).
Mehdi Balamissa: It seems like you’re deeply invested in the creative process. Do you find more happiness when you’re not thinking about the distribution of your films?
Suvi West: The real magic happens during the filmmaking process. I remember when we were editing Homecoming, I felt so content and satisfied with the process of weaving together the elements we’d gathered into a meaningful narrative that I thought it didn’t matter if no festival accepted the film or if no one saw it. I was relishing the moment, and the act of creation brought me joy, which is the best feeling.
Anssi Kömi: Especially with this film, unlike our previous one, which was more straightforward and factual, we decided to let loose a bit, experiment, and make the film with sincerity. It was incredibly liberating. We worked as if no one was eagerly anticipating our film.
Suvi West: It’s incredible to be at TIFF, interacting with the media and the audience. But as filmmakers and storytellers, the most rewarding part is those quiet moments with the story while you’re crafting it. I have numerous film ideas that will never materialize, existing only in my mind, but I cherish them greatly too. I prefer film projects to be deeply personal. Focusing solely on success in this industry can lead to disillusionment. It can take years to create a film that may ultimately be quickly forgotten. So, for me, the best approach is to savor the journey. The final days of editing Homecoming were emotionally challenging for me because it felt like a breakup. It marked the end of our relationship with the movie. Now that the film has premiered at TIFF, it’s no longer just ours; it belongs to the audience. It’s like a grown-up child who doesn’t visit home anymore.
Acknowledgements: Suvi West, Anssi Kömi, Ryan Levey.
