Marc de Guerre is a documentary writer and director who lives and works in Toronto, Canada. He has been making films since 2000. His films are reflective of his broad interests in the areas of popular culture, art; sexuality, and science and technology. From the murder of John Lennon, to Christian rock musicians in Nashville; from love-doll devotees in Tokyo to professional computer gamers in Seoul and the multibillion dollar ‘crisis management’ industry in LA, Washington and NY.
De Guerre's latest film, BEAUTY AND RUIN examines Detroit as it faces bankruptcy, and all assets are on the table, including the Detroit Institute of Art’s priceless collection. A struggle unfolds between the retired city workers, who want the art sold to fund their pensions and health care, and the museum, which wants to preserve the city’s cultural treasure for future generations.Salem Film Fest selection committee member Shelley Sackett caught up with de Guerre ahead of his film's East Coast premiere at the Peabody Essex Museum on Saturday, March 24 at 8:10pm.
SS: How did you get into filmmaking?
MdG: I kind of ambled my way into filmmaking. I was a painter and visual artist for a long time with a day job doing archival research for documentaries. Eventually, I just kind of fell in love with the medium and decided I'd rather be making films!
SS: How did you get involved with this project?
MdG: This project was really a labor of love project, initiated by myself. I worked on it for close to a year before I had a producer and any financing. It's a film I felt really compelled to make.
SS:Why did you feel compelled to make this film? What about the story ignited the fire in your belly?
MdG: I think it's partly growing up in Toronto. Detroit is the closest large American city by a long way (Chicago would be 2nd--but it's much further), so you kind of grow up with this awareness of this mythical American place, which is also accessible — it's just a straight shot down the highway from Toronto.The thing that really drew me to the story though, was the realization that the DIA is just this fantastically important museum totally landlocked in this city that seemed to be on a permanent downward spiral. The juxtaposition of the phenomenal beauty of the collection set against the ruin of the surrounding city just really called out to me as a filmmaker.
SS:What have been the reactions to the film by audiences?
MdG: In general, it’s been very positive overall — although as you can imagine there has been quite a bit of discussion surrounding the essentially unresolveable and intractable nature of Detroit's economic problems. Overall people are massively disposed to really feeling for the plight of the retirees. Also, the backstory of the American acquisition of old master paintings and the rise of the American art museum seems to have really intrigued people.
SS: What do you hope audiences take away from the film?
MdG:I suppose I'd like them to think that the film is balanced in its presentation of the issues. It's such a complex and somewhat painful situation that is being depicted, and I’d like to think they would end up seeing the validity of both sides of the dilemma.
SS:Have you screened the film in a museum before? Do you think there is any irony in screening it at PEM?
MdG: It actually showed in Singapore at an art museum there! I’m really thrilled that it is screening at the art museum in Salem. I think the natural constituency for the doc is a museum going audience, so we'd love to have it shown in as many museums as possible!
SS:Has there been any reaction in Detroit?
MdG: Everyone who has seen it down there has been very supportive. I think that they find that the complexity of the issue was adequately and fairly represented. Also, on some level I think they are just happy that the story of the DIA and the bankruptcy was captured for posterity. It was a very important moment for them...
SS: What are you looking forward to at SFF?MdG:I am mainly looking forward to meeting other filmmakers and everyone from the festival, but I am also very excited to have the film screening at a historic venue like the PEM. I hope to be able to take a few hours to explore the collection!
SS:What is your next project?
MdG:I’m working on a few things, including a documentary about the son of the great painter Balthus. He is one of the great bon vivants of the 20th century, and we've been shooting together over the last few months.
