Anja Breien, a pioneer among Norwegian female film professionals, and an active long-time veteran of the Norwegian film industry, recently visited Dhaka as the jury of the 14th edition of Dhaka International Film Festival (DIFF). Dhaka Tribune caught up with the prolific filmmaker to learn about her career. Still pretty jovial at 75, Breien began the conversation pointing out that “for the first time she looks older” than her mentor Ingmar Bergman in the giant posters installed at the DIFF venue.
Before starting your career, what really moved you towards filmmaking?
Two of Ingmar Bergman films. The first was Wild Strawberries. I can still remember when it first came out and the moment I was watching the film with my boyfriend who was constantly saying how beautiful Ingrid Thulin was! And the second one was The Seventh Seal. Later, I worked as a script-girl in Det Store Varpet in 1961 and this experience built up the realisation that I shall go to film school to pursue a career. After watching François Truffaut’s The 400 Blows, I was determined about my decision. I learnt French and got a scholarship to study in L’Institut des hautes etudes cinematographiques (IDHEC). In the class, I met Theo Angelopoulos and Jean-Jacques Annaud.
What was more inspirational for you: Bergman or the French New Wave?
Indeed, I studied film in the period of the French New Wave and I was deeply influenced by the cinema movement but it was Ingmar Bergman who was more inspirational, of course. He was a direct mentor to me. During the time of making Games of Love and Loneliness, I had to seek advice from him on how I should proceed with the footage I had. We had several conversations over the telephone and I can recall Sunday was his telephone-day. However, I met him only three times in person.
When Wives came out in 1975, did you plan for a sequel?
No, not at all. You know, when it came out in the 70s there were many debates on women’s issues and the year 1975 was also marked as UN’s International Women’s Year. After the release, Wives garnered attention all over Europe which led to its sequels. Now, I have planned to make the 4th sequel but unfortunately, one of the actors has died. We’ve not decided yet but I’ve already written an opening scene for the fourth. The opening scene should be different, you know, as it would be their last meeting.
Do you think a female filmmaker’s techniques vary from that of a male filmmaker’s?
Perhaps there are differences, but it would be difficult to really pinpoint differences. I have to admit, for me, I am not tempted by manly action films. Somtimes my films may look like any of my masters’ films, those are different in a way. By watching a Theo Angelopoulos film you would easily recognise it. For instance, Games of Love and Loneliness is different than my cheerful comedy Wives. So, perhaps I am a little bit different from myself.
Does the existance of a male dominated film-making industry all over the world bother you?
The cinema is a playground of men, of course, but I am not bothered by this situation at all. In Norwegian film history, we don’t have any golden age like the Danish or Swedish have. But in the 70s, Norway was the perfect ground for female filmmakers.
How do you think the filmmaking industry can be more gender-neutral?
In Norway, women go to cinema as much as men. I reckon the desired conditions would not be acquired from the fight of individuals. Some decisions should be taken by the cultural ministry. For instance, this festival, the DIFF, is a good platform for female filmmakers as it holds a separate section for women and some seminars on women films as well.
What was the last film that really impressed you?
Our Little Sister by Hirokazu Koreeda.
How has your Dhaka visit treated you so far?
So far, I am enjoying everything about this country. I am overly curious about everything. I even liked being stuck in traffic! And interestingly, I got an idea for my next short film. I honestly feel proud about being invited here.