AFI-Discovery Channel SILVERDOCS 2009

“Victory, for those of us born rich, comes easy. For the rest of us, we have to fight.” These indelible words reflect the monumental challenge faced by the Brazilian ballet hopefuls featured in ONLY WHEN I DANCE, director Beadie Finzi’s uplifting tale of two aspiring teenage dancers and their inspirational journey from the favelas of Rio de Janeiro to the highest reaches of international ballet competition. Under the devoted directorship of Mariza Estrella, the Centro de Dança Rio has made it its mission to cultivate dance talent from Rio de Janeiro’s poorest neighborhoods. Among Mariza’s finest pupils are Irlan Santos da Silva and Isabela Coracy, two promising students who find a refuge—and a calling—in dance. To win a place with an established dance company means for them not only a chance at greatness, but also an opportunity to lift their families out of poverty. In the ultra-competitive realm of professional dance, talent alone does not guarantee success. Isabela, struggling with ballet’s seemingly cruel demands for physical perfection, finds that in the complex racial mélange of Brazilian dance, her dark skin is both a novelty and a liability. Irlan, barely managing an hour of school a day between rigorous training sessions, risks losing his professional eligibility due to poor academic performance. Through trials, tears, and some spectacular dance sequences, this memorable account of two gifted performers evokes the undying optimism of youth, taking audiences to that heady space where dreams and reality collide.

Filmmaker Q&A

Introduce yourself:
Beadie Finzi has been working in documentaries since 1994. After making a number of films for UK Broadcasters, Beadie produced UNKNOWN WHITE MALE, a feature documentary about a young amnesiac rediscovering his life that was selected for Sundance and Oscar shortlisted in 2006. 

Beadie went onto direct THE HUNGER SEASON, an emotional essay examining the impact of humanitarian food aid. Filmed in Swaziland in Southern Africa over two years, the film was commissioned by Channel 4, NHK Japan, SBS Australia and YLE Finland. Beadie has just finished shooting and directing ONLY WHEN I DANCE, which charts the story of a two young kids trying to dance their way out of the favelas of Rio and premiered at Tribeca Film Festival in 2009. 

Beadie is also one of the founding directors of the Channel 4 BRITDOC Foundation, a grant giving body that invests in independent documentary filmmakers. 

What inspired this film?   How did you find your subjects?
The idea for this film began to germinate back in 2006. At the time I was working with producer Giorgia Lo Savio developing the idea that in the midst of economic deprivation, of violence, that we could tell a story of hope.  Of courage and creativity against all odds.

We looked at a number of social projects and became fascinated by a little run-down ballet school called Centro de Danca in a northern suburb of Rio.  It was very unusual in that it offered 70 free places every year to kids who could not pay for class. Irlan and Isabella were two such students, then in the final year of the dance school.  And as soon as I laid eyes on them, I knew we had our characters. Not only were they incredibly talented as dancers but both so charismatic and charming. 

What were some of the biggest challenges/surprises?
Rio was a wonderful place to visit but really quite challenging as a filming environment.  You are walking around in what is already a dangerous city with a lot of very expensive equipment and it takes a fair amount of concentration just to keep the crew and kit safe let alone focus on what is going on in the film. 

On top of that we were traveling in and out of the favelas which are some of the most lawless communities on earth.  However with a great deal of negotiation and a fair amount of luck, we did manage to get in and out over the year without encountering real problems. 

The most positive surprise? Working with these two young dancers and their families has been a hugely inspiring experience.  I was impressed every day by their determination, their focus, and the unconditional love of their families. It made me feel anything was possible.

Who are some of your favorite filmmakers?
That’s a tough one. In docs, Jamie J. Johnson and Kim Longinotto. In fiction,  Fernando Meirelles and Almodovar.

What is your all time favorite documentary?
Impossible to answer!  These are a few favorites that have been on my mind recently: 
THE DEVIL & DANIEL JOHNSTON
SOUNDS LIKE TEEN SPIRIT
DEATH OF A PRESIDENT
MANDA BALLA  

What other projects are in the pipeline?
I've put the camera down for this year and am back to my day job at the Channel 4 BRITDOC Foundation, trying to take care of other people’s documentaries. I'll get back in the saddle in 2010. 

Why did you become a filmmaker?
I started working in docs straight out of college and was hooked from the get go. It was so intense a process making a film, giving you the chance to explore so many ideas and meet so many people. 

The very first film I worked on was a documentary about breast cancer.  It was one of the first times that the subject had been explored on public television in the UK. In the process I met some of the bravest women imaginable who had the most heart breaking stories. The film became part of a whole campaign to reform the UK medical system.  It was a very inspiring and emotional first project to be involved in. From that point on I was addicted. 

 What are some of your creative influences?
I am constantly very inspired by all the documentary filmmakers I work with at the BRITDOC Foundation. The process of seeing a film through from first ideas onto the big screen is immensely satisfying and rewarding. 

Did you go to film school?
No, I've learned it all on the Job.  At college I studied Politics, Philosophy and Economics.   

What do you shoot on?
I shoot on many different formats depending on the nature of the film.  This documentary was shot mainly on a Panasonic P2. It was my first experience shooting tapeless.   

What has been the most unexpected thing to happen since taking the film on the festival circuit?
A woman in a Q&A in New York propositioning the lead character Irlan Silva. 

Why did you want to screen your film at SILVERDOCS?
SILVERDOCS is just a great festival - a wonderful opportunity to launch our film to the TV and Film industry.