I AM ELEVEN

I work at a commercial cinema, and am oft subjected to a large amount of commercial-cinema-drivel. Many 'blockbuster' films feel unoriginal, inauthentic and tedious. Hey haven't I seen this film 100000 times before, perhaps with other glossy-looking people?? Sometimes I get nervous about the future of film: is it all about big explosions and ridiculous budgets and celebrities with glowing teeth?
But, fear not, fear not: it is not.
There is yet hope.

Documentaries provide a very un-Hollywood-esque freshness. A realness. They reek of authenticity and true and are exponentially more poignant than any embracing/love-struck couple. Docos make me feel so inspired: about my future as a media-practitioner, about the future of film. They illuminate the best qualities of film-making.

Recently, I ventured down to the beautiful Cinema Nova - home of cosy cinemas and melt-in-your-mouth/can-I-have-some-more? choctops, to watch Proud Mother Pictures' I AM ELEVEN.
Created by Melbourne's own Genevieve Bailey over the course of a globe-trekking 6 years, the film is a beautiful exploration into the lives of eleven year olds all around the world. Gen had thought of eleven as an in-between sort of age: not yet an adult, but not longer a child. An age where one may possess insight, but still be shielded by naivety.
Gen's journey is astonishing for so many reasons: for the kilometres she covers, for the passion and dedication and doggedness displayed upon the adventure. The trust she fosters between each individual child in the documentary is astounding, and allows the viewer to step into world of her international friends.
Conventional cinema often focuses on a single protagonist, and may chart a hero-narrative, or a romance, or a storyline with conflict and resolution. I AM ELEVEN is not about a single child: it has a feast of children, of different cultures and languages and life-experiences. Each has their individual insight and humour and quirks.

I found the documentary so so affecting.
The kids had a wealth of wisdom and insights. Remi, from France, was so serious and brooding, and reflective. He said: "I find it impossible to believe that people are still discriminated against because of the colour of their skin".
If only everyone could think like this young boy?
And the children from India, living in an orphanage. They were so thankful and joyous and glowing, revelling in their simple existence. One said: "I want to grow up and study medicine and become a doctor, so I can help people."
Children speak in a way adults are unable to: they speak free of inhibitions and jaded experience: they see the world in a different light. (Perhaps in more light?)
The audience grows attached to each within the film, it seems we may know them intimately. Perhaps we see ourselves reflected in their youthful features.

We see the children at the conclusion of the feature: older and more reflective. They laugh at their younger selves, muse at their physical changes. They are taller, stronger.

I AM ELEVEN prompts personal reflection. I think: what was I like when I was eleven? Was I so introspective? Did I think about the world? Did I think about getting married?
I remember, when I was eleven, I played with marbles and Russ toys and maybe had crushes on boys and wouldn't sing the rude words when my friend played Limp Bizkit up loud. We listened to Harry Potter on tape and made chocolate moulds. I played handball in the summer and swam in the swim team and sometimes talked about adult things like underarm hair and love.
The film made me marvel at the journey of Gen Bailey. I only wish that in my future I have such an incredible passion and drive, that drives me across continents and countries, and into houses and lives of strangers. Such obvious dedication makes my heart ache and sing with startling simultaneity.