Meet the Filmmakers: Martina Radwan--'Aliens Among Us'

Over the next month, we at IDA will be introducing our community to the filmmakers whose work will be represented in the DocuWeeks^TM Theatrical Documentary Showcase, July 31-August 20 in New York City and Los Angeles. We asked the filmmakers to share the stories behind their films--the inspirations, the challenges and obstacles, the goals and objectives, the reactions to their films so far.

So, to continue this series of conversations, here is Martina Radwan, director/producer of Aliens Among Us.

Synopsis: The war on terror has gone on for over seven years, yet all politics implemented have failed to produce significant results. John Ashcroft's Justice Department designed a registration program for immigrants already in the US, based on their nationality, not on the targeted people's actions. Aliens Among Us describes the lives of these people, who are targeted because they are "different" and therefore a potential danger. The drastic measures are supposed to protect us from them. But where do we draw the line?

IDA: How did you get started in documentary filmmaking?

Martina Radwan: I started out in my native Germany as a camera assistant for feature films and documentaries, at a time when we still used 16mm film for documentaries. I was fascinated by the depth of the stories and characters we filmed, something you would never have access to otherwise. When I started shooting myself, I always wanted to combine the elements of storytelling that I'd learned in feature filmmaking with the observational vérité style of documentary in my films, regardless of the genre.

IDA: What inspired you to make Aliens Among Us?

MR: In the summer of 2003, I read an article in The New York Times reporting on Special Registration, an immigration registration program for people from 25 designated countries. It described the mass flights to Canada of people who didn't want to register and the secret mass deportations of people who did register. It sounded so dramatic and unreal, almost like a bad action movie. I had a hard time believing that something like this could be happening here in the US. I did some research and found out that the world knew about Special Registration, that there was extensive reporting internationally, but very little at a national level. 

Because of my background as a German/Syrian, I've always been interested in the idea of national guilt, but also sensitive towards prejudice. I was saddened to see that the administration alienated exactly the people whom should have drawn closer. Instead of giving Arabs and Muslims a voice, they were portrayed by the media as freaks and people to be feared. Therefore, I wanted to fill the gap, give them a voice to tell the story from their perspective.

The film also gave me the opportunity to use various elements of storytelling. It's a politically motivated film, but the human element of scattered lives is what I am really wanted to portray. So I combined the known faces of politicians with the unknown faces of the people targeted. I used harsh, unflattering newspaper headlines describing entire groups of people and contrasted them with images of domesticity, images we all understand. I wanted to put a light on perception and prejudice.

I always felt that Special Registration was something that we would come to regret with time. But in a time of extreme secrecy surrounding the administration's actions, I wasn't sure if people would ever find out about it.

IDA: What were some of the challenges and obstacles in making this film, and how did you overcome them?

MR: The biggest challenge was to find families who were willing to talk to me. At the time, I was looking for families who had American-born children because they underlined the conflict of deportations at such a high frequency. Many, many families had to choose between losing their husbands and fathers or the country they called home.

Obviously, this made it hard for them to talk to the media, particularly since at the time they were singled out for their origin and religion and portrayed poorly, and they lived in constant fear.

Many civil and human rights organizations, like the ACLU, advocacy groups and grassroots organizations helped me to make contact. After eight months of talking on the phone, I had gained the trust of ten families, six of whom are in the film.

I also knew I couldn't show up with a crew. This is something I never wanted to do, as I am a firm believer in collaboration--more eyes and ears are needed on set. But in this case, I had to do it alone, so as to not overwhelm the characters.

IDA: How did your vision for the film change over the course of the pre-production, production and post-production processes?

MR: At the beginning of production, I focused on families who had American-born children because it underlined the conflict. During the editing process I realized that this would have to be a film on its own, as it is a complex topic that is only partially connected to Special Registration. So I had to let go of the kids altogether. It was particularly hard, as most families agreed to be interviewed because they wanted to tell of the impact of their current situation on their children.

IDA:    As you've screened Aliens Among Us-whether on the festival circuit, or in screening rooms, or in living rooms-how have audiences reacted to the film? What has been most surprising or unexpected about their reactions?

MR: Everywhere we screened, audiences have always been surprised, as 90 percent had never heard of the Special Registration program. The audience is always touched by the characters and their stories--and often outraged. The film animates people to get informed, and on every Q&A I am asked what the average citizen can do.

IDA:  What docs or docmakers have served as inspirations for you?

MR: Of course, I have to mention the Maysles brothers. Salesman is one of my favorite movies ever, as it combines the elements of humanity, dreams, failure and success so beautifully in one character. Their use of vérité cinema is sublime, as we, the audience, feel we are participating, rather then watching. To mention a couple more films, another favorite of mine is Beirut: Last Home Movie, by Jennifer Fox, for the same reasons. I feel I am part of this family, struggling with the absurdity of war. That film is also beautifully photographed. On the Ropes, by Nanette Burstein and Brett Morgan. Movies that have inspired me recently are Taxi to the Dark Side, by Alex Gibney, as it combines style and content beautifully. I was also inspired by a fellow IDA member and long-time collaborator Katja Esson, who screened Ferry Tales, which I shot, at the 2003 DocuWeek. Katja taught me to go out and do it, and not to wait until money is in place or people agree with my idea. If you want do it, you have to get your batteries charged and leave the house.

Aliens Among Us will be screening at the ArcLight Hollywood Cinema in Los Angeles and the IFC Center in New York City.

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