Kicking + Screening Soccer Film Festival

Kicking + Chatting: A conversation with Nick Lewis, director of "Rise & Shine: The Jay DeMerit Story"

by Noah Davis, K+S 

Jay DeMerit left Wisconsin with $1,800 and a dream.

By soccer standards, it wasn’t a unique dream: Like millions of boys around the world, he wanted to play professional soccer in England.

But the path DeMerit took was definitely the one less traveled. Eventually, though, he found himself not only earning a paycheck as a player in England, but also starting for the United States national team in the World Cup. Along the way, he made 40 pounds per week in a pub league, crashed in the attic of his friend's mother's house, and scored one of the most important goals in the history of Watford. 

Amateur filmmakers Nick Lewis and Ranko Tutulugdzija made Rise & Shine: The Jay DeMerit Story to tell this incredible American story. 

Kicking + Screening: The average American soccer fan is at least vaguely aware of Jay's trails and tribulations, so you're not dealing with an unknown story. How does that change the filming and editing process? 

Nick Lewis: One thing Ranko and I really wanted to do was document Jay's story from the people who actually lived it. We went and spoke with people he grew up with, who coached him in high school, the family he lived with in England, his professional coaches, and national team players. For us, we were honestly blown away by how powerful the story was as we dug deeper and deeper into it. So to answer the question, while people may be familiar with the story, hearing it firsthand puts it into perspective and really gives someone the "full" story.   

There were many things that we were not aware of when we started filming. As we filmed more and more we realized just how unique of a story it is; it really is a once-in-a-lifetime story. Editing-wise, we just tried to capture it in a way that didn't need too much narration as it was being told by the characters who lived it. And we hope the way it was told gets more people to learn about Jay's incredible story! 

K+S: One of the lessons of Jay's story is "it takes a village." Jay certainly worked his butt off, but he'd be the first to tell you he wouldn't have gotten anywhere without his family and friends. In some ways, that mirrors your attempts to get the film distributed, such as your Kickstarter campaign. The soccer community is rallying around it. 

Lewis: Yes, there are definite similarities. Ranko and I both do not have a background in filmmaking. We had a director lined up who at the last minute had to drop out due to family issues. So we had a big decision to make: do it ourselves or let the film fail. Like Jay, we just went for it.   

We learned as we went and didn't let people saying "no" stop it. Jay loves the fact that the film was made like this; in fact, I don't think he would have it any other way. We are working hard to get the film distributed to a wide audience, as it really is a story that needs to be told. 

K+S: What do you know now that you wish you had known when you started out with the process?

Lewis: Planning a bit more prior to each trip we took (to film) would have been ideal. Also, having a full budget accounted for prior to beginning filming. But if we had done it that way there would have been no film! I think our lack of knowledge of the film industry was a blessing in disguise as we didn't follow any traditional structure. We thought outside the box so to speak and it worked, thankfully.  

K+S: It sounds like you spent a lot of time convincing each other the idea could work. What was the moment during filming where you thought, "Wow, this film is actually going to come together?"

Lewis: When we got on the plane to do our first interviews in Green Bay (Jay's hometown), we had no idea what was going to happen. We were nervous and a few days prior didn't even know if we were going to go. However, our cinematographer Zach Salsman helped convince us that we could do it. We shot for four days in Green Bay and came back and were happy with what we got. 

Then just prior to going to London the volcanoes started erupting over Iceland. This was Jay's last time at Watford and last home game. If we didn't make our trip we would have never been able to capture the footage. Flights were being cancelled left and right. We were literally one of the first few flights to make it to London after the ashes cleared. Things were absolutely amazing in London. We got incredible footage of the city as well as interviews with professional coaches, players, and fans. Everyone was articulate and cared about Jay's story. I think when we got back from London that was the moment!

K+S: Is Jay an example of nice guys finishing first?

Lewis: He wouldn't say so. Jay is a very nice and humble guy until you get on the field with him. Then all bets are off!

Honestly, though, he deserves all of the success he has gotten. He had to earn it, and I think that is maybe why he is considered "nice." Because he appreciates where he is, he has seen both sides of it. He is definitely enjoying the ride and taking things as they come. That has made him a lot more humble than the average footballer. Throughout the process we were told by almost everyone we interviewed how down to earth Jay was. This continued through our fundraising efforts as people told us they have met Jay and were struck by how down to earth he was.  

Rise & Shine: The Jay DeMerit Story screens Sunday, September 25, at the Everyman Cinema in Hampstead.

BUY TICKETS NOW!

Kicking + Chatting: Behind the scenes with Daniel Gordon, director of "Match 64"

by Noah Davis

Daniel Gordon's Match 64 boasts amazing access to the final of the 2010 FIFA World Cup. Seriously amazing.

The footage follows the Spanish and Dutch players as they prepare for the biggest game of their lives, as well as FIFA executives and South African VIPs.

It is as intimate a portrayal of a match watched by billions as you’ll ever see.

The film will make its world premiere at K+S on Saturday, July 23. (Buy tickets.)

Gordon, whose film The Game of Their Lives screened at K+S 2010, chatted with K+S about making the movie, working for FIFA, and filming the "bloody cold" final match. 

Kicking + Screening: The screening at K+S will mark the world premiere of Match 64. Are you excited? Nervous Happy it's almost over? 

Daniel Gordon: Tremendously excited. The Game of Their Lives closed last year’s festival, and it was a fantastic event, beyond my expectations. At that time I was embarking on filming, and I wondered how the film would turn out and whether or not I would be back at K+S — and here I am! 

K+S: Match 64 is a complex film with a lot of different characters and storylines. Did you have an idea of how it was going to turn out when you started filming or did the plot develop afterward when you looked at what you had filmed?

Gordon: A bit of both really. I had an overview that I wanted to capture certain characters, both those involved directly (players, managers, match officials) and indirectly (off the field, behind the scenes, and elsewhere). The trick was finding the characters—hard work—working out the story —even harder—and then letting the day unfold in a way over which you have no control—don’t even try! 

K+S: Match 64 is an official FIFA production. How did that alter the filmmaking?

Gordon: On the plus side, it meant we had access to all areas. You can’t beat that. We also had all the expertise of the people who work for FIFA on a media level and have done for years and years. We were at least viewed within this mass machinery as on the inside, although I think our demeanor gave us away as outsiders!

On another level, it meant that FIFA had the final say, so some interesting bits had to come out, such as the referee talking about specific incidents and justifying decisions, which is against protocol. However, they allowed us to keep the moment when someone ran on the pitch before kickoff and also allowed a lot of the referee in, which is unprecedented. 

K+S: Very few of us get to attend the final. What is it like to work at one?

Gordon: Firstly, bloody cold. Even from me, who lives in Sheffield, in northern England. The trouble with working at an event like this is that it is just that — work. It’s not laugh-a-minute. There are some shots of me and my cameraman behind the goal from the broadcast footage and we look miserable! And also, once we’d committed to being at one place, we had to stay there for the whole game. So I could talk to my other cameramen around the ground and their producers, and ensure we were getting good footage, but I could not physically go and see them.

K+S: What would you do differently if you get to make Match 64 for the 2014 World Cup in Brazil?

Gordon: Quite a lot. I would insist on more practical resources being at my disposal and backed up by a more realistic budget. I would be there for longer, have my own crews on the ground, have my own fully functional edit suite on the ground. Basically, I had to do an awful lot of this on my own, which meant 20-hour days for the period I was there and a lot of time spent working on logistics rather than on editorial.

But give me a chance: I’ll be there in a flash!

Click here for more info on Match 64. Buy tickets here.

K+S Exclusive: Shooting the (Red) Bull with Thierry Henry

Magnifique. That's the only word that adequately describes Thierry Henry's career. Actually, it's the only word that adequately describes Thierry Henry.

Smooth on and off the field, the French striker is a legend in his own time. Whether leading Arsenal to the EPL title, FC Barcelona to the Champions League title, or the French national team to the World Cup title, he has proven to be a goalscorer for the ages.

Now playing with the New York Red Bulls, he is still doing it: On Wednesday, Henry scored in a win against Toronto FC to take the top spot in the Major League Soccer goalscoring chart.

Of course, we soccer film fans know Henry for more than his on-field prowess. We know him as the young, graceful striker for the 1998 World Cup-winning French team documented by director Stéphane Meunier in the brilliant film Les Yeux dans les Bleus. 

Ahead of the 2011 Kicking + Screening Soccer Film Festival, presented by the New York Red Bulls, K+S spoke to Henry about Les Yeux and his favorite soccer film. 

Hey Red Bulls fans! Click here for a discount on Red Bulls tickets for this Saturday's match against DC United at Red Bull Arena, courtesy of K+S and RBNY.

What did you think of the movie Les Yeux dans les Bleus?

I think it was a great documentary. I don’t know if you can call it a movie. We didn’t actually act. We were just being ourselves in it.

Was it hard to have your life filmed while also taking part in the World Cup?

Well, it was kind of weird at the beginning because you do notice the camera everywhere around you. But then, after maybe two or three weeks, you didn’t even notice the camera and you are trying to be yourself and just trying to perform with your team. There was no acting, like I said. It was just us being us and forgetting about the camera. I think that makes the documentary extra special. Of course, it made it even more special because we won at the end. 

Did it make you consider getting more into film making?

No, not really. Nothing about that, no.

Do you have a favorite soccer film?

Escape to Victory. I was young and that’s what I saw and I thought it was good to see some of the best players in the days interacting with some of the great guys on screen. Yeah, Escape to Victory was good. 

Watch a clip from Les Yeux dans les Bleus

Kicking + Chatting: Tango-ing with Gavin Sullivan, writer of "Argentina Futbol Club"

Club Atlético River Plate is the most successful club in Argentina: 110 years in the first division, 33 domestic championships, two Copa Libertadores trophies, and an all-time player register that includes such legends as Ángel Labruna, Oscar Más, Enzo Francescoli, Hernan Crespo, and Ariel Ortega.

And yet, next season, they will play in Argentina's second division for the first time in their long, illustrious history. In July, River lost a two-game relegation-promotion playoff with minnows Belgrano, including a humiliating 1-1 draw at their classic stadium, El Monumental, in the second leg that sealed their fate, sparking riots among the most devoted fans, known as the Barra Brava.

They are also, of course, one half of the world's original Superclásico: the Buenos Aires derby with Boca Juniors. Or were. Next season, they will not meet Boca in the regular season.

Which gives even more poignancy to Juan Pablo Roubió's film Argentina Fútbol Club. The documentary wanders directly into the heart of the world's most passionate rivalry.

K+S's Noah Davis recently chatted with Gavin Sullivan, the film's American writer, about the emotions of Argentine fútbol, the complexities of violence, and, of course, which side of the Superclásico he falls on. 

Kicking + Screening: There are dozens of great rivalries around the world. Why Boca and River?

Gavin Sullivan: Principally as a result of having lived in Buenos Aires for four years, and realizing that what I was witnessing on any given Sunday (on any given pitch) was without parallel in its intensity, and fervor. But it was really seeing how one's identity is ultimately shaped by these clubs. Upon entering any social event, BBQ, work meeting, or yerba mate chat, the question of "De que club sos?" (From what club are you?) is inevitable, and the answer was fascinating: "Soy de Boca" (I am from Boca), in much the same way that one would say "I am Catholic, Jewish, Black, White, American, Argentine, from Brooklyn, from Seattle, et cetera." This was the jumping off point for looking at why Argentines have this uniquely intense passion for their beloved sport.

What we found in the root of these futbol clubs was a "social" element that binds them to their local neighborhoods and communities. What is often overlooked is that Argentine futbol clubs are not privately owned businesses. They are owned by the members of the club, who pay monthly dues in much the same way someone in the US would pay for their gym membership. In return "socios," or members get access to all of the social and community facilities that the club offers: weight room facilities, tracks, BBQs, swimming pools, day care, and in the case of River Plate, elementary, high school, and university education. Yes, there is a Universidad de River Plate. 

Our angle in Argentina Futbol Club is to look at whether this social relationship to the club engenders a closer tie and passion between the member, i.e. "fan" for the futbol team that plays on Sundays? The logic goes: I spent my summers swimming at the pool at the Club de Velez, had my first kiss when I was 13 at the club, so when I watch Club de Velez play on Sundays, a part of who I am is represented. Soy de Velez.

Honestly, in Argentina there are even more intense rivalries than Boca-River. Rosario Central vs. Newell's Old Boys, for example, is far and away more intense. When this Clásico is played, the city of Rosario is literally divided between the two.

Yet the magnitude of the Superclásico between Boca and River is undeniable, and really the greatest representation of not only the phenomenon that is Argentine futbol, but of the passion inherent in all competitive sports. Any true fan, of any sport, in any part of the world can sympathize and identify by the love, hate, joy, and pain that is felt and expressed in Argentina Fútbol Club.

K+S: Both Boca and River have fallen on some tougher times. Did that change your approach at all?

Sullivan: Funny you mention this. Yes, in the past two years especially, Boca and River have been eclipsed by Estudiantes, in particular, and most recently Velez.

We actually filmed in late 2008 going into early 2009, and at the time of filming Boca and River were fighting for first place in the Primera A Clausura championship, while at the same time battling to advance to the quarterfinals of the Copa Libertadores. Exciting times.

The situation has most definitely changed. But you know, listen to tango, read some Borges. Argentines thrive on melancholy. I truly believe the passions of most Argentine futbol fans are solidified during the woes. Nothing brings people closer together than pain. Some of my fondest memories in writing and producing this documentary was going out to watch some of the games played in Primera B, at Clubs that hadn't won anything significant in generations, and finding the same level of dedication, love, passion, and community as found in Boca and River. It is something greater than futbol, again, it is the shared human experience be it through pain or joy.

K+S: Was there ever a time when Juan Pablo or any other filmmakers felt in danger?

Sullivan: No. Not in the least bit. There is of course violence, and it happens (much less than is so often portrayed), but my lasting impression of the barra bravas or hooligans, is one of camaraderie and love for the neighborhood, club, and sport. The issue of "violence in futbol" is an ongoing debate that spikes every time there is a brawl or something, but there are so many angles to the issue. And it is always interesting to watch how much air time is spent discussing the downfall of violence in futbol, instead of covering the brutal violence played out day-in and day-out in the villas, or ghettos, of Buenos Aires, and the lack of time spent debating solutions.

K+S: What's next for you? Pacific Northwest Football Club?

Sullivan: Interestingly enough, as soon as I returned home, I went to a college football game at the University of Washington, and found some obvious similarities. I believe college sports, and its relationship to the local community and the identity/passion it engenders to be the closest to the social and futbol club phenomenon felt in Argentina.

I actually approached the UW Athletic Department with an idea to do a very similar documentary on the tradition and passion of the football program, and was able to negotiate a pretty good arrangement by which we would have full access to archives and field access, etc. However, towards the tail end of March Madness this year, Frontline did a great investigative piece on "Money and March Madness," which openly challenged the concept of the "student-athlete."

In it, they sit down with Mark Emmert, the president of the NCAA, and pushed him hard on the paradox of a multibillion dollar industry in which the players receive zero financial gain. Just so happens Emmert didn't come off so well, and he happens to be the ex-president of UW. Although I can't show direct causation, I received an email the day after the Frontline documentary aired saying that UW wouldn't be able to participate in the documentary. And, yes, I too would have taken on some of these unsavory elements of college football.

K+S: Okay, so before we let you go, tell us: Boca or River?

Sullivan: Boludo! Soy de Boedo che! Club Atletico San Lorenzo de Almagro!

Argentina Futbol Club screens at K+S London 2011 on Monday, September 26. Purchase tickets here.

 

Kicking + Chatting: Into the heart of football with Simon Laub, producer of "Soka Afrika"

By Noah Davis, @noahedavis

To some, "trafficking" might seem a melodramatic word to describe the movement of young African soccer players to Europe. But it's the right word.

Sometimes, it works out, such as in the case of Chelsea's Michael Essien or Manchester City's Yaya Toure. But too often, these displaced teenagers looking for a better life do not reach the fields of the game's cathedrals. Instead, they end up on the streets.

Soka Afrika, a film directed by Suridh "Shaz" Hassan and produced by Sam Potter and Simon Laub, turns an unsentimental eye on these difficult truths, telling the stories of two young African players' adventures in Europe and letting the viewer judge the situation. K+S recently chatted with Laub about objectivity in the real world, the realities of trafficking, and a hope for the future.

Kicking + Screening: Soka Afrika is an impressive endeavor. You follow two young players over two continents. Did you know what you were going to do from the beginning or did the project evolve as you went along? How long was the process from start to finish?

Simon Laub: We started with a fairly clear outline of what we wanted, but as in all good documentaries, we had dispense with any preconceptions of what we expected to find and to allow the film to breathe and develop in its own way. In terms of characters, we researched and followed many more than those who made it into the final cut, but it became clear fairly quickly who would be our prime focus; their stories were exceptionally engaging.

Our final characters had incredible stories that simply could not have been scripted or predicted, and although we knew examples of what was out there, we were very fortunate to discover such amazing people and were fascinated and privileged to capture their lives unfolding.

From pre-production to completion the project took just over two years

K+S: The film is praised for its objectivity despite dealing with a difficult subject. How did you maintain that as a filmmaker, and how did you ensure that would come across in the final cut?

Laub: Our intention from the outset was to be as impartial as possible. We had no desire to point fingers or be judgmental. We recognized that the subject matter was too difficult and far-reaching to reduce to simplistic black and white viewpoints. We decided that our approach would be to present what we saw as the realities of two young African footballers pursuing their dreams and the many obstacles they faced from 2009 to the present day.

We made a decision not to force anything down our audience's throats or to play to their sympathies but rather to take them on a journey with us, to submerge them in this world and allow them to draw their own conclusions. Our approach was to treat viewers as intelligent onlookers who rather than having their hands held, when furnished with appropriate information would grasp some of the intricacies and harsh realities and ideally would begin to ask questions themselves and start a debate.

The schoolboy's dream of sport taking them from rags to riches is universal as is the corresponding responsibility of adults to ensure this dream is protected from exploitation. We had no doubt that with such rich subject matter the audience would respond in the right way, and so far, thankfully, this has proved to be the case.

K+S: What was the biggest difficulty you faced while filming?

Laub: There are many challenges filming across so many locations and over such a long period, but the main one has to be achieving the correct level of intimacy with your subjects. Especially when dealing with such delicate topics, it is of utmost importance that characters can relax in front of the camera and that they develop enough trust in you to let their guard down. Particularly with adolescent footballers it can be difficult to get them to forget they are on film but this is something that is really helped by shooting over a long period. Ideally we need to be immersed in their day-to-day lives such that they simply accept our presence, if not forget we are there entirely.

I think that filming in high-pressure situations such as behind the scenes with the South Africa U-20 team at the World Cup and making sure that we were ever-present but not a distraction is very challenging, but in the end this produces some of the most compelling footage.  

K+S: What impact do you hope the documentary will have? 

Laub: We would like the documentary to widen the debate on the right and wrong ways of approaching the movement of youths in football, not just in Africa but also worldwide. Moreover, we hope that we bring to the fore the desperate need for education and regulation and the realities of what can and does happen when this is insufficient or the proper infrastructure is lacking.

We hope to gain support and funding for organizations fighting against trafficking such as Foot Solidaire (which is run by one of our characters Jean Claude Mbvoumin), and SASI in South Africa and to drive debate and public opinion to force the hands of governments and worldwide governing bodies to invest in directly combating this problem, rather than simply paying lip service.

K+S: And has anything come of it yet?

Laub: So far we have seen some encouraging results: Foot Solidaire recently was awarded funds as a direct result of Soka Afrika, and SASI was funded by a UK screening to hold a youth tournament over Christmas in Soweto aimed at educating young aspiring footballers. But much more help is needed!

We are screening the film worldwide in festivals and on TV and generating press, and hope with the help of fans and supporters such as K&S, this will snowball into impacting significantly on the public consciousness and force a significant change. We hope that we can use football as the powerful tool that it is, not just to entertain but to be a real force to engender social change. 

Soka Afrika screens on July 22. Purchase tickets here.

Director Tesoriere tackles violence in Argentine football

Violence has a long sickening connection to soccer. The hooligans of Thatcher's England, the neofascist ultras of Italy, the druglords of Colombia's 1990s heyday, the Angolan separatists who attacked Togo's bus at this year's Cup of Nations--they are just a few of the head-shaking elements that have brought ugliness into the beautiful game over the years.

Death has often raised its ugly head, from Heysel to Hillsborough to Abidjian, although many of the powers that be stubbornly refuse to acknowledge the violence in the game. 

This refusal/ignorance provided the motivation to Pablo Tesoriere and his recent documentary, Futbol Violenca S.A. (Football Violence, Inc.), which takes a critical look at the violence in Argentine football, particularly the behavior of the (in)famous barra bravas, or supporters' groups, and their impact on the larger society.

K&S friend Juan Arango recently interviewed Tesoriere for his website SimplyFutbol.com.

T-minus One Day: Kicking & Screening set to go off this week

Here's what we'll say: We hope you have your tickets. Because from the looks of things, many of the events at the 2nd annual Kicking & Screening Soccer Film Festival are going to sell out. 

Already, Saturday night's screening of The Game of Their Lives and Africa10 at the Nike Stadium is closed to single tickets. Only Defender Full-Festival Passes will be honored from here on out.

Later today, K&S will announce a similar restriction on Tuesday's opening night event, including the US premiere of Fifteen Minutes That Shook the World and a panel discussion featuring Simon Kuper, Dave Kirby, and Simon Borg.

That leaves Wednesday's US premiere of The Last Yugoslavian Football Team, Thursday's screening of El Arbitro, and Friday's screening of Eine Andare Liga. These are all approaching full capacity, too, so we recommend you buy tickets now.

It'll be worth it. Trust us. This is going to be one wild and fun week of football, film, and fans. 

Welcome to K&S/NY 2010, everyone. Let's kick it off.

US international Averbuch set for Kicking & Screening appearance

We always knew we liked Yael Averbuch, the star midfielder for both the US Women's National Team and WPS reigning champions Sky Blue FC. We thought it was because she is awesome on the field. But it turns out it's also because she's plainly awesome.

She agreed recently to come out to the 2nd annual Kicking & Screening Soccer Film Festival. One week from today, she'll join us at the screening of Eine Andere Liga (Off Side), the uplifting story of a young Turkish girl in Germany who is diagnosed with breast cancer. Sure, sounds heavy, but this is a brilliant film and a really heart-warming tale.

As the director, Buket Alakus, says: "This film is not a story about an illness, but rather deals with finding a way back into life. In this extreme situation football becomes literally a game of life or death for my protagonist, because sports help her to accept her body anew.”

It was this positivism that drew Yael to the film and the night.

“Soccer has a great impact on the lives of girls and women, including myself, and it’s great to see it portrayed in this kind of setting,” she told us. “Sometimes it’s overlooked how much the game gives to all of us, emotionally, spiritually as well as physically.”

We couldn't agree more.

Buy tickets for Eine Andere Liga here.

Kicking & Chatting: Halder Gomes, director of "Loucos de Futebol"

Loucos de Futebol director Halder Gomes grew up enmeshed in one of the great rivalries in Brazilian soccer: The derby between Fortaleza Esporte Clube and Caera. The two big clubs of Fortaleza, a city in northeastern Brazil, have long fought it out for supremacy in town.

 Fans from both sides are legendary for their passion. And Gomes is one of them.

He is so passionate, in fact, that he decided to make a film about the rivalry, the fans, and what it is exactly that makes Brazilians so crazy for soccer. Loucos de Futebol screens on opening night of the 2nd annual Kicking & Screening Soccer Film Festival, Tuesday, June 1. (Buy tickets.)

K&S’s Rachel Markus caught up with Gomes recently.

K&S: Did you play football when you were younger? Where would you fall on the spectrum of being a fan?

Yes, I played football since I was kid and I'm a fan of Fortaleza Esporte Clube since I spoke my first words. As a matter of fact, my entire family is extremely fanatic.

K&S: Why did you decide to make a football film?

I wanted to do something about football for a long time. However I wasn't sure about the approach. One day I took an American friend to a meeting in Brazil with a lawyer that would take care of his businesses. While we were going down the elevator after the meeting, he kept me asking if the lawyer was reliable and so on. When we reached the lobby of the building, a guy that cleans cars in the streets saw him and they (the lawyer and the car cleaner) got into a very wild and tense discussion about a football match the night before. Their rivalry was intense, and my American friend became really intrigued. After the funny (for me) and serious (for my friend) discussion, he looked at me worried, and asked: Is this the guy who's going to take care of my businesses? Right away the film came in my mind.

K&S: Where do you see the synergies between football and film?

Throughout the great variety of possibilities, movements and emotions involved. There are a million ways of seeing football through films, either fictional or documentary.

K&S: In your film, the passion of the fans is undeniable. Why do you think the game has such a hold on Brazilian culture?

Our mixed races, cultures and social classes find football as the link between them the whole time, not only during World Cup games. These classes get along well with no racial conflicts or so; however, their different lifestyles separate them, and football plays its important part of bringing them together. This could be in such a simple thing as a conversation that pops out in a line at the bank or anywhere.

Football has a strong influence on our day-by-day routine, and the passion is always present. So is the rivalry. In any city of Brazil we have more than one team, and this brings out the continuous competition that I don't see in major sports in US, for example. The day after a rival match, either you make fun of your friends or vice-versa. That's every day! There's honor, passion, tradition and many other feelings involved.

K&S: What, if anything, rivals football in Brazilian life?

I don't see anything that rivals football in Brazil. Carnival, perhaps, but it's only one week.

K&S: What were some of the most surprising or shocking things you discovered while filming?

Actually making the film was not different than what I see every time I go to stadiums. However, I decided to see the sport and its consequences to its fans with a different perception. Not my perception, but the perception of someone who doesn’t belong to that universe. This way I could understand more about ourselves and see how football affects (for good an bad) our normal lives in Brazil.

K&S: What are some of the film projects you're working on now?

As director, I just finished filming the dramatic feature As Mães de Chico Xavier and will start to film in October the feature Cine Holiudy, a nostalgic comedy that takes place in Brazil, back in the '70s. As producer, I'm finishing the sci-fi/ drama feature, Area Q, starring Isaiah Washington, that took place in Brazil and USA.

K&S: What about the World Cup, who will make the final?

As a fanatic Brazilian, I must say we'll win.

K&S: And the US?

I believe the US has a great team, and it will be no longer a surprise if it makes into the quarterfinals.

K&S: We can only hope so.

Buy tickets to Loucos de Futebol

Kicking & Chatting: Victor Buhler, director of "Africa10"

Victor Buhler, director of Africa10, a unique film project, sees films as more than just a celluloid strip moving through a camera or projector. He sees it as an agent of change. And that’s what Africa10 is all about. It’s a film project that hopes to do more than just make a film.

A work-in-progress short of Africa10 will screen at Kicking & Screening/NY 2010 on Saturday, June 5, at the Nike Stadium. (CLICK HERE FOR TICKETS.)

K&S’s Rachel Markus recently conducted an interview with the filmmaker.

K&S: Tell us about the A10 film and how it works within the larger scope of A10?

Buhler: Africa10 is a film about the power of soccer to transform Africa. We are supporting the film with several key endeavors, including music events hosted by will.i.am, who is an executive producer on the film, and Africa10 clothing that is made from recycled plastic bottles. Our aim is for money from the film, from the music, and from the merchandising to go back to Africa – primarily via our charity partners Grassroot Soccer who help educate children about AIDS.

K&S: Why do you think soccer has the potential to be so transformative in Africa? More so than any other sport?

Buhler: Soccer is the most democratic game in the world. You can make a soccer ball out of the simplest of materials – cloth or plastic bags even. And a soccer game brings communities together in a positive way – men, women, boys, girls, young and old – almost every African is passionate about soccer. During a game, there’s the opportunity to foster new community involvement. Grassroot Soccer, Africa10’s charity partner, for instance, uses soccer games to teach young people about HIV awareness.

As Africans have succeeded on soccer pitches across the world, Africans increasingly view soccer as a way of lifting themselves up. As African- American sports greats such as Jackie Robinson inspired a generation of young athletes – African soccer players like Didier Drogba are inspiring Africans across the continent.

And soccer is by far the most popular sport in Africa. As Desmond Tutu (pictured) says, “Soccer in Africa is bigger than any one religion.”

K&S: Do you feel soccer plays a different role in the private lives and dreams, and even the collective soul in African nations?

Buhler: The passion for soccer exists in so many forms throughout the world. And sport is often at the vanguard of an issue. Jesse Owens defied Hitler, for instance, and Billie Jean King blazed a trail for women athletes. We believe soccer can help advance African development in unique ways. For instance, the MYSA organization in Nairobi, Kenya, uses soccer to nurture a generation of future leaders. Soccer players are rewarded not just because of their play on the field but their behavior and community service off of it.

Soccer is as deeply a part of the fabric of life in Africa than in anywhere the world – including even Brazil! Soccer is everywhere in Africa. This is partly because Africans are now given the respect they deserve in soccer – whereas in other arenas, Africans can struggle to get credit for their abilities.

K&S: Does the game represent something bigger, far more than a game?

Buhler: A game can catalyze social and political action. A game can educate. A game can help break down social barriers that seem otherwise rigid. One of our characters Maureen, from Soweto, uses soccer to campaign for the rights of ‘informal settlers’, poor makeshift communities in the suburbs of Johannesburg. The Ivory Coast soccer team, stirred by their first ever qualification for a World Cup, called for an end to civil war in their country. When people are passionate about something, as so many of us are about soccer, then that passion can be turned into positive action. It is our hope that Africa10 will help fuel the positive action that is already happening all over Africa.

K&S: If the World Cup weren’t coming to SA, would the impact on the continent of the game be as great?

Buhler: The World Cup means a great deal to many Africans, even outside of South Africa. It is a chance to prove that the continent can host the world’s largest sporting event – despite many skeptics. But soccer’s impact on Africa extends far beyond one single event. It takes skill, organization and vision to create a successful soccer team even at a national level. If an African country can succeed at soccer, there is a chance that country could succeed in other avenues of life as well. Even if the World Cup were not in South Africa, the performances of African teams mean a great deal to those countries and to the continent as a whole.

K&S: After the Cup, what do you think and hope the longer lasting effects will be in Africa? For aspiring players on the continent?

Buhler: If South Africa succeeds at hosting a great World Cup, the country – and the continent – can celebrate the fact that the world’s biggest event has finally taken place in Africa. And there’s no doubt that many of the soccer fans who go to South Africa will leave with a more informed and better impression of Africa. If the World Cup is a success, I’m sure we will see an Olympics in South Africa before too long.

For the African players, however, there has never been a better time to perform at a World Cup. If at least one African team doesn’t shine at the World Cup, it would be a surprise and a major disappointment.

K&S: What were some of the challenges in filming?

Buhler: Making a film about soccer is generally a lot of fun. Of course, getting the attention of some of the players can be difficult – when famous African players come home, it is a madhouse: they are national icons and everyone wants a moment of their attention.

We set ourselves the goal of covering stories from across the continent to represent the diversity and also the power soccer has to unit the continent as a whole. This goal was a huge challenge, covering seven countries looking for compelling stories that work together to form a cohesive narrative has been logistically and physically challenging.

K&S: What were some of the greatest differences you observed across the players you interviewed? Were there also similar parts to their stories?

Buhler: Many of the players have inspiring rags-to-riches stories – almost all of the African players grew up poor and, at some point, were lucky enough to be discovered. There were some twists in this tale – the Touré brothers for instance are great internationally recognized soccer players from the same family. An interesting thought is that there are so many players in Africa with great talent who have not yet been discovered. I think we will see more and more European teams invest in scouting young African players.

K&S: Any thoughts as to why it seems so difficult to make the “classic” narrative film about soccer? Could it come from Africa?

Buhler: The best sports movies use the game as a dramatic device – principally as a way to understand the film’s characters more deeply. When you consider the best sports films – “Hoosiers” for instance, the drama of the sport is truly secondary to the characters’ drama. When you watch the game, you care because you know what it means to the characters involved. Narrative films about soccer are perhaps trickier because the sport is such a team game – eleven on eleven – where it can be harder to highlight a particularly individual contest or a battle of wills. I think that’s why movies about boxing are traditionally more successful.

K&S: Tell us more about the A10 project; what was the original inspiration? What are your hopes for the project 10 years from now? Will it be ongoing?

Buhler: The original inspiration for the A10 project came from a series of photographs on African soccer that caught the attention of Africa10 producer Julian Cautherley in 2007. He began to build a team of collaborators, including director Victor Buhler, all of whom believe in the power of sport, and soccer in particular, to encourage growth and development. We hope that Africa10 will resonate with audiences after the World Cup and beyond. We hope the film will be enjoyable and inspiring – an important film not just about soccer but about Africa. Of course, we find some of characters’ stories so interesting that we hope to continue to follow them even after the main film is finished. For instance, Ema, a 14-year-old from Ghana won a scholarship to go to a high school in California – and we’d like to continue to follow his journey.