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Filmmaker​ Strives⁢ for ‌Raw, ​Respectful Portrayals of⁣ Disability, Navigates Funding⁣ & Family Trust

Brussels -⁣ Documentary filmmaker Sophie Marie harel discusses the challenges ‌and rewards‍ of creating intimate films centered ⁢on disability, emphasizing⁢ the lengthy process of‍ building trust⁣ with families ‌and the difficulties in securing funding for such projects. Harel’s work prioritizes a “height of eyes” viewpoint, aiming for raw and respectful ​representation.

She recounts‌ a painful experience where a single-parent family withdrew from a three-month filming project during post-production, fearing negative judgment from ⁢neighbors regarding ‌their son’s behavioral challenges⁣ linked to ⁢his disability. “It was a blow,” Harel admits, “But I understand that families, already weakened by their daily life, ⁢wish to protect themselves.”

Despite these hurdles, ​Harel ‍notes her films have consistently ⁣received funding and positive reception from selection ⁢committees, describing them as “my babies.” ‍She values⁣ festivals like The Extraordinary Film Festival⁢ for their quality selection and broad audience reach, ⁢contrasting them with ‍events ​limited to⁢ those directly affected⁤ by the subject ​matter.

Harel also acknowledges a ‍competitive landscape ⁢within documentary filmmaking, lamenting a lack of support ‍and solidarity ‌among​ filmmakers, while praising the strong community among parents of ​disabled children.

Her current ‌project, ​ Mister Jack’s ‌Extraordinary Trip, co-produced by Art and RTBF, is a docu-fiction detailing a journey with her ‍son, Jack, ​from Brussels to ⁣Paris.⁤ Harel describes the experience as empowering for Jack,who⁣ participated by “playing”‌ scenes and reciting‍ lines,gaining an understanding ​of filmmaking in‍ the process. She hopes it will “open doors” for him and other ‍children with ⁢disabilities, believing their unique perspectives are valuable. She cites the​ Papotin interviews as an ⁢example of the ⁢power ​of these voices.