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Alan Berliner is a master of creative documentary and experimental film.
zge Calafato met him in the midst of the Turkish uprising, which shocked him
and made him challenge his role as a filmmaker.


1 2

5 6

1+3+7:Intimate Stranger, 1990. 2:The Sweetest Sound, 2001.

4:Nobodys Business, 1996. 5:The Family Album, 1986. 6:Wide Awake, 2006.


lan Berliner was in Istanbul this June as a guest of Explaining the transformation in his thinking, Berliner
honour at Istanbuls Documentarist, to present an ex- starts with the basic principles he works with:
tensive retrospective and give a master class. His trip In order for my films to work, the screen must somehow
coincided with the early days of the Gezi Park protests when function as both a window and a mirror, he says.
Turkish police carried out a harsh crackdown against demon- First, as windows to the lives and experiences of other
strators, with excessive use of pepper gas, water cannon and people, just as they do in most films, whether fiction or docu-
plastic bullets. Suffering from breathing difficulties as a result mentary. The audience brings their curiosity, their interest, and
of being gassed from a very close range, Berliner bore first-hand their thirst to experience the stories of people, places and cir-
witness to the Gezi clashes, which he calls one of the most pro- cumstances outside of their own particular worlds. At the same
found and enlightening experiences of his life. Inevitably, our time, the screen must also become a mirror for the viewer, a
interview would be marked by the state of affairs of this very surface on which they might also see something of themselves;
historical moment for Turkey. an opportunity to reflect upon their own stories, their own
I had never been in a position where I had to run for my life family dynamics, their own names, their own sleep, or whatever
before. Id never been in such direct confrontation with the it is that my film is exploring at that moment. For my films to
power of the state. And to be honest, Id never experienced succeed, the audience must be able to see the screen as both
the kind of collective solidarity and power that came from the window and mirror sometimes intermittently, or if Im lucky,
sights, sounds and energy of thousands upon thousands of sometimes simultaneously. This is how Ive always understood
people so intensely unified. Berliner says. my work But given the situation in Istanbul during my visit,
I began to move beyond the simplicity of windows and mirrors
I began to move beyond the simplicity of and was confronted with the power of the frame that is, the
windows and mirrors and was confronted social and cultural milieu (or context) within which the film
with the power of the frame is seen the surround. This was a transformative insight for
Alan Berliner me. It became impossible for me to speak about my work on
its own terms anymore while I was in Istanbul. I found my-
For someone like me, who has spent decades making films self witnessing a moment in Turkish history where people were
about his family, his name, his insomnia and other intimate willing to risk their lives for the freedom to express themselves
aspects of his personal life, experiencing the gravity of the situ- something Ive always taken for granted as an American citi-
ation in Istanbul how the citizens of a city, of a country, of zen. I was so magnetized by the situation that I stopped think-
a society, felt the urgency to confront and challenge the very ing about the reasons for my visit, and wanted to go outside
essence of their social contract- had to challenge the way I and join the protest. The truth is I went to Istanbul to give a
understand my role as a filmmaker. Suddenly the particular master class and it was I who learned the most!
motivations and aspirations that have always guided me didnt From Intimate Stranger, about his deceased grandfather, to
appear to matter anymore. I was magnetized by the urgency of Nobodys Business about his father, to The Sweetest Sound, which
the Turkish people, and tear gas had now become a metaphor: explore his own name, Berliners fascinating work deals largely
We either express ourselves or we suffocate. It unsettled many with identity, memory and the human condition, inspired by
of the basic assumptions I had about the role of art in society, stories from his life and his family.
and I left Istanbul quite shaken. In 1980 I made a short experimental collage film called


Let go of all of your preconceptions, stop rushing and be
willing to commit yourself to filmmaking as a process.
Its okay to make mistakes, to get lost along the way, and to
have bad ideas.

Each film is a journey.

You start out at some point, and if youre lucky you end up
in a place you never imagined.

The basic description of your film should be

like a Trojan horse
Simple on the outside, and yet filled with a cauldron of
issues, related subjects, intriguing subtexts and resonant
implications that unfold as the film progresses.
The truth is I went to Istanbul to give a master class and it
was I who learned the most!


ships. I was asking myself questions like, What is the nature of

the family contract that binds us to one another? What are our
obligations to one another? What does it mean to be a father, a
son, a cousin? What is a family legacy and should we embrace
them or escape them?
In the following decade, with The Sweetest Sound (2001)
and Wide Awake (2006), an essay on his life-long obsession
with insomnia, Berliner shifted his focus inwards, looking
more deeply and passionately at himself in order to explore
7 the essence of being human and the complex issues of personal
identity. Along with Berliners exceptional storytelling, his me-
City Edition, which has a surreal montage section near the end ticulous editing is often praised as one of the biggest forces be-
that includes an archival image of a family of four sitting at a hind his ability to create powerful universal messages to which
kitchen table. Juxtaposed between images of a dolphin jump- we can all relate. For Berliner, who directed, produced and
ing out of the water, and a shot of Thomas Edison in his labo- edited most of his films, editing is also a process of discovery
ratory, I had the freedom to choose any image I wanted to help and invention.
shape a montage that ultimately becomes a dream sequence. I When Im working on a film, I dont make distinctions
often ask myself, Why did I use the shot of the family? Look- between roles like producer, director, or editor. Im simply a
ing back now, I see it as a very pure but unconscious gesture in filmmaker. I do what I need to do to make the film as strong as
which I planted a seed to somehow remind myself that I would it can be. I let the film tell me how it wants to be made. I try to
one day need to deal with the painful impact of my parents find the pulse of the film, to feed it, nurture it and then watch
divorce, which had a profound effect on me. it grow. In the end the film is the boss and Im at its service, sur-
Alan Berliner knew that he would one day find an outlet for rendering to the process of its creation and evolution, he says.
expression and mediation. And in 1981, when he serendipi- Berliner claims that his latest film, First Cousin Once Re-
tously found a very large collection of rare 16 mm American moved (2012), a portrait of his friend, mentor and cousin, Ed-
home movies from the 1920s through the 1950s, he seized the win Honig, a poet in his last days, struggling with Alzheimers
opportunity to dig deeper and made The Family Album (1986). disease, was the scariest and the most difficult film hes ever
When I began showing The Family Album at film festivals, made.
I remember answering questions from audiences and journal- I think its a combination of everything Ive ever done.
ists as if I was some kind of an expert on the family. But since It borrows a little bit of something from each of my earlier
the home movie footage and most of the soundtrack in the films, and might be the closest I will ever get to understand-
film was completely anonymous, I didnt feel very comfortable ing human frailty and the poignancy of the human condition.
in that role. And so it didnt take me very long to realize that Theres a raw honesty to it thats quite unsettling.
you cant be an expert on the family, unless youre an expert A ground breaking filmmaker and media artist with incred-
on your own family. ible warmth and energy, Alan Berliner has given us new in-
The desire to explore his own family manifested itself in In- spiration to revisit the ways in which we look at ourselves and
timate Stranger (1991), which he decided to make in 1989, the reality around us, and has convinced us once more of the
using the collected letters, documents and family photographs universality of human nature.
saved by his maternal grandfather, Joseph Cassuto, a Palestin- Asked about his plans following First Cousin Once Removed,
ian Jew raised and educated in Egypt, who worked for the first he doesnt know whats next: I always come upon my next
Japanese company to do business in Egypt. project as a delicate negotiation between fascination and need.
My grandfather had been in the middle of writing his auto- When Im in between films, I want life to throw me around a
biography when he died fifteen years earlier in 1974. Searching little bit, to shake me up, to change the way I look at the world.
in the back of my uncles office, I found 15 dusty and moldy Kind of like what happened in Istanbul!
boxes containing his papers that had been packed up upon To borrow Berliners word,: its never supposed to be easy. _
his death, and decided to open them with an anthropologists
sense of mission and an archaeologists patient care. I wanted to
try and understand not only who my grandfather was, but who
he thought he was, and why he felt it was so important for the ON STORYTELLING
world to know his life story especially when his own children I think all works of art reflect the dance between
didnt think it was all that interesting! revealing and hiding. I feel that Im creating the film
Structured to the rhythms of a typewriter, this was not only as if the characters Im portraying dont belong to me;
a chance for Berliner to learn about his maternal family history, they belong to the viewers.
but also a chance to move though the transition from avant- Im trying to translate the specificity and detail of
garde filmmaking strategies to developing a personal storytell- each story I tell into a universal language and a set
ing style that was moving closer to documentary. of cinematic metaphors that people can take home
In 1996, Berliner made Nobodys Business, reflecting his de- with them. Im not making films out of sentimentality
sire to further explore his family and his complex relationship or revenge, to get even with anyone or to prove a point.
with his reclusive father. Between Family Album, Intimate
Stranger and Nobodys Business, I wanted to make people think Im simply interested in what it means to be human.
more deeply about their families and their own family relation-