Monica Strømdahl, Flophouse America Director
Norwegian Director Depicts Family’s struggle in “Flophouse America”
Table of Contents
- Norwegian Director Depicts Family’s struggle in “Flophouse America”
- “Flophouse America:” A Documentary Unveiling Housing Crisis Realities
- What is “Flophouse America” about?
- Who directed “Flophouse America,” and what inspired it?
- Why did the director choose to make a film rather of taking photographs?
- What challenges and opportunities did filming in the confined space of the flophouse present?
- How did the documentary filmmaking process consider Mikal’s age and participation?
- What is the meaning of including statistics and context at the beginning of the film?
- What is the role of the family in the documentary?
- What impact does the director hope the film will have on viewers?
- Key Aspects of “Flophouse America”: A summary
A new documentary offers an unflinching look at one of the thousands of families living on the margins due to the real estate crisis in the United States.
Flophouse America centers on 12-year-old Mikal, his mother, and his father, who reside in a flophouse, mirroring the plight of many families impacted by the economic and housing crisis in the U.S. The film recently premiered at CPH:DOX.
The director discussed the making of this portrait.
“Very special! I feel like we’re going into a new era with the film, approaching the premiere. When we made the movie, that was one part [of it all] and now this part, showing the film, is for the audience. It’s me and them [the father, Mikal, and Jason] together, taking it in and waiting.”
The director began photographing flophouses in 2005, after moving into one while a student in New York.
“Almost 10 years passed before I thought about it as a project, and it was only as the hotel that I had been returning to for many years shut down owing to gentrification – everyone who lived there was forced out against their will. I set out to take photographs and collect stories, albeit not in a especially organised manner. But through the many conversations I had with people, I started seeing the bigger picture of how health, politics and economics are all intertwined: you see the effects of long-term policies and housing legislation on people trying to get into the housing market, for example.”
The director explained the decision to use moving images to tell Mikal’s family’s story.
“Usually, I’d check myself into a hotel and stay for as long as it takes for someone to want to talk to me and build a relationship. I felt like all of these stories stuck with me, and also the people’s voices and the way they moved – but photographs don’t show these things. when I met Mikal, I had been staying in the same place for about three weeks. I shot one portrait of him and moved on, but I never forgot him. That’s when I thought that photography was not enough [as a medium] for this family and that I had to give them more space. by making a film, I could remove myself even more, so that they themselves could be the voices and tell their own story.”
The confined space of the hotel room presented both challenges and opportunities.
“I guess it’s the same with everybody, being a bit stiff at first, and then, when they get used to me being in the room, it changes. Of course, there was a process of establishing that comfort. Like you said, the space was small and limiting, but it was also liberating.There weren’t many options for where I could position myself – it had to be on this or that side of the bed as of the light. As a photographer, I’ve always used the available light, and I don’t know how to set it up artificially.I think they got used to me quite quickly in that sense as I wouldn’t interfere.”
The director noted the family’s understanding of documentary filmmaking.
“I feel that people in the USA have a deep understanding of what a documentary is. I can’t tell them what documentary is, as it is indeed in their DNA, and all of their history has been documented through photography. So, they have a deep respect for the medium, and when I come and say: “I’m here to document,” they know what that means better then I do.”
The film opens with Mikal’s introduction and statistics about the housing crisis.
“I’ve had a lot of ethical concerns throughout the process, one of them being mikal’s age.When we started shooting, he was quite young, so we made the choice to postpone [finishing] the film until he had turned 18. While this is Mikal’s story in this little room, the statistics and the family dynamics are universal. We wanted the audience to have a bit of background and something in the back of their minds when they went into this film. It was actually Mikal who suggested that somebody read out the statistics at the beginning, rather of having a text on screen. On some level, he takes ownership by presenting his own film and his own life: he wanted that, and we wanted that for him.”
“Flophouse America:” A Documentary Unveiling Housing Crisis Realities
introduction
“flophouse America,” a new documentary premiering at CPH:DOX, offers a compelling and unflinching look at the struggles of families impacted by the housing crisis in the United States. This article provides a Q&A style overview, spotlighting the film’s key elements and the director’s unique approach to telling this important story.
What is “Flophouse America” about?
“Flophouse America” centers on Mikal, a 12-year-old boy, his mother, and his father as they navigate life in a flophouse. The film mirrors the plight of manny families affected by economic and housing crises in the U.S. The documentary aims to shed light on the consequences of housing legislation on families trying to simply find a place to live.
Who directed “Flophouse America,” and what inspired it?
the documentary was directed by a Norwegian filmmaker. The director’s journey began with personal experiences. moving into a flophouse as a student in New York in 2005 sparked an interest. The director explained that nearly a decade passed before the idea materialized into a project. The forced displacement of the hotel’s residents due to gentrification ultimately drove the director to photograph flophouses and collect stories. In so doing, the director began to understand the relationships between health, politics and economics.
Why did the director choose to make a film rather of taking photographs?
The director recognized that photography alone wasn’t enough to fully capture Mikal’s family’s experiences. Photographs don’t capture “people’s voices and the way they moved.” The director needed to provide Mikal and his family with more space to tell their story. By making a film, the director could step back and allow the family to speak for themselves.
What challenges and opportunities did filming in the confined space of the flophouse present?
The confined space of the hotel room created challenges, yet also offered opportunities. While the space was limiting, it gave some freedom. The director needed to be mindful of the lighting and where to place themselves. Ultimately, the director’s non-interference approach allowed the family to settle in and feel more agreeable, “I think they got used to me quite quickly in that sense as I wouldn’t interfere.”
How did the documentary filmmaking process consider Mikal’s age and participation?
Age was an early concern. Thus, the decision was made to postpone the film’s completion until Mikal reached the age of 18. The film’s initial scenes introduce Mikal and include statistics about the housing crisis, which helped Mikal and his family to feel empowered.
What is the meaning of including statistics and context at the beginning of the film?
The opening scenes introduce statistics about the housing crisis alongside Mikal’s introduction. This helps the audience understand the broader context of the family’s situation.These statistics provide background facts and something to “keep at the back of their minds” while watching the film.
What is the role of the family in the documentary?
The family, including Mikal, hold a deep understanding and respect for documentary filmmaking. The United States has a history of being documented through photography.This means when the director said, “I’m here to document”, they know what that means.Mikal himself played a part in presenting his own life by presenting the film.
What impact does the director hope the film will have on viewers?
The director approaches the film premiere with special anticipation. The core desire is to create a shared experience for everyone involved—the family, the director, and the audience. The film aims to raise awareness about the housing crisis’s impact,giving a voice to those affected and provoking deeper thought about the intersection of health,politics and economics.
Key Aspects of “Flophouse America”: A summary
| Feature | description |
| ———————— | ————————————————————————————————————————————————————————– |
| Subject | Mikal, his mother, and father struggling with housing issues. |
| Setting | A flophouse. |
| Director’s Approach | Documenting the intertwined nature of health, politics, and economics by living with people. |
| Film’s Purpose | To show the impact of housing legislation and the reality of families impacted by the housing crisis. |
| Key Themes | Housing crisis, family dynamics, and the intersection of health, politics, and economics.|
| Audience Impact | To trigger discussion about the experiences of all ages and show the relationship between health, politics, and economics.|