19/09/2024 - The pair of directors tell us how they made their documentary, which combines Vdovîi’s painful family story with the tale of her father’s abuse at the hands of his employer

Lina Vdovîi and Radu Ciorniciuc's documentary Tata [+see also:
film review
interview: Lina Vdovîi, Radu Ciorniciuc
film profile] has world-premiered in TIFF Docs at Toronto. We caught up with the partners in life, journalism and filmmaking to explore the origin of the film, and their intricate and intimate process of working on it.

Cineuropa: How did the development of the story go? It seems that you first went to investigate Pavel's situation, but then you realised you needed to explore Lina's own family trauma.
Lina Vdovîi: When my father sent me a message with photos of his bruises, we immediately jumped in the car and went to see what had happened to him. Both Radu and I had worked as investigative journalists and covered similar stories in the past. However, when my father began uncomfortably reflecting on our past and expressing something that resembled regret, it hit me hard. I was pregnant at the time, already thinking about raising my child differently. I realised I needed to dive deep into my family's past, to search for the roots of violence, and to talk about how it permeated every aspect of our lives. We needed to heal and break the vicious cycle that had been affecting our family for generations.

This has been difficult emotionally not only for Lina, but also for you, Radu, as you now have a family of your own. How did you navigate this delicate situation, and what helped you focus on the story?
Radu Ciorniciuc: Open and constant communication was always our key to maintaining a good relationship, both at work and at home. We continually negotiated our roles within the family and in the film, and we tried to give ourselves the space to be creative, to be ourselves, and to grow stronger together. I did my best, while filming and editing, to focus on making the work as good as possible, but I always prioritised my family’s wellbeing. That remains the most important objective for us.

Because this story was so personal, we realised early on in the process that we needed time to make the film the way we did. We were incredibly lucky to have partners who understood that – most importantly, our producers Monica Lăzurean-Gorgan, Olivia Sophie van Leeuwen, Umit Uludag and Hanka Kastelicova.

Your journalistic experience is evident in the clarity that you achieve in the film. How much of it was there in the initial concept, and how much came out in the editing?
LV: When we started the investigation, we applied all of the tools and knowledge we had as journalists, and treated my father as we would any other subject in a journalistic piece. But we took it a step further when we began looking for lawyers. Normally, as journalists, you don’t get involved in solving the case; you expose it and let the authorities take over (if they do, that is, because it's still Eastern Europe). But the victim was my father. I wanted to see his case resolved. The employer knows we filmed him, as the footage was used in the lawsuit. But we do not disclose his identity. It was more important to address the broader issue, rather than focusing on one individual.

RC: The film only depicts a small part of the investigative efforts we conducted to build a case against the abusive employer. But Lina also collected an impressive amount of footage during her personal research, capturing intimate moments within the family. Gradually, the story shifted focus, becoming more about her relationship with Pavel, the women in the family, and the need for healing and closure. Many of the major creative decisions for Lina’s intimate investigation emerged during the editing process as well, and this helped us include spontaneous and unplanned moments.

This is a story of damage caused by hierarchy, authority and patriarchy. Do you think our society is able to function differently? Is the best we can do to draw attention and raise awareness?
LV: I believe we need to work hard both professionally and personally to ensure that toxic behaviours and abuse are no longer tolerated. We must be willing to hold ourselves accountable and create safe spaces so that others can speak out against abuse as well. I think we’re already in a better place. Just compare the current public discourse with that of the pre-#MeToo era, and you can already see a slight, but important, shift. However, abuse and injustice still thrive in silence and fear. The first step to stopping it is to openly talk about it, and begin both individual and collective journeys towards healing.

RC: Like Pavel, I was raised in a society that teaches men to live in ways that cause harm to others and themselves. It was only when I looked in the mirror myself, as a teenager who loved to travel and learn about the world, that I realised I needed to change, to build healthier relationships and, ultimately, a safer home for my daughter. While change is slow, stories have the power to inspire reflection and, ultimately, transformation. Otherwise, why would anyone continue making films and telling stories?