A Photograph That Inspired a Film: Mother Vera

Alys Tomlinson is a British editorial and fine art documentary photographer based in London. Her accolades include a number of prestigious awards, including the title of the Sony World Photography Awards Photographer of the Year which she received in 2018 for Ex-Voto.

In this interview we chat with Alys and delve into Mother Vera, a recently released documentary co-directed with filmmaker Cécile Embleton that has its roots in the awarded series. The feature film has just been announced as the winner of the BFI London Film Festival's prestigious Grierson Award for Best Documentary.

One of the portraits in your award-winning series Ex-Voto is of Mother Vera - the titular character of your newly released feature documentary. What was it about Mother Vera that inspired you to dig deeper into her story?

From the moment I saw Vera at Grabarka (a pilgrimage site in eastern Poland) I knew I wanted to make a portrait of her. She was enigmatic and had a captivating presence. I led her to an opening in the forest and took four plates (shots) on a large format camera. It was quite nerve-wracking as I knew there was potential to create a strong portrait, and I didn’t want to mess it up! As I focused on the ground glass, I felt a very intense connection and I knew that this young woman had stories to tell. It’s rare for me to have that feeling when taking a photograph, so I felt compelled to find out more about her life and her past.  


As a photographer with many years of experience under your belt, what influenced you to choose film as the medium to expand on the narrative?

I feel, in some ways, that it chose me! Although I’ve been influenced by film and cinematography in the past, I’d never had a burning desire to be a filmmaker. I was given a grant by Sony to make new work using Sony equipment, so decided to try to make a short film about Vera’s life. This led to a much longer, feature-length film as the co-director and I realized that 10 minutes was not enough time to dig deep into her complex story. The initial filming was based on the aesthetic style of Ex-Voto - shot in black and white, slow-paced, and carefully framed and composed.

What were the key differences and challenges between working with the medium of photography versus film, and did any of them surprise you? Has your experience in photography influenced your directorial choices?

The big difference is how expansive film can be. Building a narrative in photography and moving image is very different. You have extra considerations when working in film, including sound, movement and editing, which is a huge part of the process. Film allows you to tell a story through multiple layers, but this also means there are many more factors and elements to work with, and you must rely on a wider team and collaboration.  Sequencing a photographic series is often an instinctive process for me, but working in film requires a narrative arc to be built and a level of continuity to be established. In a sense, you can draw more out of your protagonists through film, they have a direct ‘voice’ that is missing in photography. With that comes a more intense level of responsibility and an acute awareness regarding representation. 

Could you tell us more about your collaboration with filmmaker Cécile Embleton on Mother Vera? How did your perspectives complement each other during the filmmaking process?

I’d known Cécile for a few years. She assisted me for much of Ex-Voto and was with me when we first met Vera. She’s an accomplished and talented filmmaker in her own right, so it felt natural to collaborate on the film together as co-directors. She has much more experience working in film, so I was continually learning from her. Cécile is interested in creating an immersive filmmaking experience, whereas I am more of an observer when filming. This means that some shots are very slow and studied, while others are more fluid and handheld to bring you closer to the characters. We did the film’s cinematography together, sometimes with one camera and occasionally working simultaneously with two. We are both interested in delving into complex aspects of the human condition and were aligned in wanting to create a film that was visually stimulating and beautiful, but that also did justice and gave space to Vera’s amazing story.

Mother Vera takes the viewer on an incredibly beautiful visual journey that follows a fascinating character. There were moments when I became so immersed in the story’s visuals that I forgot I was watching a documentary. How much planning went into the composition of the shots? Did you ever have to reshoot scenes or guide dialogue, or was most of it shot in a fly-on-the-wall style?

Most of the film is shot from an observational viewpoint as events unfolded around us. We spent many weeks in the convent in Belarus, so began to understand the routines and rituals of monastery life. A couple of scenes were re-shot (for instance the opening cloak scene) but it isn‘t a conventional documentary with interviews to camera. Sometimes, it feels like you are watching a piece of fiction with the dramatic landscapes and elaborate group scenes. Vera’s narration forms the backbone of the story, but with most of the dialogue and talking (such as the big meeting with the men in rehabilitation) we were documenting issues being discussed anyway, regardless of our presence. We would occasionally encourage a conversation, but the majority of what you hear and see is unprompted and un-scripted. We worked with ideas and themes, but did not have a written script.

The majority of the film is in black-and-white, which helps to emphasise its cerebral and atmospheric tone. What led you to choose this visual style, and how does it reflect the themes of the film?

It was a very clear decision for me, as the film is an extension of the Ex-Voto project, which was shot entirely in black and white. There is an abstractedness to monochrome, it can feel like you are stepping into another world or a different era. I ‘saw’ it in black and white while I was filming, I never really experienced my time in the convent in colour. The black-and-white also emphasizes the strict discipline and ascetic lifestyle but also the possibility of transcendence and spiritual freedom. I find a purity to black and white, there are less distractions, and I feel it allows you to be more present in the moment.

Are you planning to continue your filmmaking practice and are you working on any other projects at the moment?

I am currently working on a photography project in Napoli, Italy, which is based on luck, dreams and superstition. Mother Vera took six years from start to finish and it was very difficult to find funding, so that is one major challenge of filmmaking. I think to make another film, it would take meeting an exceptional person whom I had an urge and desire to find out more about. My photography is often character driven and this has continued with Mother Vera.

MOTHER VERA (dir. Cécile Embleton, Alys Tomlinson)

Synopsis
In a hidden Orthodox monastery in Belarus, MOTHER VERA weaves the inner world of an unorthodox young nun with the community that saved her life. After 20 years as a monastic, Vera faces deep inner conflict. Now, she must confront her past and trust her instincts to find the liberation she desires.

Upcoming screenings:

Cambridge Film Festival 2024
26th October, 13:20 Arts Picturehouse
29th October, 16:15 Arts Picturehouse

Central Scotland Documentary Festival
Macrobert Arts Centre, University of Sterling
2nd November, 7.30pm

Cork International Film Festival 2024
14th November, 17:00 The Arc Cinema

CINECITY, Brighton 2024
9th November, 16:00 Duke of Yorks

Festival dei Popoli, Florence, 2024
International competition
5th November, 16:15 Cinema La Compagnia

Gijon International Film Festival, Spain, 2024
18th November

Noordelijk Film Festival, Netherlands, 2024
14th November, 11:15 Slieker Film Roze Zaal
15th November, 19:00 Slieker Film Roze Zaal
17th November, 17:00 Pathé Zaal 2

Learn more about Mother Vera.

Alys Tomlinson
Website
Instagram