Staff Pick Award at Aspen Shortsfest 2022: "The Victorias" by Ethan Fuirst
Most people have heard of the old adage "To be able to truly understand a man, one must walk one mile with him." This year's winner of the Staff Pick Award at Aspen Shortsfest 2022 is a stunning illustration of this saying. "The Victorias" written by Ethan F. Fuirst, chronicles the experiences of seven young people committed to deeply documenting and depicting another's life. The protagonist is a 14 year old Sephardic immigrants who lived in an NYC tenement building in 1916.
The great thing about "The Victorias" is that is holds an eye to current challenges that immigrants continue to face throughout the United States. It also reveals how hard-working people, in 1914 and in 2022, ultimately feel disposable in a volatile capitalist economy.
We asked a few questions from Ethan Fuirst on this multi-layered, smart and compassionate film and got answers that were full of personality and love.
On inspiration:
"I was employed by the Tenement Museum along with the characters of the film while they performed the role of Victoria. While American cinema has a real shortage of films featuring costumes-wearing interpreters who play the part of a fourteen-year-old Sephardic Immigrant, I've did not think I would make an film about"the Vickies" (as they were commonly known in at the Museum). When we all got laid off during the pandemic and I saw an opportunity to explore and preserve the experiences of these people by recording them on camera.
The Vickies are some of the most captivating oral storytellers I've ever met. I knew that if we allowed them to speak without distracting the audience with outside voiceover or title cards We would be able to make an entertaining movie ."
In the film's original appearance design
"Because the film contains 90% interviews, we knew the backgrounds would need to present the subject in a manner which captivated viewers and made each shot stand out. We set up a studio in Greenpoint and filled it up with set designs created by our incredible producer Amber Thrane. In the museum, the Vickies worked in a 1916-set tenement apartment. Amber and I thought up the idea that the background would look like an unconstructed tenement taken from memory instead of being a real reproduction. This is why I allowed an electric lamp within one frame, even though there was no electricity inside the tenement house in 1916. Sue me.
The illustrations were done by Faith Bennett, a very impressive visual artist who had been at the museum along alongside us and also had witnessed the Vickies perform. Her first-hand knowledge of the program elevated the drawings beyond a visual gimmick. I would say to her 'Can you do an image of Victoria in a crowd or group of people?' Faith would send me a sketch and tell me "This is the one I based off of an incident I witnessed in which Victoria request a kid to polish her shoes before a program.' She purchased that degree of affection and detail ."
On getting interviewees to be vulnerable onscreen:
"I am in a somewhat playful manner throughout my day life. The subjects come to know me as a coworker and acquaintance. The task of building their trust was one of convincing them that I'd handle their story with a greater sensitivity than they'd ever seen me display before.
I'm extremely happy with the way the seven Vickies challenged me to consider their roles as subjects, and whether I had already shaped the story before I allowed them to be on camera. They're way too intelligent to commit with the film and not push me a little. That engagement showed the filmmakers that they're taking the film seriously, and also gave me an opportunity to go on Zoom or send a text to show the amount of care I wanted to show to the project.
I used to say that I requested that the participants trust me to 'tell their story' but that suggests that there is a singular truth to their varied experience. It's now clear that I made it clear to the participants to believe in me and let me pick a story. I am convinced that the film we chose to use represents the truth of what the Vickies' experience was however it's not the only way to represent them. There are different films that can be created from the interview footage that would arrive at different, equal truths. Editing documentary footage is as much an act of manipulation as it can be a form of curation.
The work I did directing the film isn't too dissimilar from what they were doing in the role of Victoria Confino. The actors all told a different story and wanted to do right by this person, and also wanted to make sure that we did the right thing for our audience. It was a privilege to work with people who shared the belief that telling stories is never perfect but it's always valuable."
The subject's reaction to the film
"They are aware of it! The feedback I've received has been very positive! Seven subjects show different degree of connection to the project. For some, it was an experience that was therapeutic. Some people did it because why not. It is logical to maintain a healthy level of detachment as you sit and watch the 2 minutes of screentime cherry-picked from an interview that you conducted about the job you had for years.
It's important to note that subjects' opinions about their experiences as Victoria has changed as we've filmed their interview. That shifting perspective is part of the reason the documentary isn't an exact description of their experiences, it's simply a snapshot the memories they had during the interview ."
The ideal target audience lesson:
"I'm inclined to let the film speak for itself because the point of the film is that I created a 15 minute, 9 moving image that is a test of Rorschach for the viewer. However, I'm not ashamed to admit that I have no shame in spoon-feeding.
I hope the audience reconsiders our perception of labor. These performers were so fucking amazing at what they do. With their shows as Victoria They taught that the general public how to appreciate the overlooked human experiences. What would the world look like If the billionaires that sit on the boards of charitable organizations invested in people who value this type job ?"
On advice to aspiring filmmakers:
"I don't want to wish the dream to be a filmmaker on my worst enemy. In fact, Sisyphus did not have to pay for lighting equipment.
But if you too suffer from Filmmaker Syndrome, my advice is to choose projects you'll be proud to have made regardless of whether they turn out to be disasters. With the majority of your collaborators are running relays. For directors, it's necessary to finish the marathon. There are days that you're editing in the dark, the film isn't jiving and you're thinking, "Why did I spend money just to record the subjects on the camera in a static position speaking about an Jewish immigration who lived 100 years ago?" You have to be able to remind yourself, "It's because I love this tale, no matter if the film isn't successful. ."
If anyone has any advice for me regarding ways to help make filmmaking less stressful I'd love to hear it! My doctor prescribed me some medicine, however I would like more assistance ."
And the best answer to the question "What's next?" we've ever seen:
"April 24th marks Barbra Streisand's 80th birthday, this event has affected my daily life. I've been leading an 8-month Barbra Study Group that is in its last section. In addition, I'm hosting a nightclub on Barbra's actual birthday. What makes anyone think about any other thing than Babs at the moment is an absolute mystery to me. ."