The last time Alison Klayman found herself in Portugal, she was facing significantly different circumstances. It was late-December of 2018, and the documentarian was taking a quick break from an un…
portrait “The Brink” would premiere in Sundance. Only that made official the filmmaker’s unenviable task to quickly finalize the edit for a film that itself had only wrapped shooting following the midterm elections one month prior.
One of the major sources of difficulties was Bannon himself. The right-wing agitator elided the fact that he was also participating in Errol Morris’ “American Dharma,” so when news hit of that other Bannon portrait, Klayman was forced to put her project on temporary hold, giving her the opportunity to go to Japan to shoot “Flower Punk.”Of course, Klayman learned how to center a film around someone with a vast media footprint while working on her debut, “Ai Weiwei: Never Sorry.
It seems there were a lot of such experiences in the making of the film, which swept the director and her camera into private jets, luxury hotels and closed-door meeting with leaders of the global far-right. “Having great access is a challenge,” says Klayman. “You have to consider what it contributes, what the film says.
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