Why is it important for people outside of Poland to hear these kinds of stories and perspectives?

I believe it is crucial for the entire world to hear the story of the Yezidi genocide. People need to be aware of what happened and how this community was betrayed. Not only were they not helped during the 2014 ISIS attack, but thousands of women and children still remain in ISIS captivity, even 11 years after the initial assault. Hundreds of thousands of people continue to live in tents in displacement camps in Iraq as Internally Displaced People (IDPs). Sinjar remains in ruins, and the survivors are left helpless.

In general, stories from different countries offer valuable insights into universal human experiences and challenges, helping break down barriers and foster empathy. By sharing such stories, we can connect with people from diverse backgrounds, creating greater understanding and shared narratives that transcend borders—and hopefully, bring about change.

What does the responsibility of a documentary filmmaker involve, especially when working with sensitive and painful stories?

Ethics are always important in documentary filmmaking, but in subjects like this, the ethical approach becomes even more crucial. It’s not just about telling a story, but doing so with honesty, respect, and genuine care for the people portrayed in the film. For me, I deeply admire the protagonists—what I can learn from them, their incredible strength and resilience, and the boundless humanity they exhibit. I do not view them as victims, nor do I wish to further victimize them. On the contrary, I am in awe of their strength, perseverance, and kindness. Another key responsibility is, of course, to tell such an important story in the most thoughtful and artistic way possible, as these stories truly deserve the utmost care and attention.

What led you to take on the subject of genocide in your film? Was there a specific moment or encounter that made you feel it was a story you needed to tell?

I was approached with this subject by a journalist friend. At first, I wasn’t sure I would take on this project, as I had just finished my previous film, Something Better to Come, which had taken a huge toll on me due to its long and very difficult production process— a 14-year journey. I didn’t think I would be ready to work on another documentary at that time.

However, I felt compelled to tell this story after hearing firsthand accounts from survivors and reflecting on how such horrors are often unknown and quickly forgotten, while the victims continue to struggle.

And yes, there was one particular moment when I knew I had to make this film: it was when Sakhira shared how her little daughter, Tulai, lost her life. It was impossible not to act, to do whatever I could to make this film. It became a call to give a voice to those who suffered and to ensure the international community understands the atrocities, so that we can prevent such horrors from happening again and help the Yezidi genocide survivors. I felt a profound sense of responsibility to share what I was learning and let the world hear their voices.

This is why I am deeply grateful to the Film O’Clock International Festival for selecting “Angels of Sinjar” and bringing it to your audience.

What does solidarity between members of a documentary film crew mean in practice? How does it show up across different departments during the filmmaking process?

Documentary cinema is a very challenging and demanding form of art. It is crucial to have a dedicated crew on board. The process is often long, difficult, and somewhat lonely, with the crew usually being very small. However, despite the small size of the team, it is through the dedication of all the crew members that we are able to deliver the story to the world. This solidarity, in my experience, comes from a shared understanding of the importance of the story and a strong sense of professionalism.

The filmmaking process is divided into various stages—filming, editing, producing, post production—and at each stage, different crew members come to the forefront, but the underlying spirit of cooperation remains constant. For instance, on my first three trips to Iraq, I was accompanied by a cinematographer. This was invaluable, as the work in such a dangerous location was made more manageable. But it wasn’t about money; it was about helping me tell this important story.

When we moved to editing, my editor, Marcin Kot Bastkowski, spent months working tirelessly to shape and refine the narrative. We faced major challenges as we didn’t speak Kurmanji, the language of the Yezidis we were filming. Due to COVID-19 restrictions, the translator couldn’t come to Poland, and it was impossible to send files to Iraq for translations because the internet was often unreliable or nonexistent. The language itself is rare, with many local dialects, which added another layer of difficulty. But despite all this, we continued to edit and re-edit, trying to capture the essence of the dialogue. It was an incredibly difficult task.

Then there was Piotr Rejmer, who handled postproduction—preparing files and overseeing various technical production issues. His work, while behind the scenes, was immensely important. Along with the colorist, sound designer, and composer, each person gave their best to make this film the best it could be. We were also supported by fantastic commissioning editors from HBO and ZDF/Arte—Hanka Kastelicova, Izabela Łopuch and Olaf Grunert—who were invaluable throughout the process. Additionally, our co-production with Simone Baumann and Saxonia Entertainment, as well as the amazing efforts of Dorota Rozowska, our production manager, and Piotr Polak, our producer, were key to the film’s success.

These six intense years of work involved multiple trips and me spending over half a year in Iraq, often in dangerous locations. Despite the small size of the crew, it was the incredible support and collaboration of all these dedicated professionals that made this film possible. This solidarity—what you’ve described—was essential in accomplishing the task and ensuring that these important stories were told with care and respect. Their professionalism, commitment, and teamwork were truly the backbone of this project.

What is your approach to editing long-term observational material? How much time does editing typically take in your case?
Long-term observational stories are, without a doubt, the most challenging type of films, and editing is the most demanding part of the production process. Editing long-term observational material is an intricate and time-consuming task. In an observational documentary, you don’t really know your story from the outset. While you may have a sense of the topic or subject, you have no idea what the film will ultimately become. You don’t know how the story will unfold over the course of years of filming. Even once you have all the footage, you still don’t know what the film is truly about—you have to discover it through the editing process.

The approach involves carefully reviewing all the footage to identify the most poignant and impactful moments. From those moments, you begin to develop the narrative on the timeline. For me, the editing process is a journey of discovery, where you uncover the thread that ties together the observations into a coherent story. This is the most difficult part of the process—the most demanding, emotionally and intellectually—and physically.

Depending on the project, editing can take several months, but with long-term observational stories, it often takes years. We sift through hours and hours of footage, ensuring every frame is purposeful and contributes meaningfully to the story we want to tell. It’s an extremely challenging process, but it’s also what makes the end result so rewarding.

How do you see the Film O’Clock International Festival supporting the idea of solidarity between different cultures?

I believe these stories told through documentary films are universal, even when they have local roots.

The Film O’Clock International Festival is a wonderful example of how film can unite diverse cultures and foster solidarity. By showcasing films from a wide range of countries and filmmakers, and providing a platform for cross-cultural dialogue, the festival is able to promote understanding and mutual respect. Such initiatives encourage the exchange of ideas, stories, and experiences, creating an environment where people can connect through the shared language of cinema.

Documentary films, in particular, have a unique ability to build bridges between cultures and reinforce the importance of solidarity, respect, and understanding in an increasingly divided world.

Thank you very much!