OUT OF FISH

The small African country of The Gambia has a big problem; an increasing number of Chinese trawlers are illegally fishing off its coast. The documentary "Stolen Fish" describes its devastating consequences, which reach far beyond that country’s coastline. We spoke with director Gosia Juszczak about her film.

When did you learn about the situation in The Gambia?

I learned about the Chinese fishmeal factories and their impact in The Gambia through a Gambian activist whom I met one day in Madrid through friends at a get-together in a bar. This was maybe a year before Minority Rights Group International, a London-based NGO, issued a call for scripts that would address lesser-known reasons for migration from Africa to Europe. And when I started brainstorming, I remembered that particular meeting.

How did you find your protagonists?

The first two of the five weeks we spent in The Gambia as a film crew was dedicated to research and the search for the right protagonists. Although I had some in mind, they turned out to be either completely non-charismatic or lacked a personal motivation to participate in the film. Sometimes lack of trust toward Europeans was also a factor. It was a trial-and-error method. With a bit of luck, a bit of destiny, a bit of hard work asking around, and interviewing many people, we finally met Mariama and Paul (thanks to Mustapha Manneh, who helped us with all production issues in The Gambia), and you could just feel the power of their pain and how much they needed to tell this story.

Regarding Abou, I knew his brother from Madrid and promised to deliver some presents and say hello to his family. I never actually thought Abou would become a protagonist, but when he started to draw a map of The Gambia on the sand, explaining things so well visually, I just knew.

In the film, instead of describing the problem, you shared the personal stories of Abou, Mariama, and Paul. Why did you choose this method of storytelling?

An all-knowing narrator voiceover is not my thing. Who am I to explain the issues important to Gambians or their context? Abou, Mariama, and Paul describe everything so well, that is all we need. They are also the ones who live with the consequences, so their relationship to the topic is very personal and emotional, and for me, this is the essence of a documentary.

Are you able to keep a professional distance, or is this not possible if you want to make a good film?

I think it is a matter of balance. A personal relationship with your protagonists is important— you might even become friends—but a certain distance is necessary for your mental health and your artistic process. I think the most challenging part of making documentaries is keeping emotional distance. We meet people in difficult life situations. The film itself can help them overcome some obstacles, catalyze change, or be some sort of therapy, but you cannot promise anyone to fix their lives or solve the problem, and this is sometimes hard to accept.

In the case of STOLEN FISH, I can say it was a tool of empowerment for Abou. He had already reached Europe once the film had premiered, something nobody expected would happen, and he now participates in workshops we hold in schools and is invited to festivals within Spain.

What is your advice if someone sees the film and wants to actively engage?

1. Tell a friend. I think awareness is the starting point, and not many people know about this issue.

2. If you are an educational center, school, or university, you can host the film and a debate with us or other experts on the topic. Just get in touch. For me, educating youth and brainstorming with them has the biggest potential for change.

3. Revise your consumption habits. If you eat meat, do you know where it comes from and what it is fed with? If you eat fish, try to buy wild caught and not farmed.

4. Show more understanding and kindness toward newcomers. Their choices and their journeys are never easy, and a simple smile or a conversation can make a lot of difference.