The Jury of the 2013 Tromsø International Film Festival awarded …Even That Void the prestigious Tromsø Palm for “Best Film From The North”, calling it “an excellent example of artistic ambition, brilliant sound design and unconventional narrative. It offers a subtle and also personal approach to the essential questions of mankind.”
Read Port Magazine’s interview with Director Saeed Taji Farouky about …Even That Void, featuring the first three minutes of the film.
“Highly original…I have high expectations for …Even That Void.”
Mikael Opstrup – Head of Stories, European Documentary Network
“Daring, original and stunning…”
Elizabeth Radshaw – Director, Hot Docs Forum & Market
“A wonderful re-invention of the eco genre…gives audiences a new vision and, just maybe, a new understanding of the Arctic wilderness.”
Simon Marriott, Jerwood Prize-winning artist
“…Even That Void looks gorgeous and will resonate with many at a time when the official notion of “environmentalism” as an “ism” is no longer working…The film’s imagined future is dead on and I look forward to seeing what I’m sure will be a brilliant film.”
Maude Barlow – Environmentalist, best-selling author and Chair of Council of Canadians
Michael Marshall Smith (Science Fiction writer, author of Spares)
“The documentary is beautifully shot and ladled with atmospheric images.”
Lucy Morris – Dazed Digital
There Will Be Some Who Will Not Fear Even That Void is an ecological film for the 21st century.
It is a film about the future of our planet that turns the traditional environmental documentary on its head. Rather than looking at our influence on the environment, …Even That Void examines the environment’s influence on us – emotionally, psychologically and ethically. The film suggests that the limits to exploring and dominating nature are no longer technological, but moral. We now have the technology to “conquer” virtually any part of the planet if we want to – the question is no longer “can we” but “should we”?
…Even That Void was shot over a two and a half week sailing voyage on a tall ship carrying twenty artists around Norway’s remote Arctic islands. The documentary chronicles the bizarre, surreal and beautiful work of the artists, living aboard the ship, landing daily and making work in response to the extreme environment and innate poetry of the Arctic landscape. The film’s narration is composed of audio interviews with the artists and the Director’s reading of his lyrical expedition journals.
While the footage is real, the plot – inspired by the other-worldliness of the location and recent events in the Director’s own life – is fictional. The Director imagines the artists as a team of specialists sent on a mission in the near future to rebuild the Arctic environment after it has been decimated by global warming. With no master plan, maps or blueprints, each artist recreates the Arctic of his or her own memories, fears, desires and (flawed) expectations.
The film also features an experimental soundtrack. Under the musical direction of composer Joe Lewis, each track is written and produced by one of Norway’s leading ambient artists, using no sounds other than manipulated and remixed field recordings collected during the expedition by pioneering Australian sound artist Daniel Blinkhorn.
The film follows a typical expedition narrative – a ship sets sail on a hazardous mission with a motley crew of experts. Will they succeed in their mission? Will they return safely? But the standard adventure plot becomes a surreal dream-like futurist fantasy. The sense of wonder at the landscape is balanced by darker contemporary concerns: global warming, the Arctic resource race, the political tension of a militarised Arctic and the disappearance of the last great wilderness.
Ultimately, the film is a love-letter to the Arctic: obsessive, tumultuous, affectionate, heart-breaking. The demise of the Arctic environment is felt as the death of a family member. The title is taken from a letter Johannes Kepler wrote to Galileo Galilei in 1610, musing on the future of space travel. “Provide ship or sails adapted to the heavenly breezes,” Kepler hypothesised, “and there will be some who will not fear even that void.”
The film features the work and contributions of a group of exceptional, international artists, including;
Chantal Bilodeau (Canada / US), Daniel Blinkhorn (Australia), David Bowen (US), W. Benjamin Bray (US), Kevin Cooley (US),Connor Dickie (Canada), Rebecca Hunt (UK), Dawn Johnston (Canada), Yva Jung (South Korea), Nam Le (Australia), Cheryl E. Leonard (US), Marcelo Moscheta (Brazil), Ed Osborn (US), Ian Page (US), Sarah-Jane Pell (Australia), Leticia Ramos(Brazil), Jessica Segall (US), Paul Segers (Netherlands), Oona Stern (US), Wyn-Lyn Tan (Singapore), Renhui Zhao(Singapore)
THE FILMMAKING TEAM
Director & Cinematographer: Saeed Taji Farouky
Producer: Marie-Therese Garvey
co-Producer: John Arvid Berger, Jabfilm (Norway)
Artistic Advisor: Camille Seaman
Editor: Gareth Keogh
Editorial Consultant: Jesper Osmund
Conceived by: Connor Dickie, Sarah Jane Pell, Saeed Taji Farouky
Co-writers: Saeed Taji Farouky, Gareth Keogh, Marie-Therese Garvey
In collaboration with: Anita Doron
Music Supervisor: Joe Lewis
Distributor: DR Sales (Denmark)
Broadcasters: NRK (Norway)
This project is supported by:
The North Norwegian Film Board
The Royal Norwegian Embassy London
Stama outdoor gear
The London International Documentary Festival
Hull Maritime Museum
The Norwegian Club, London