“Improvise, an Ethical Necessity”, Masterclass by Nicolas Philibert at 27th TiDF

On Saturday, March 8th, at the Pavlos Zannas theater, the 27th Thessaloniki International Documentary Festival hosted an engaging masterclass featuring esteemed filmmaker Nicolas Philibert, the event’s honored guest, awarded with the Golden Alexander. Recognized as one of the most significant documentarians of our era, Philibert has been distinguised with the Golden Bear, a César Award, and a European Film Academy Award. His masterclass, titled Improvise, an Ethical Necessity shed light on his creative process, emphasizing the importance of authenticity and the observational nature of documentary filmmaking.

Moderator Marco Gastine introduced Philibert, outlining his acclaimed career, which has spanned from the late 1970s to the present. He described Philibert’s work as an in-depth exploration of individuals who exist outside societal norms, capturing both their experiences and his own reflections through film. The discussion itself was structured to reflect Philibert’s spontaneous approach to storytelling.

“When I actually start filming, what I don’t know is where the film will eventually take me. I often tell my students: the film itself will guide you”.

Philibert began by addressing the misconception that fiction and documentary filmmaking are entirely separate. He shared how his passion for cinema initially led him to the industry, and how he later discovered documentary filmmaking, which provided him with a vast creative space to explore reality in numerous ways. Although he does not strongly identify with the label “documentarist,” he acknowledges that it has been an integral part of his career.

When asked about the foundation of his projects, Philibert stressed the significance of a compelling initial idea while embracing the uncertainty of where the film will ultimately lead. He advises filmmakers to allow the narrative to unfold naturally, rather than imposing rigid expectations. In his view, no topic is inherently superior; rather, the quality of a film depends on how it is presented. Using On the Adamant as an example, he explained that it is not just a film about mental health but an intimate portrait of the individuals within that world. He prioritizes immersing himself in his subjects’ lives and fostering genuine relationships built on trust, allowing them to share their realities freely.

Nicolas Philibert during his masterclass at the 27th TiDF.

The conversation also covered Philibert’s careful selection of filming locations, particularly when working in sensitive environments such as psychiatric institutions. He emphasized that a location is not just a setting but a space shaped by the people who inhabit it. His approach varies depending on the project. In To Be and to Have, students quickly became comfortable with the cameras, allowing filming to begin almost immediately. Conversely, for On the Adamant, he took more time to communicate with the individuals involved, ensuring they fully understood the filmmaking process before introducing the camera. He believes that participants should be well informed about the project to make an independent decision about their involvement. Acknowledging the potential discomfort of being filmed, he strives to create a process that feels organic rather than intrusive.

“Behind every location, there is a community of people. It’s extremely important for me to understand how they manage to coexist.”

Discussing the financial challenges of his improvisational approach, Nicolas Philibert explained that he maintains complete transparency with investors, openly acknowledging the risks involved in each project. Instead of making empty promises, he prioritizes building trust with his backers. Regarding the transition to editing, he described it as a natural urge that signals when it is time to stop filming and begin shaping the footage into a cohesive film.

During the masterclass, a sequence from Trilogy for One Man (1987) was shown, depicting a mountaineer risking his life in front of the camera. Philibert used this example to illustrate ethical considerations in documentary filmmaking. He explained that extensive discussions took place before filming to ensure the climber did not feel pressured to take unnecessary risks. He emphasized that the presence of a camera inevitably alters reality, and that filmmakers have a responsibility to their subjects.

On the Adamant (Nicolas Philibert, 2023)

In the Q&A session, Nicolas Philibert reflected on how his background in philosophy has influenced his filmmaking. Though he never completed his degree, his studies broadened his perspective. However, he clarified that his films are not meant to convey rigid philosophical messages. He believes that overemphasizing a specific message can detract from the organic beauty of filmmaking, which thrives on unpredictability and discovery. Sometimes, he only fully understands his motivation for making a film after its completion.

Addressing a question from the previous night’s award ceremony, Philibert commented on the use of fog in On the Adamant. He enjoys concluding his films in an atmosphere of uncertainty, as he finds that knowing the ending in advance diminishes the creative process. This element of unpredictability is one of the reasons he prefers documentary filmmaking over fiction.

“If I knew the final outcome from the very beginning, it would be terribly boring. That’s precisely why I avoid fiction.”

When discussing his relationships with the people in his films, particularly psychiatric patients, Nicolas Philibert explained that he does not concern himself with their medical histories or diagnoses. His focus remains on their human experiences rather than clinical details. Many of the connections he forms extend well beyond the filming process, and he shared a story about how, decades later, individuals from his past projects have reconnected with him. He concluded by stating that documentary filmmaking is an open invitation to the unexpected, offering filmmakers a gateway to profound human connections.

Ultimately, Philibert’s masterclass highlighted the core of his filmmaking philosophy: a commitment to truth, deep observation, and the ethical responsibility of representing reality with sensitivity and sincerity.