At the 2009 festival, I was also able to attend the second panel called “Creating the Alternative: a Conversation with Four Directors.” I enjoyed this panel so much because the directors came through as very accessible and down-to-earth.

Moderator Jason Silverman asked the panelists why they make films and Georgina Lightning’s response pulled me in right away. Although her father was not the type to wear his emotions on his sleeves, she was deeply impressed when one night, a movie was able to stir his emotions to the point that he teared up. The power that film had on him and the potential it had to tap into human emotions was a huge influence on her decision to become a filmmaker. Her reply was particularly poigniant since Lightning’s father committed suicide when she was 18.

Chris Eyre’s answer was similarly personal. He noted that because he had not grown up with his biological parents, the reunion was a big theme in his films. (I understood this to mean that he became a director, in part, as a way for him to effect that reunion with his blood relatives in many ways through his films). When asked about the differences between mainstream and independent or native film, Eyre (Cheynne/Arapaho) noted, “our work is about personal things.” He told an anecdote (which it seemed he might not appreciate being repeated so I won’t) about mainstream actors feeling unchallenged and forceably (perhaps sadly) creating situations that would personally challenge them.

Sterlin Harjo’s response made me break out into a big grin. I can’t actually remember his response to the question but I can remember him saying that he is actually okay with people bootlegging his film because he won’t make money off of it anyway.  Success is not predominantly measured on an economic scale. When asked if the stakes are high for him, his reply was similary laid back and indicative of a different type of worldview. “My grandmother’s proud of me,” he said. And, after all, isn’t that what really counts?

When Silverman asked if the directors are trying to present counternarratives, Harjo (Seminole/Creek) said that if he did that, he would be taking someone else’s interpretation of him and responding to them. (I was glad he said that because I was just writing a paper about native dress and made a similar point about how too much emphasis is placed on counternarratives rather than different starting points.) I first heard about Harjo’s film Barking Water during that panel. I looked it up online and it doesn’t appear to be for sale yet and since I’m not into bootlegging — although your dubious permission is appreciated, Mr. Harjo : ) — I’m glad they’re screening it at the NMAI this coming Thursday. I worked extra hours last week so that I could take off early to see it! Harjo and one of the producrs will be there, too, which is cool because I really enjoyed his down-to-earth take on things.

Harjo and Lightning (Cree) both noted being nervous when their films were screened for their own communities. I was too shy to ask but I wondered how this differs from the experience of Eyre whose movie, Smoke Signals, reached a mainstream audience.

Pavel Rodríguez, who is P’urhepecha, noted that in Mexico, the films natives make are usually communal efforts. Even though his name is the one listed in the credits as director, the effort is communal one. The films are made with the tools available and not for a film industry. While researching for my paper, I found out that this is one of the reasons it is difficult for libraries to acquire these videos and films for our collections. Figuring out remuneration for an entire community and distributing is not so easy as it is with American (as in U.S.) films that are sold within an economic framework that is similar to mainstream movies.