Teresa Distelberger's courage documentaries focus on people who recognize problems and take action. In this interview, she tells us about moments of social beauty, about "made in Austria" tackling problems and how she, as a "cheerleader for change", makes heroic things visible and celebrates them.
With films like "The future is better than its reputation" and "Save the village", youhave helped shape a new genre of cinema in Austria: "courage" documentaries. How did this come about?
After my studies and my first attempts at film, I wanted to get out of the observer role and contribute to the kind of world I wanted to live in. In Mexico, I was able to experience what it feels like to live in a matriarchal society. But working in an ecologically oriented company and in a forest kindergarten also had an impact on me at the time. It was a lucky coincidence that led me back to film.
Director Nicole Scherg brought me on board the filming team for the documentary "Life is not a dress rehearsal", about GEA founder Heini Staudinger, which is how I got to know Geyerhalter-Filmproduktion.
After that, film producer Michael Kitzberger really wanted to make an encouraging film with inspiring people. This resulted in "The future is better than its reputation": a joint film project by various directors, whose 'foster mother' I was able to be for several years. Since many people automatically think of problems when they think of the future, we also wanted to show possibilities: for more participation, organic food, social commitment or alternative construction.
Her last documentary film "Save the village" focused on the issue of migration in rural areas.
Here, too, we have taken up the cinematic "basic ingredients" of highlighting a problem and at the same time offering starting points for change. To address upheavals in rural areas and emigration and at the same time show people who are already doing things differently.
In the audience discussions in particular, I realized that it suits me to bring an encouraging voice into an often already pessimistic field of discourse.
Whatmakes your protagonists stand out?
We are always looking for people who radiate a certain naturalness in what they do. You can sense it when people have landed in the right place, where they are using their skills for something that is right for them, but not out of a sense of martyrdom. And that comes across in the films as "grounded encouragement".
You don't see many things either. But there are people who are prepared to do things that are not heroic for what is important to them. It would be a different movie to show people who see themselves as heroes. Our protagonists often don't realize how heroic what they do is. Sometimes I could make a whole movie about individual people.
Whatparticularly memorable moments from your last film projects still resonate with you?
One thing that really impressed me was the story of Fritz Pichler, the mayor of Stanz (Styria). He was just an ordinary citizen and didn't agree with the planned merging of municipalities. In this town, a joint drive arose around this issue. As a result, his citizens' list contested the election for the first time and immediately won a majority and the position of mayor.
The Citizens' List team is implementing great things: an e-call cab and a ride-sharing bench, because the village has poor public transport connections; a forest kindergarten; the revitalization of the village store.
Politics often seems far away and unattainable for normal citizens. And this example makes it clear that things can happen very quickly if there is determination, support, a vision and the right moment.
Do you also encounterattitudes in your work that challenge you?
I am very curious about other realities of life and people who have a completely different attitude to life than me. I like to get involved in a change of perspective. During an audience discussion, however, I was also challenged in this respect, as I had a discussion with a young man who simply didn't want any "Zuagroaste" in his area of emigration. His attitude was: We want to stay among ourselves, even if there are fewer of us. The thought patterns behind this - these thoughts of preservation - often lead to mechanisms of exclusion. The mechanism is the same regardless of whether the newcomer comes from a different village, state, country or continent.
In connection with this, I am also concerned with the topic of borders. How it is said from the privileged position of having been here before: No. That also applies to national politics. I reach my limits with this attitude. I am very concerned about how this harshness comes about, which leaves no room for empathetic humanity. At the same time, I think it's great that my home municipality of Herzogenburg has declared itself a "safe haven" thanks to the NGO "Seebrücke" and is calling on the federal government to be able to take in refugees at a municipal level.
Doyou also address the topic of borders in film?
I was recently in Bosnia as a camerawoman for SOS Balkanroute to produce short films and social media clips. The NGO works with amazing Bosnian women who would be absolutely worth making a movie about.
For example, I remember meeting Dženeta, the head of an aid organization in Tuzla. She looks after people who are resting in abandoned train carriages as they flee. But not only with the obvious necessities of life, such as food, clothing and medical care, but also with conversations at eye level. And with dignity. That is a moment of social beauty.
So the issuesthat currently affect you have a lot to do with social justice?
I am aware of my privileges as a white European woman. I am lucky enough to live in a prosperous, reasonably socially balanced country in times of peace. I was able to benefit from a broad social policy, for example during my studies. There are many things that have come together in my life that have allowed me to flourish.
Which raises the question for me of how I can use these privileges to make these 'self-evident' things possible for even more people. It is important not to lose sight of the framework conditions. Neoliberal policies lead to more and more people coming under pressure, which fuels envy and fears.
How doyou perceive the social impact of your films?
Making a movie is like throwing a stone into the water. The movie is the stone, but what it's really about are the waves. The topic of the movie touches people with varying degrees of intensity: some have participated, others see the movie, read about it or are told about it by others.
When people come together in a place like a movie theater and a discussion takes place afterwards, it has a different potential. The villagers can take the impulses from the film directly into the exchange about their own place.
But I don't like to overestimate my contribution either. What I can do is take something that is there, highlight it and celebrate it, which makes it visible and can also inspire others. People make the change themselves. I am more of an ambassador, or cheerleader for change.
Do you try tolive the social change yourself?
I grew up in a communal housing project as a child and wanted to live like that as an adult too. However, without inherited assets, it seemed unrealistic for me to set up such a project. When a friend of mine found a plot of land for a housing project in St. Andrä-Wördern, I wanted to get involved. On the condition that an 'asset pool' became part of the financing.
The asset pool is a socio-legal innovation from my father, who is actually a lawyer but also describes himself as an incorrigible do-gooder. You can use it as a tool to buy land for free, build energy plants or even set up housing projects.
In this way, investors have already invested around 5 million euros in the 'Auenweide' residential project, which is currently under construction. The asset pool enables us to pay comparatively low rents and alleviates the problem that truly ecological living is currently (still) a luxury.
A future flatmate said: "I think the asset pool is so beautiful". He said it as if he was talking about a picture. "Because it allows people from different financial backgrounds to meet at eye level and creates a social beauty." If capital interests and the desire to build up capital are put on the back burner, buildings can be built much more ecologically, making life in ecological buildings accessible to many more people.
Finally, do you havea movie tip for our readers?
No matter what movie, go to the cinema as soon as you can! When the cinemas are open again, we have to help together, because the next motto is: Save the cinema!
About Teresa Distelberger
Teresa Distelberger is a filmmaker and artist. With films such as "Save the village" and "The future is better than its reputation", she focuses on positive images of the future and stories. In her private life, she is co-founder of the alternatively financed, socio-ecological housing project "Die Auenweide" in St. Andrä-Wördern.
