Exploring Stories Untold: An Interview with Julia Sandor

Welcome Julia, we are very excited to have you today with us to discuss about your work.

Who is Julia Sandor and how did the passion for creating begin? 

I’m a Hungarian filmmaker who has been living in Paris for over thirteen years. Growing up with parents in the documentary film world, I was naturally drawn to cinema from a young age. In the 90s and 2000s, I was deeply immersed in Budapest’s lively cultural scene, filled with theater, music, literature and art that constantly pushed boundaries and offered unique perspectives shaped by the post-communist era. I studied art and cinema in Budapest and Paris, focusing on theory and research, which I deeply appreciated and still rely on today. However, I realized I prefer being on the move and connecting with people directly. What I love most about documentary filmmaking is capturing those ‘‘hic et nunc’’ moments, just as in photography - brief instances that reveal essential truths about the human condition. These moments bring me real joy and excitement, even when they tackle difficult topics. Filmmaking has transcended mere passion for me; it has become an existential necessity, akin to love in its profound significance.

Can you tell us about your journey from studying aesthetics and cinema to directing documentaries? What initially inspired you to pursue filmmaking?
My studies were crucial in helping me understand the various ways art is created and received, tracing back to the various periods of art history. I’ve always been captivated by the magic that happens when an artist or a group of artists combines different elements—intuition, emotions, and technical skill—to create something deeply personal that resonates with people, even from the other side of the world. For a long time, I resisted the idea of becoming a filmmaker, partly because I couldn’t envision following in my parent’s footsteps. But destiny had other plans! For me, directing documentaries has become my profession as well, that allows me to focus on the human aspect and to express my own sensibilities and tell my stories.

What motivated you to shift your focus from short cultural reports to longer, more complex documentary formats? Can you share the story behind the founding of your production company, Artykfilm?

It all began with television for me. As a Hungarian living in Paris and working in cultural diplomacy, I had the opportunity to serve as a correspondent for the Hungarian channel Duna TV. Together with my colleague and photographer, Jozsef Keresztes-Nagy, we interviewed and filmed hundreds of people across France, Switzerland, and Belgium—Hungarian emigrants who fled during World War II or under communist rule. Our reports covered cultural subjects, including exhibitions, book launches, concerts, and historical commemorations.

This period was incredibly enriching, honing my skills in writing, directing, editing, and storytelling. However, I eventually found the confines of television somewhat restricting. Moreover, due to our strong opposition to the current political regime in Hungary, we decided to part ways with state television. We also desired to delve deeper into subjects beyond short formats and journalism. In late 2020, we founded our own production company, Artykfilm, providing us with the structure to pursue our documentary projects independently. This move allows us also to explore various mediums and produce content in photography, art, and cinema, catering to both corporate communication needs and artistic endeavors.

CONVERSATION ABOUT: In Progress - Bernar Venet's sculptures

What drew you to Bernar Venet’s work and inspired you to create a documentary about his sculptures?

While still working in television, we had the opportunity to interview Miklos Bartha, the founder of the Swiss gallery Von Bartha in Basel. Miklos had emigrated to Switzerland as a child with his mother and sisters. In 1970, he and his wife co-founded their gallery, then known as “Gallery Minimax.” During our discussion with him about art and gallery life, he mentioned something intriguing: Did you know that Bernar Venet, whose work is featured in the gallery, has his own factory in Hungary, in Nagykőrös, where sculptures are crafted by 23 Hungarian metalworkers’s. This revelation piqued my interest immediately and from the very first moment I was inspired by the idea of exploring the process behind the creation of Venet’s monumental sculptures. I reached out to Bernar and expressed my desire to create a film focusing on the conception, fabrication, and installation phases of his sculptures. He showed great enthusiasm for the project, and we quickly established a strong mutual trust.

What was your vision for ‘‘In Progress - Bernar Venet’s Sculptures’’ when you first began the project? How did you balance showcasing the technical aspects of Venet’s work with the artistic and theoretical foundations?

From the outset, it has been crucial for me to illuminate lesser-known facets of Bernar Venet’s sculptures. Venet is a globally renowned artist with an illustrious international career, his sculptures prominently displayed in diverse public spaces worldwide. Extensive literature and studies have documented his work since the 1960s. With this film, my vision was to present the complete process of creating Venet’s sculptures, from their theoretical foundations to the final moments of on-site installation. I aimed to offer an alternative perspective on these artworks, exploring their success and the intricate craftsmanship and logistical coordination involved.

Moreover, I sought to deepen our understanding of conceptual and contemporary art more broadly. I also wanted to convey the complexity of Venet’s sculptures, both in terms of theory and practical realization, providing viewers with a comprehensive insight into his oeuvre. To achieve this, I conducted interviews not only with the artist himself but also with key figures such as Maria Szalai, director of the Hungarian factory, and engineer Pierre Bourrier, among others. This approach was essential for me to weave together the theoretical and physical aspects of Venet’s sculptures.

What were some of the most challenging aspects of filming this documentary over the course of two years?

We followed Bernar Venet for over two years to capture the continuity I wanted for the film, focusing on his ongoing creations. Coordinating our shooting schedule with his was challenging since he always had multiple projects and exhibitions running simultaneously. Despite this, we managed to be as flexible as possible, always finding a way to make the shoots happen. As his sculptures are installed in various locations, we experienced every kind of temperature and light condition: braving -10°C in Berlin’s Tempelhof, filming at night on Paris’s Place Vendôme, and enduring 40°C heat in Le Muy, South of France, under the intense sun and the sound of cicadas. These challenges are part of filmmaking and, ultimately, valuable experiences!

Another challenge was condensing the 22 hours of footage we recorded into a cohesive narrative. I wanted to include the entire process: from creating maquettes and assembling them in the factory to transport and installation, while also highlighting the theoretical, physical, and historical aspects of Venet’s art. Achieving a balance between words and images was crucial. Some moments, like filming the metal workers, needed no words to convey the scale of Venet’s sculptures and the expertise, physical energy, and motivation they put into their work. This silent storytelling was essential for me in showing the true essence of the creation process.

What do you hope audiences will take away and what emotions or reactions do you aim to evoke through your storytelling? How do you think documentaries like yours contribute to the understanding and appreciation of visual arts?

As I mentioned before, I wanted to dive deeply into the creation process of these sculptures to help people feel more connected to the contemporary art world, which often seems so distant and intangible. I wanted to show the hard work, dedication, and passion that Bernar Venet and his collaborators pour into every piece. This aspect is so important when discussing contemporary art. I also wanted to give the audience a genuine glimpse into Bernar Venet’s world and his personality—the passion, the relentless drive, and the courage to dream big. His story is a testament to the idea that with perseverance and humility, you can achieve anything. Art is not just about the final piece but the incredible journey and determination behind it.

In future projects, do you plan to explore similar genre intersections, or are there other genres you’re eager to explore?

Coming from my studies, I was very excited to make my first documentary on art, as most of my short films and ideas for feature films were also focused on this. However, after gaining some experience, I realized that traditional documentary genres, like artist portraits or historical films with conventional interviews, didn’t interest me as much. Additionally, collaborating with artists can be quite challenging! My recent studies at Ateliers Varan in Paris opened me up to other genres.

Now, I’m much more interested in creative documentaries. This genre is less structured and allows for more freedom to incorporate personal sensibility and experimentation. It lets me approach situations, people, and stories from unique angles and focus on the artistic elements of filmmaking and the plasticity of the image—like camera movements, lighting, editing, colors... Somebody once told me this and I truly believe in: “Art is not just about aesthetics and comfort zones, it has an important role to play in opening up channels of engagement with our history. This is what artistic freedom means”.

Are there any upcoming projects or themes you're excited to explore in future films or documentaries?

Currently, I’m working on the feature-length version of one of my short documentaries, which is very close to my heart. It’s about Simon, a metal sheet worker who had his workshop in a suburb of Paris for over 50 years. Recent urban and social transformations have profoundly impacted the lives of traditional artisans. In my film, Simon is forced to close his workshop after being evicted by the city hall. I also have two other feature-length documentary projects lined up for next year. The first one is about the remarkable artist Vera Molnar, who passed away last December at the age of 99. She was a pioneer of generative art and had a significant influence on both her generation and younger artists. The second project is a road movie exploring emigration and Hungarian history through the lens of artist Kamill Major.

This marks the conclusion of the interview featuring our esteemed artist, Julia Sandor. Our community is growing steadily, with a continuous influx of skilled filmmakers and screenwriters joining us. Explore our other interviews, and consider scheduling one for yourself to showcase your creative endeavors.

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