Cynthia Beatt's latest cinematic endeavor, 'Heart of Light – eleven songs for Fiji,' made its global debut at the 55th International Film Festival Rotterdam. This profound film, featuring the esteemed actress Tilda Swinton, is deeply personal for Beatt, drawing from her upbringing in Fiji. It serves as a contemplative exploration of the island nation's essence, its communal values, and the intricate legacy of colonialism. Through an unconventional narrative style, the movie prompts reflection on global issues, presenting Fiji's unique social fabric as a potential blueprint for a more connected and compassionate world.
The film, which showcases Fiji, its inhabitants, and their profound spirit alongside Tilda Swinton, is described on the IFFR website as 'a speculative autobiography realized as an enchanting hybrid of ethnographic study and essayistic fiction.' It follows the character Iona, portrayed by Swinton, as she returns to her childhood home in Fiji, seeking answers to fundamental questions about civilization. This journey is designed not only to entertain but also to offer insights and potential solutions to the world's contemporary challenges.
Crafted by Cynthia Beatt, who also co-produced and co-edited the work, the film benefits from Jenny Lou Ziegel's cinematography, Marlon Beatt's sound design, and a diverse musical landscape contributed by artists including Talei Draunibaka and Simon Fisher Turner. The cast, beyond Swinton, features talents like Sereima Divavani and Peter Knaack, though Fiji itself emerges as the central character. The film notably begins with a quote from T.S. Eliot's 'The Waste Land,' setting a contemplative tone before emphasizing the collaborative presence of 'Fiji' and 'Tilda Swinton' in Beatt's vision.
Beatt, whose formative years were split between Jamaica and Fiji, returned to the South Pacific archipelago to create this film. The stylistic approach of 'Heart of Light' resonates with her earlier work, 'Description of an Island,' co-directed with Rudolf Thome. Both films blend ethnographic study with essayistic fiction, with Swinton in this latest offering embodying Iona, a character who anchors the various themes of homecoming, remembrance, and life's lessons, often in locales that have evolved from Beatt's childhood memories.
Reflecting on the film's genre, Beatt prefers to call 'Heart of Light' a 'cinematic essay,' emphasizing its journey of following an idea while embracing unforeseen turns. She views it as a documentarian effort enriched by fictional elements and carefully crafted scenes, rather than adhering to rigid genre classifications. For Beatt, the film is a heartfelt tribute and the culmination of a lifelong process of introspection regarding her identity as someone raised in a culture distinct from her parents'. She regards Swinton as a kindred spirit, commending her dedication and adaptability, and together they discussed the film's production and the lessons it might offer the global community.
The collaborative journey for Beatt and Swinton began in 1986 at the Berlin Film Festival, where they first connected while Swinton was promoting 'Caravaggio.' Their shared creative vision for a film set in Fiji was conceived then, though it took four decades to materialize. Despite the long gestation, Swinton expresses no surprise, understanding that such a deeply resonant project required its own time to mature. This long-standing concept, often revisited in their conversations, faced further delays, including a two-year hiatus due to the COVID-19 pandemic, before finally coming to fruition.
A poignant observation from Beatt regarding Fijian rugby, where players refer to each other as 'cousin,' 'uncle,' or 'brother' instead of by name, underscores the deep sense of kinship prevalent in the culture. Swinton, being Scottish, finds parallels with Fiji's clan system, highlighting a profound societal connection that she believes could offer valuable lessons to the Western world. She recounts a scene where she apologizes to Fijian elders for her potentially intrusive questions, only to be welcomed warmly, their acceptance dissolving her 'foreignness' and making her feel an intrinsic part of their community. This experience of unconditional acceptance, Swinton notes, is a rare and special gift that adults, too, can embrace and learn from.
Swinton observes that the inherent communal spirit of Fiji makes the historical impact of British colonization even more heartbreaking. She sees colonialism not merely as material exploitation but as a profound societal and spiritual desecration, shattering the trust within the indigenous social structures. Beatt adds that even after colonial powers depart, their imposed structures often persist, forcing local populations to navigate systems alien to their traditional ways of life. In this light, 'Heart of Light' becomes Beatt's personal confrontation with her own past as a 'colonial child,' exploring the messages she received and the internal conflict of feeling Fijian despite her origins.
Swinton commends Beatt's meticulous and often challenging self-examination over 40 years, acknowledging the courage it took to revisit and take responsibility for her history through the film. Beatt admits to moments of vulnerability and doubt during the process, describing instances of emotional struggle as part of her learning curve. The film ultimately conveys a message of enduring hope: the respectful and supportive community spirit of Fiji can inspire not only the creators but audiences worldwide, demonstrating that a more communal and empathetic way of living is not only possible but aspirational. Swinton concludes with a note of boundless optimism, suggesting that society can take concrete steps towards such a transformative shift.