The Missing Things – Award Winning Short About Dementia
No script, storyboard or crew. No exposure of focus controls. A resolution of 640 x 480 pixels and a total memory of just 160MB. That was Jason’s unexpected entry into the global filmmaking stage back in 2008. ‘Mankind is No Island’ went on to win numerous prestigious accolades at film festivals around the globe, and was one of the very first exemplar films to champion a whole new emerging medium of smartphone cinematography.
This year Jason won Best Documentary at Mobile Motion Film Festival for his heartwarming film The Missing Things. The film allows us a touching glimpse of his mother’s life and her battle with dementia.
Interview with Jason van Genderen
What is the story behind your film?
This film happened quite accidentally. My mum was diagnosed with Alzheimers Disease and wasn’t able to live on her own anymore. Whilst we were selling her home and packing up her belongings, it felt very much like a metaphor for her dementia. So I started filming little pieces of her journey on my phone as a keepsake, and found myself documenting a short film.
What were the steps which led you to make it?
It was very unplanned really. I just made sure I had my iPhone accessible when we were moving house with my mum, so I could easily capture relevant moments. I wanted to film her old house to show her later when her memory would have trouble remembering our family home. I felt having little slices of video would help reconnect her with this journey somehow, hopefully!
Why did you choose a smartphone to film with?
It was the only tool I could use because I was looking for ‘found’ moments. The off-beat, unexpected things that needed to be captured very easily and with whatever was in my pocket. I also wanted to not make it a deliberate ‘filming’ process… as that may add stress for my mum. She was always used to seeing me taking photos and videos around her home anyway, so seeing me do that whilst we were packing up her house didn’t introduce a foreign or deliberate process. I call it lean-forward filmmaking, that process of having a camera that shows you what’s worthwhile to capture, and how.
What equipment did you use?
I used an iPhone 8 Plus and an iPhone X, as I was crossing over between then two phones. I did use a Moondog Labs anamorphic lens adapter as well, to achieve that beautiful cinema crop factor.
How much did you know about filmmaking before you made this film?
Like anyone I consider myself a constant student in storytelling, but I have already made several smartphone films that have fortunately landed well with audiences. For me though it’s not about what i know already, it’s about what every new story can teach me and show me. I love exploring techniques and discovering how ambient storytelling can be as a process.
What did you like about filming with a phone? What were the downsides, if any?
Loved the immediacy, the spontaneity, the ability to sit within the moment and still document it. I filmed mainly in slow-motion frame rates, to help the moment linger and distill. My main challenges were managing the contrasty light inside an empty house, I had to use Filmic Pro to help manage the ISO and reduce the video noise in the shadow areas of my frame. That limited dynamic range is always a challenge with smaller cameras, but it’s certainly not a deal-breaker. Understanding the limitations of your phone’s camera is part of the process, but that’s with any camera gear.
Has making the film changed your life in any way?
Absolutely. It reminds me of how beautiful my mum is and always will be, despite her memory being eaten away daily by her dementia. It gets really hard when we see her changing so much in just short periods of time, and as a family member you need to hold yourself back from trying to make her remember what’s lost. Watching my film helps me ground myself and my relationship with her. And it’s beautiful to see how her story touches other audiences. I’ve connected with so many people touched by dementia in their families just at screenings of this film.
How successful was the film, personally and in gaining an audience for your work?
To be honest, a story like this is what it is. I can’t really contrive it (as it’s a documentary story) but I can help shape it. I’ve been thrilled with how many festivals have screened it and we’ve been so fortunate to collect numerous awards along the way. The real award is that connection with audiences however, and seeing it play live at a festival gives you (as the creator) that immediate feedback and response from the audience. That’s something that you just can’t experience in an online screening. Screening at MoMo was a beautiful memory for me.
Looking back on the movie, is there anything you’d have done differently?
Oh look – I’d be lying if I said I was happy with every story I made! I think every film I’ve ever toured is full of things I would change if given a new edit. But my realisation is that’s always going to be the case, no matter how much you finess the edit. At some point you need to let the story go and give it to the audience to own and experience. That’s all part of the process, and I think that’s why we push ourselves forward and keep making stories right?
How important are film festivals for you and your career as a filmmaker?
Imperative. Festivals give both the creator and the audience an opportunity to learn from one another. It’s a melting pot of energy, enthusiasm and discovery unlike any other. I always encourage student filmmakers to go and experience live film festivals just to see how audiences respond to differing narratives. To see what happens when storytellers play with that dynamic screen space and test both the perception, patience and emotions of a crowd of strangers. It’d the best learning journey you can ever give yourself!
Trailer: The Missing Things
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