Skip to main content

Documentary Film: WAVES OF COMPASSION

 Laying down ones life for another has more meaning than just dying, it also means to understand, to show up, to stand with, and to reach out. Covid-19 put us in unprecedented times. Nobody had all the answers or supplies. With muster-seed faith they began with what they had, may be only a few loaves, but, what happened next is a miracle.

Compassion and generosity of people during the pandemic, Film
Covid -19

WAVES OF COMPASSION is a documentary short film shot during the first wave of Covid-19 in India. Here I break down its process and narrative style.

Watch the film here: Waves of Compassion 

In the thick of the first wave of covid-19 I was asked by the CRI, Bangalore, to make a documentary film on their involvement with the Pandemic emergency. It meant visiting six plus shelter camps, visiting food Kichens and distribution chains, from the heart of the city to the very end of the suburbs. It would also mean coming in direct contact with a lot of people.

I agreed. I began with the first day, almost fully covered, when I returned home in the evening, before meeting anybody, got rid of the masks I was wearing, washed the clothes I was wearing, had a thorough bath. Then it became a routine for a few days, documented the city that came to a complete halt, hopped into various food delivery vehicles, met key people who were involved, and filmed whatever came on my way: long queue of the migrant workers at railway stations to the heavy rains in the evening.

I ended up shooting almost 5 hours of footage, which included the various covid outreach activities, interviews of key people, and the entire migrant struggle to return home (migrant struggle is not included in this film). After most shoot had finished, I sat down to compose the narration. Got it recorded. Then began the editing of the film. Meanwhile I got the background music designed and recorded.


UNDERSTANDING DOCUMENTARY FILMS

Finding Story In The Edit

For documentary films, one must begin with passion and knowledge of the subject and happenings. Then you just go out and shoot footage as it happens. The writing process in documentary often happens before or with the edit.

What is the structure of a documentary? Does it have a three-act structure? You have to have structure for documentaries too. It must have a beginning, middle and an end. The rushes become your raw material. This is where you measure them against dramatic criteria. This is where the sifting, eliminating and rearranging process begins. It’s here that you’ll need to work out the story development and find the right dramatic structure for your documentary film.

Those essential elements (story, conflict, structure and characters) are the elements that will provide the framework for your film. Without these, it will be difficult to maintain the interest of an audience.

Conflict In Documentaries

You can’t manufacture conflict in a documentary, but if there isn’t any in your story, you probably don’t have a film. Put simply, conflict is the thing that stands between your character(s) and their goal(s). in this case the conflict I found was more internal: people with need, people with doubt as to what should be done, etc.

Structure In Documentaries

Often real life doesn’t fit into a classic ‘Hero’s journey’ structure. But the basic three-act structure will apply to documentary as they do to drama.

Act 1: Sets up the premise. Who are the main characters and what problems do they face? What stands between them and their goal? Here it is the pandemic and enormous people to be cared for at the face of a highly contagious illness.

Act 2: This is where your character(s) fight to achieve their goal. Complications set in and things get messy. Problems compound and your character(s) is put under pressure.

Act 3: This is where your story finds a resolution. Your character either achieves their goal or fails and hopefully has changed or transformed in some way as a result of the events around, or journey.

Characters in Documentaries

Even if the film is about an idea or a place – it will always need a character to take us on that journey. This may be a community of people, or individuals who are strong about the goal and is prepared to be filmed.

Creating Interesting Frames And Inspiring Analogies

Though in a documentary, one has the liberty to compromise on the quality of production, noting like good shots. Have inspiring poems, analogies, and little stories (here I have made use of analogies)


The script of the Narration of this documentary film


WHEN I HAD COVID, YOU PROVIDED FOR ME

Covid-19 landed on Indian soil as swiftly as anywhere else in the world. It was an unprecedented outbreak in our times. And soon enough it arrived in Bengaluru. The nation went into a complete lockdown from 25th March 2020 onwards. Fear, anxiety and uncertainty were palpable in the air. The world had to cover its face with masks, but, it was time for the religious of Bengaluru to show to the world the compassionate face of their God. Or perhaps, they see the suffering face of Jesus in every Covid affected person, especially, the poor and the migrants. The religious quickly responded by providing the most basic needs- food, shelter and clothing. They, of course, did not have all the answers and all the supplies, they still don’t. With muster-seed faith they began with what they had, may be only a few loaves, but what happened next is a miracle.

Laying down ones life for another has more meaning than just dying, it also means to understand, to show up, to stand with, and to reach out.

Charity begins at home; and with what we have at home. Many religious began with what they had. Their farm and dairy products were given away to people in need. People and communities dug deep into their resources -home kitchenettes and community kitchens sprang up serving hot meals to those who had no access to food.

Shelter Homes

The city, as also the rest of the nation, woke up to the crude reality of stranded migrant labourers. They build our cities, our roads, our houses, but they had no place to shelter. The government, the police, and concerned people looked out for solutions. It was time for religious to look within.

The Archdiocese of Bengaluru and CRI Bengaluru have generously supported the temporary shelters operated by Dream India Network and Impact India Consortium. From bedding to food, everything had to be sourced, not for a day or two, but for an indefinite period. The end is still not in sight. These shelters went much beyond lodge and food. They also provided tools for inner strengthening.

Packed Food Distribution

Phone calls, request letters, to known and unknown contacts; and tapping government and other sources the CRI Bengaluru, covid outreach, expanded and swelled.  Supplies came in.  The task was to meet demand with supplies. That meant a new set of challenges of mobilising and logistics.

Food packets in enormous numbers were gathered from those who had money and a large heart to share. Vehicles and volunteers lined up, got their share of food packets, then began the ever expanding distribution chain; some served it to the shelter homes and to the poor of the city.

And others, leaving the city and commercial centres, went to the suburbs. Food-packets were re-distributed to smaller divisions to more volunteers; and they reached food to the migrants and pavement dwellers, and to houses in the peripheries of Bengaluru.

Collaboration

Covid 19 has brought all, religious and lay, to work in collaboration, putting aside their differences and areas of ministries. At these difficult times, all, braced with Christian kindness are united for a single cause.

Dry Food Kits

Thoughtful of the anxiety and stress any family gets under when there is nothing at home for the next meal, one constant item most religious kept providing for the poor and the migrants is dry-food-kit, with necessary provisions. That surely gives families a little sense of security.

Impact Level

Finer Sensitivity, larger imagination, and bigger commitment can definitely make this world a better place even when it’s hit by a devastating pandemic. The statistics proves it unambiguously. The Jesuits and their associates have already reached out to 60,000 and more families, the diocese of Bengaluru reaches out to 6 districts in Karnataka, with special focus on the socially and economically marginalised.  The CRI Bengaluru with its around 250 congregations spread all across, are making waves of kindness in big and small ways in every little neighbourhood. And, it’s a work in progress. 

Inspirational Analogy

When I had Covid, you provided for me, said Jesus. But Jesus, when did WE find you with Covid? Jesus says, Truly, I say to you, whenever you do this to one of the least of my sisters and brothers you do it to me. Yes. In the book of life the answers are in the beginning.

A million are in need, may be food, shelter, clothing, counselling, and care

Where can we continue to find resources? Jesus asks us, ‘what do you have with you?’ There stands up a religious, I have hands to work; There shows up an NGO, we have structures and spaces; Yet again there shows up an anonymous lay person who has a vehicle; A business-person stands up saying, I have money to spare. The hands are going up.

The numbers of those in need are increasing, so are the numbers of those ready to help. Yes. Miracles will continue.

Comments

Popular posts from this blog

Visual Analysis: SEMIOTICS

 Visual analysis is a systematic and scientific approach to examining visual materials that goes far beyond casual observation.  In our visually saturated world, images have become a inescapable universal language that shapes our perceptions, attitudes, and experiences. From the artworks adorning gallery walls to the advertisements lining city streets, visuals communicate narratives, evoke emotions, and reflect sociocultural ideologies. However, the process of seeing and interpreting visuals is not as spontaneous or natural as we often assume. As John Berger notably stated, "seeing is an active decision," suggesting that the process of interpreting visuals is neither spontaneous nor natural, but rather requires conscious effort and critical thinking. The way we perceive and interpret visual content is heavily influenced by habits, conventions, and our individual perspectives.  Serious visual analyses requires conscious effort and critical analysis to unravel the laye...

A Critical Visual Analysis of Jan Banning's ‘Bureaucratics’

 Jan Banning's photographic series Bureaucratics offers a remarkable anthropological study of civil servants across eight countries, revealing how power, hierarchy, and cultural identity manifest in governmental spaces. Through meticulously composed photographs taken from a citizen's perspective, Banning unveils the theatre of bureaucracy the most immediate visual impact comes from Banning's consistent methodology: each photograph is taken from the same height and distance, positioning the viewer in the role of a citizen approaching the bureaucrat's desk. The bureaucrats are photographed in their natural habitat – their offices – which become stages where power dynamics and cultural values are performed daily. Make visual analysis of  Bureaucratics  by Jan Banning given below. Bureaucratics by Jan Banning PDF  (for academic use only) In examining the spatial arrangements, a clear pattern emerges: the desk serves as both barrier and symbol of authority. In many image...

Sigmund Freud on Creative Writing and Day-Dreaming

 Freud in his essay, Creative Writers and Day-Dreaming, explores the psychological origins of artistic creativity and the impact of literature on readers. He draws parallels between the imaginative activity of creative writers and the day-dreaming of ordinary people. It is a discussion about the relationship between creative art and unconscious phantasy. In it, Freud talks about the role of daydreaming and fantasy in human behaviour, and how creative writers are able to express their daydreams without shame or self-reproach. Read the essay below (for academic use only) Creative Writers and Day Dreaming PDF Freud argues that the child's play and the adult's phantasies/daydreams share a common element—the desire to alter an unsatisfactory reality and fulfil unfulfilled wishes. The creative writer is like a successful daydreamer who is able to transform their private fantasies into works that provide pleasure to the audience. Freud suggests that the writer's choice of subject...

Sound Recording for Films: A Crucial Element of Cinematic Storytelling

 Sound recording is a fundamental aspect of filmmaking that significantly contributes to the overall cinematic experience. It is the process of capturing and recording audio elements that complement the on-screen visuals. These audio elements form the foundation for creating an immersive auditory experience that enhances the film's storytelling and emotional impact. Study the PDF below (for academic use only) Sound Recording for Films PDF The components of a film's soundscape are diverse and multifaceted. They include dialogues , which are the actors' spoken lines recorded on set or dubbed later; Foley sounds, which represent the actors' interactions with their surroundings and add authenticity to scenes; ambient sound, which creates a subtle background soundscape to transport the audience to the film's environment; music or score, which evokes emotion and enhances the narrative; and sound effects , which augment the film's realism and atmosphere. To capture ...

The Evolution of Art Styles Through History

 The journey of human artistic expression spans millennia, evolving from primitive cave paintings to today's digital creations and conceptual installations. This evolution reflects not just changing techniques and materials, but also the transforming human consciousness, societal values, and technological capabilities across different eras. Study the PDF below (for academic use only) Evolution of Art PDF Prehistoric Era (Before 8th Century BCE): The dawn of human artistic expression began in prehistoric times, characterised by raw, primal representations of daily life, hunting scenes, and spiritual beliefs. Cave paintings and rock art served as humanity's first canvas, using natural pigments to capture the essence of their existence. These early artists laid the foundation for all future artistic expression, demonstrating humanity's inherent need to create and communicate through visual means. Classical Period (8th Century BCE - 5th Century CE) : The Classical period, domi...

Photojournalists Covering Traumatic Events

 The article, The difficulty of documenting a tragedy, discusses the challenges photojournalists face when covering tragedies and disasters. The author, Thulasi Kakkat, notes that most journalists have no training in saving lives or rescuing people during emergencies. Yet they are compelled to rush to the scene of accidents and calamities to document the events unfolding. At the site of a disaster, a photojournalist is expected to remain objective and convey the reality of the situation through images, even though they may be confronted with disturbing and emotional scenes. The article cites the example of a photojournalist who covered a building collapse in Kerala, India, where several construction workers were trapped and injured. The journalist wanted to get an image of the workers caught under the debris, but felt conflicted about his responsibility to simply document versus intervene to help. Kevin Carter lived this conflict. His photograph of a dying child, The Vulture and t...

Left, Right, Centre, and Gandhiji

 Every politician, when he leaves office, ought to go straight to jail and serve his time, thus goes an American folk saying. Politics and politicians have come to be synonymous with dishonesty, favouritism, and corruption. This perhaps is the underlying reasoning for many good and competent people to stay away from active politics; and many corrupt and incompetent people to get attracted to active politics. The good people’s silence and inaction make it easy for the wicked people to fill the world with their opinions, lies, and propaganda; and establish their agendas and actions as normal and standard. For Gandhi, being political was not a choice, but an imperative. He famously said, “Anyone who says they are not interested in politics is like a drowning man who insists he is not interested in water.” Gandhi returned to India on 19 December 1914, after his sojourn in England and South Africa, as quite a matured man of forty-five, having seen the worlds of exploiters and the exploi...