MovieChat Forums > Stellet Licht (2007) Discussion > How did the director get actual Mennonit...

How did the director get actual Mennonites to cooperate?


I've always thought of Mennonites, Amish and other long-standing Protestant communites like these as very strict, conservative and segregated - and I mean that in a neutral, non-judgemental sense. I also thought they rejected nearly all modern technology, like electricity, cars, telephones and other modern means of communication, including movies.

So I was astonished to see them perform, as themselves as it were, in a fictitious movie. On top of that, this film asked them to act out very sensitive religious issues, like the taboo subject of adultery (even with the protagonists having sex!) and the nature of death and possible resurrection.

How on earth did they want to cooperate with the director on subject matter like that?

On a more superficial level, I was surprised to see and hear about a lot of modern technology, like cars, a digital watch, telephone, a blaring radio, tractors and combine harvesters, although the house decoration and the clothes had more of a 19th-century look.

I found it hard to reconcile all this with the notions I had, so I found it hard to just concentrate on the story and let it speak for itself. Or am I prejudiced? Please enlighten me!

Dicky

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Amish and Mennonites are quite different in many ways. Mennonites use modern technology. And religious people (even the stricter kinds) are not opposed to the exploration of faith. On the contrary, I'd think many would be the most likely to consider and deal with issues of faith.

And looking at Christianity as a whole, a central aspect for all varieties is the Fall and how it points to a need for grace (hence Jesus' death paying for sins).

Adultery would be a symptom of the Fall.

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I'm actually Mennonite, and I've met Mennonites from a variety of different areas and backgrounds: Russian-German Mennos from Manitoba, Ontario, Alberta, BC, Saskatchewan, Paraguay, and Mexico; Swiss-German Mennos from Pennsylvania, Southern Ontario, Ohio, Delaware, Indiana, Virgina, the Carolinas, and Texas; and non-white Mennos from all kinds of ethnic backgrounds and nationalities (including the president of the Mennonite World Conference, who is from Zimbabwe).
We Mennonites can be a very diverse and complex group. There are some groups that maintain the very traditional way of life, while others look exactly like their neighbours in the most liberal, grungy, inner-city setting you can find. My extended family grew up on farms in Pennsylvania, wearing traditional clothes like plain dresses and head coverings, staying out of politics and the military, and limiting exposure to the world of media (they had books, radio, and records, but no TV). But the Mennos I go to school with have grandparents and parents who grew up in a very liberal, modernized setting, distinguished from their urban neighbours only by their deep faith and pacifist worldview (and maybe love of music and Russian Mennonite food like vereneke).
I know some Mennos who supported Bush and the war, and others who hated Bush and hate war. I know some who believe in simplicity, buying as little as possible and not putting faith in consumerism, while other Mennos have huge houses, cars, and all the latest technological gadgets. My conservative Menno friends in Pennsylvania were very plain (traditional and isolationist), more like Amish than anything else. But some of my cousins wear flashy jewellry, drive nice cars, or work in far away places among atheists and Muslims.
There are some common elements between the different groups, but even these can be blurry. Pacifism, simplicity, and adult baptism are the traditional cores of the faith, which many Mennos still hold, but some people who consider themselves Mennonite (as an ethnicity or cultural heritage) do not even believe in God. What we share most often is a common history, but even then you have two branches of Mennos, one from Northern Germany/Netherlands/Russia, and another from Switzerland/Southern Germany, and we can be quite different from each other. For example, the first group used Low German as their traditional language, and many still speak it, while the second group used "Pennsylvania Dutch," an Americanized low German that is quickly going out of use.
A lot of Mennos love the arts, and would gladly go into acting or film-making. Although I can see why you would be confused about the Mennos in this movie. The Mexican Mennos are usually Old Colony Mennonites, from the German/Russian background, and tend to be rather traditional and isolationist. But while they believe in simple dress and quiet spirituality, they have adapted modern technologies and other benefits of Western wealth.
By the way, Miriam Toewes, who plays Esther, is from Steinbach, Manitoba, 45 minutes away from my school here in Winnipeg (Russian Mennonite central). She's an author, and she puts a lot of her experiences growing up in a conservative Menno community into her books, such as "A Complicated Kindness." Her family was politically conservative, and didn't believe in drinking or dancing. But they seemed to dress modernly, and have rather modern lifestyles in terms of schooling and economic livelihoods. Toewes felt very restricted by her Menno community, and left to wander at an early age. But eventually, she came back to the area, and is now living as a secularized Menno in Winnipeg.

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A very interesting post erin375

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Interesting, thanks!

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See a list of my favourite films here: http://www.flickchart.com/slackerinc

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Just re-watched this film earlier this evening with my parents who live in Steinbach Manitoba (and where my younger brother went to high school with Miriam). For those especially interested in her work and who somehow don't already know about this, I would strongly recommend 'Irma Voth.'

From the wikipedia entry for that book:
"Though never named or acknowledged in Irma Voth, Silent Light is recognizably the film-within-the-novel. During her many weeks on the set, Toews saw the daily realities of making a film in difficult conditions, as well as the specific dynamics of conflict and cooperation between the Spanish-Mexican film crew and the ultra-conservative Mennonites, some of whom were hostile to the presence of the outsiders.

Through the novel's eponymous narrator, Toews depicts the filming of several scenes that are part of Silent Light. However, in the context of Toews' fictional story, they take on a different character. Catherine E. Wall argues that "Two particularly notable scenes in the sensual and gorgeous Reygadas film—a long hilltop kiss and a faimly swimming and bathing in an idyllic location—become repulsive in Irma's retelling of the film takes."

Irma Voth can be read as a companion piece to the Reygadas film in its depiction of Mennonites in Mexico. "Irma Voth and Silent Light provide interesting counterpoint views of a culture as seen through the eyes of an outsider. Of course, Reygadas and the fictional filmmaker in Irma Voth portray a society within its insular context, a culture out of time and place, while Toews and Irma Voth have learned to coexist in both worlds.""

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