Gabriel Tejedor: "I’m fascinated by the history of these countries and how people live now, with this heritage"
Pauline NarychkinaCLAPPER: Magnitogorsk is quite a long way away from Switzerland. What attracted you to make a movie about this particular place?
GABRIEL ENVOYE: I discovered this place 15 years ago. I was travelling in Russia, as a backpacker. And I remember that when I arrived in this town, I thought it was hell. On the side of the town was a huge, black and rusted factory: the Kombinat. In the town, it was very noisy and just impossible to breathe. I remembered asking myself: how do people leave here? And the question of how people can live in a very hostile context obsessed me for a long time. Meanwhile, I directed two long feature documentary films about this thematic, in Russia and in Belarus. Finally, 3 years ago, I went back to Magnitogorsk and started the film.
Your previous documentaries are also set in Russia (and Belarus). Do you feel a particular bond with Russia as a country or Eastern Europe in general?
I’ve no particular bond with Eastern Europe or Russia. But I’m fascinated by the history of these countries and how people live now, with this heritage. That’s why, for the past twenty years, I have been regularly travelling to Russia and the former Soviet republics. I have always been interested in the living conditions of social groups and the way they adapt to their surroundings. After studying sociology at university, it made sense to me that I should ask the same questions in my documentary film work. In Kombinat, I wanted to examine once again the human capacity to endure hardship: adapting to a hostile environment (pollution, noise, competitiveness, extremely limited professional options…), to intractable political power, arbitrary rules (cronyism is life in Russia)… But I’m sure we can ask these questions in many different part of the world. I chose eastern Europe.
How did you come across the main characters in the film?
When I decided to make this film, I had the place, but no characters. So I spent 4 weeks in Magnitogorsk, just to meet people: workers of the Kombinat, students, teachers of the university, veterans, Putin’s supporters, ecological activists, officials, journalists… I contacted them and asked if we could have a drink together, to talk. One day I arrived in a yoga school, which brought me finally to a salsa club. It’s where I found my heroes.
Did you have any problems getting access to MMK and how easy/difficult was it to film in this place?
The MMK was quite open. They accepted us in the factory 2 times 4 hours. During this time, they showed us new parts of the Kombinat only. But the site is so gigantic that you can shoot interesting pictures of the factory from the town too. The MMK also introduced us to some workers in order to shoot them, but finally, we selected others.
However, as everything in the town depends on the Kombinat, and as everybody has a relative who works there, we felt an eye on us quite often.
You treat the titular Kombinat as though it was more than just a setting. It has a place with a definite character exerting its influence over the city of Magnitogorsk. What kind of character do you think it is?
It is the patriarch of the town: he gives people food and a roof, he cures you if you’re sick, he gives you hobbies, he teaches you how to read and count, he was fighting during WW2. I don’t know if people love him, but they respect him. And they’re afraid of him.
Many contemporary documentary filmmakers choose to place themselves in their films as well, but you have opted to stay behind the camera. Could you give us some more insight about this philosophy of filmmaking?
For me, it has never been a question. I’m not an actor.
You managed to film your subjects to feel as though they weren’t aware of the camera’s presence. Their conversations and behaviour are incredibly natural. Could you share some details about your process to achieve this kind of tactile realism?
I try to be honest with them: what I want to do, how I see them and the way they live, why I want to shoot them, why I make films…
Then I spend time with my characters: eat with them, go walking, fishing, to bania, talk, drink….
The characters in the film seem to have varied opinions on living in Magnitogorsk. Some would like to leave it behind, some find happiness in there, others rebel. Do you identify with any of these stances?
No, I really understand all the positions. And you never know how you would react if you would really be in a particular situation. For example, when I read a story about a hero who took a risk to help victims, fought for freedom… I think that I would do the same. But honestly would I?
Is there anything you feel you weren’t able (for whatever reason) to include in the film? If so, what was it?
We tried to make a movie with a beginning and an end, with an evolution and resolution for each character. This means that we had to exclude many histories, situations and characters.
Do you have any upcoming projects that you can discuss?
Hmm, I have ideas, but nothing is decided. Maybe this will happen in Eastern Europe…
KOMBINAT made its premiere at the Visions Du Reel 2020 and is currently awaiting an international release. Read CLAPPER’s review.
