Freedom Street
14,000 Refugees are trapped in limbo; caught in the crossfire of Australia’s border policy and Indonesia’s indifference.
Interview with Writer/Director/Producer Alfred Pek
Congratulations! Why did you make your film?
For the longest time, refugee rights advocacy in Australia feels incomplete in my view as an Immigrant coming from Indonesia. As a filmmaker who have had journalism experiences, I was unsettled by how much gap there is in terms of the perspective and knowledge we have when it comes to not only challenging the government's policy against refugees coming by boats, but realising the regional context that this issue brings beyond our borders.
From my simple beginning as an Asian immigrant child aspiring my best to fully integrate and contribute to Australia by showing the full gratitude for the opportunities we have in this country. To then realising the extent of Australia's human right's abuse and how it has involved its poorer neighbouring countries (including my home Indonesia) was perhaps the biggest whiplash I've experienced in my appreciation to this beautiful and prosperous country. Knowing all this, I felt the moral obligation to create a film that will finally, once and for all contextualise this entire situation. Its beyond imperative to stand for what's right and save our tax payers money from contributing to this kind of oppression.
Imagine I’m a member of the audience. Why should I watch this film?
This film asks questions a lot of brand new questions and perspectives on the idea of belonging, intersections of identity, gender (within the refugees in transit context), migration politics, our essence of human fragility, society and ultimately, the idea of what being a citizen of this world means.
But the most important thing, we need a film that not only highlight the deeper dimensions of what it means to be a refugee, but to also educate, inspire, and asks the most crucial questions in challenging Australia's cruel and inhumane border protection policy
How do personal and universal themes work in your film?
The topic of belonging, citizenship, migration, identity, gender, and politics are perhaps some of the biggest and most confronting topics that we all face at some points in all of our lives. This is particularly interesting within the multiculturalism and the cosmopolitanism that is modern Australian society. Apart from it's indigenous people, the very foundation of Australia in it's modem manifestation is based on immigration and the diversity that it brings. This includes my personal experience having to immigrate with my family to Australia, building our lives from the bottom up and only being supported by a hard working single mother for my entire childhood.
But perhaps Australia's cruel border protection policy is the biggest irony that literally challenges the very foundation of these modern Australia's essence. And I wanted to confront these six topics in order to properly elevate the necessary discussion and action that we hope will inspire many more people in our region to ask the critical questions about this illogical, expensive, and inhumane politics that's causing the misery for the tens of thousands who have been impacted in the region and the billions Australia's tax payer's money has been wasted in putting up these costs.
How have the script and film evolved over the course of their development?
There wasn't any particular script for this film, but rather a synthesis of concepts and personal narratives being refined and weaved into a cohesive messaging. Shaped very much by the limitation of scarce funding, rudimentary resources, small timing, and little support. The film's development has to practically revolved around two stages. Academic and Journalism research to contextualise and structure the skeletons of the film. This takes place mostly during the first half of the development.
Followed by building relationships to all the subjects reached out. In particular, building trust and integrity amongst the refugee film stars and the experts interviewed. This process takes up the entire second half of the development. Practically, we have achieved the balance between storytelling and journalism, which I believe will be a necessary component for both as an education and activism tool.
What type of feedback have you received so far?
We have been really surprised by the accolades that the film has received from a lot of small to medium festivals worldwide from Winning 12 best Documentary, 2 best Human Rights Film, and 2 best Original Soundtrack so far. The fact that we are finally being accepted into major festivals like Melbourne Documentary Film Festivals was a step up in validation of the documentary's quality.
Furthermore, the community screenings that has been held by various refugee advocates and organisations across Australia and beyond have been most fruitful. As the initial intended audience, the reception has been very eye opening, heart wrenching, and of surprise. I am really grateful that this film is slowly getting the necessary momentum across the region amongst the advocacy and educational sector.
Has the feedback surprised or challenged your point of view?
The feedback has surprised me very much professionally. Not only the validation of quality and integrity that this film brings, but also how with enough determination, one can create such an impactful work in spite of the myriad of personal and resource challenges. And lastly, this was also the first feature film I have ever directed, presented, produced, and coordinated.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We want to expand our reach to as many people as possible. We would like to have this film to be an important asset in the refugee rights advocacy within the Australian region. And we hope this will spark very important discussions within the region to challenge the ongoing human rights abuse the Australian government has perpetrated in both of my home countries towards refugees.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We would like to have first and foremost distributors, as I won't have the capacity to continue doing this myself and there are great interests from the refugee advocacy, institutions, and compassionate citizens in having this film as their educational resource and tools.
Followed by sales agents, buyers, journalists and festival directors to come on board in order to further elevate the relevance, profile, and the importance of this project as a pragmatic educational tool for change beyond just your inspirational stories.
What type of impact and/or reception would you like this film to have?
We hope that many more advocates, institutions, and compassionate citizens would further elevate the issue. It would be a dream if this film could be part of the the mainstream media conversations and bring about the change and retribution for those who have been impacted by the wrath of the politics and the policies.
What’s a key question that will help spark a debate or begin a conversation about this film?
What will it take to overturn Australia's cruel border protection policy and instead create a safe passage for all refugees? (especially for those who no option to come here on a visa)
Would you like to add anything else?
Our website is www.freedomstreefilm.com where you can contact us, find all the information about the issue, research materials, and info to support existing organisations and causes.
And follow us on Facebook, Twitter, Instagram, an Youtube for all the latest news, updates and announcements for future screenings, stories, and development of what I hope is a very meaningful project.
What other projects are the key creatives developing or working on now?
None at the moment, I am planning to take a short break before I take on the next endeavour. But I certainly have solid plans already in mind to explore more Indonesia and Indonesian based stories. I believe that Indonesia is the biggest invisible thing on this planet and uncovering it's secrets and gems would serve the world brand new inspirations.
Interview: June 2022
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
Freedom Street
Writer/Director/Producer
ALFRED PEK is a filmmaker, video journalist, director, and an aspiring storyteller, adventurer, and explorer of pluralism and intersections of identities. Having diverse life experiences in Indonesia and then Australia, it has inspired him to pursue the direction of telling stories that matter to broader social contexts to inspire actions and move human hearts.
Key cast:
JN Joniad, Ashfaq Hussain, Nur Azizah
Looking for:
distributors, sales agents, film festival directors, buyers
Twitter:
https://twitter.com/FreedomStreetD1
Facebook:
https://www.facebook.com/freedomstreetfilm
Instagram:
https://www.instagram.com/freedomstreetfilm/
Hashtags used:
#FreedomStreetFilm #Oneoffamnesty
More info:
Where can I watch it?
Follow our events schedule on Facebook, Twitter, & Instagram updates for Independent Community Screenings & Announcements. We will also have our film also screened in Melbourne Documentary Film Festival next month. Here is the link for it: https://watch.eventive.org/mdff/play/629460f094e30400e7bbb5f3