| In Conversation with Filmmakers

In Conversation with Begonia Randhav





What inspired you to make this film? (“The way home” 2015, Sweden, Begonia Randhav)
My parents were refugees and I’ve worked a lot with unaccompanied refugee minors as well. It’s hard not to get affected by everything that’s happening in the world. I wanted to show the consequences of war, the humanitarian crisis and a family bond put to test during an escape from war.

What do you want American audiences to know about this film or about the subject matter?
Don’t fear the migration. Fear the reason why people have to flee for their lives. The last time the world met this number of refugees was after WW2, when nations came together to create the United Nations and the declaration of human rights. Today, partly in response to this humanitarian crisis we’re seeing a rising intolerance & xenophobia, where countries almost compete to be the toughest to protect themselves from refugees and even bargain deals with countries to take on the “burden” of hosting these people. 65 million people around the world are displaced. That’s 65 million who will most likely never be able to return back to their homes. Escaping our international responsibilities & duty as fellow global citizen and human beings is not going to solve this crisis. Quite on the contrary, it’s only going to result in an even bigger crisis. It seems as if the world has confused isolation with strength, where polarization is slowly becoming the new norm. But we have to remember that an unstable world is an unsafe world for all.

Is it difficult to make films in your home country? Why or why not?
Sure, it can be hard to make films without any finances what so ever. But I’m incredibly aware of the societal structures and power relations. I believe that all of us are affected by the norms that surround us. I’m convinced that a pen and paper can change everything, especially when the camera is my weapon. My ambition is to break stereotypes and free society from homo- and transphobic, racist and sexist elements.

“December 2016”