‘The Stimming Pool’ Creators Want to Change Perceptions of Film and Push Boundaries

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As a film enthusiast with a deep appreciation for unique storytelling and inclusivity, I found myself thoroughly captivated by the making of “The Stimming Pool”. The collective approach to filmmaking, with its diverse team and inclusive set, truly resonates with me. Having spent years in the industry, I’ve seen firsthand how traditional storytelling structures can sometimes overshadow the beauty of a film’s essence.

As a devoted cinephile, let me share my excitement about “The Stimming Pool,” a unique cinematic experience that stands out among this year’s film festival offerings. This innovative production is labeled as a hybrid film, offering glimpses into a world shaped by autistic viewpoints and perceptions. The experimental masterpiece from a team of British filmmakers employs an “autistic camera,” a concept that creates a drifting form throughout the movie.

In summary, this camera captures individuals navigating various aspects of life, highlighting settings that can be overwhelming for those with autism, like a bustling office or a busy bar, while also showcasing tranquil spots providing relief.

In our journey, we encounter diverse individuals such as the host of a B-movie film club, a young lady who completes surveys and observes clips during an eye-movement study, a coworker hiding their autistic traits amidst daily life, and a mysterious figure with canine-human characteristics who looks over those with disabilities. Their stories are narrated in a captivating picture book.

The movie’s synopsis suggests that it is similar to nested scenes from the “Where’s Wally?” series, inviting viewers to enjoy discovering details in every corner of the screen. Each character inhabits their unique world, yet as the story unfolds, we see they share common experiences. Some struggle with the loneliness that comes from hiding their autism, while others find comfort and support in their communities. All characters, however, have a common goal: to discover a place where they can move freely and express themselves without societal constraints. This secret haven is known as the Stimming Pool…

As a follower, I often find myself engaging in certain repetitive actions or movements – what some might call “self-stimulation” – to manage my emotions and deal with intense feelings. It’s like my own unique way of finding balance and calmness in the world around me.

The film showcases a diverse ensemble of autistic performers and non-performers, including the neurodivergent performance artist Dre Spisto. Members of the Neurocultures Collective are also present, primarily engaged in discussions about creative choices behind the scenes. The Stimming Pool was filmed using Super 16mm by Greg Oke, who is renowned for his cinematography work on Aftersun>.

The movie made its debut at CPH:DOX 2024 in Copenhagen, followed by a screening at the BFI London Film Festival. Interestingly, it has recently been listed among the thirteen longlisted feature films for the Raindance Maverick Award at the British Independent Film Awards (BIFAs), an accolade given to “innovative, budget-conscious, and daring filmmakers.

Dartmouth Films, a U.K.-based film production and distribution company, has set its sights on a theater debut in the spring of 2025.

The team responsible for crafting The Stimming Pool is Neurocultures Collective, which includes Sam Chown-Ahern, Georgia Bradburn, Benjamin Brown, Robin Elliott-Knowles, and Lucy Walker. They worked together on this project alongside artist-filmmaker Steven Eastwood, who served as co-director, co-producer, and producer, along with Chloe White of Whalebone Films.

The Autism Through Cinema research project, funded by Wellcome Trust and based at Queen Mary University London, delved into how films have depicted autism and influenced our perspective on neurodiversity. This project was divided into two main components: film archaeology, headed by Professor Janet Harbord, and film practice, overseen by filmmaker and Film Practice Eastwood professor. As part of the grant, Eastwood organized a sequence of workshops to foster the creation of a collective, which materialized towards the end of 2020. Subsequently, they teamed up to produce both the feature-length hybrid film titled “The Stimming Pool” and an immersive multi-screen gallery exhibit called “Stim Cinema.

Amidst a hectic London Film Festival itinerary filled with large gatherings, several individuals from the Collective and Eastwood managed to find time for an interview with THR in a relatively peaceful area of London’s Southbank Centre, where they shared insights about the movie and their creative journey.

Their main objective was to develop a unique creation, both visually and tactilely distinct, that would resonate with them personally, without feeling compelled to instruct or teach the audience.

Chown-Ahern explained to THR that “we’re not specifically educating the audience about autism.” Instead, “we’re all autistic in our own ways, and we each have distinct experiences of being autistic and working within film. So, this movie doesn’t claim to show ‘this is what it’s like to be autistic,’ but rather, it’s a film we’ve made, and some elements of autism are naturally included because that’s just our everyday reality.

“In essence, I’d tell the viewers, ‘you won’t find any similarities with what you’ve seen before, as this movie is unlike anything you’ve experienced.’ It challenges conventional norms and boundaries, primarily because it doesn’t follow a traditional storyline. Instead, it offers something unique and possibly unconventional.

Bradburn expressed a similar viewpoint. “I wish audiences take away the thought that there are multiple methods for crafting films and telling stories,” she shared with THR. “I believe documentary films, traditionally, have been quite structured. The movie was part of the Create section at the London Film Festival, which I feel underscores the fact that the film focuses on the creative journey – it’s about creation and collaboration.

She summarized: “What I’d like others to grasp is that there isn’t one set path for the creative process. It need not adhere to typical patterns. It can express itself in a variety of ways, and it doesn’t have to follow any particular language or structure. There are numerous options.

During the film’s creative development, Eastwood remembered a significant instance that underscored his approach. As he explained to THR, “We had an edit that wasn’t fully polished but had a strong structure for the movie.” After conducting a test screening, some viewers who are not neurodivergent or autistic suggested, “The film needs more guidance. Perhaps we should include on-screen explanations? The audience might find it hard to follow the flow and pattern based solely on trust.” This feedback was striking, and everyone from the Collective responded, “We stand firm with our beliefs.” It’s not about leading the viewers by the hand. It’s about inviting them to explore the frame, to be curious, to wander, and to sway.

He mentioned that “The Stimming Pool” isn’t designed to present a puzzle or mystery. As many movies tend to do, Eastwood pointed out, they often withhold information, pique your interest, and then clarify everything in the end. However, he made it clear that this is not the case here.

When the author disclosed his delight in parts of the movie where he found himself puzzled and even revisited a particular scene the day after, Chown-Ahern smiled approvingly. “I believe this movie warrants multiple viewings,” she explained, “as it is jam-packed with details that may be missed on the initial viewing. But more than that, it’s the joy of discovering new aspects as you watch again and again, things you might have overlooked during your first watch.” She continued, “So your decision to rewatch the scene brings me great joy because that’s exactly what we hope for – to engage viewers who wish to return, explore further, and delve deeper into the intricacies of our work.

The movie concludes with a standout scene that left an impact. During the production stages, there were discussions about how to end the film effectively. The creative team, including The Collective and Eastwood, decided against a bleak finale and instead opted for something uplifting, which they described as “a celebration” and “a release.” Bradburn referred to it as a “satisfying, organic conclusion.

The “Abandoned Swimming Pool” scene in the movie is pivotal. However, you might wonder where this unique idea originated. This is where two more members of the Creative Group come into play. Walker conceived a character symbolizing a spirit animal of a dog. The collective desired all characters to unite at the final location. Meanwhile, Brown was intrigued by the concept of testing and also had an affinity for abandoned sites. As Eastwood explained to THR, “He’s often discussed reclaiming public spaces using autistic behaviors.” So, Brown proposed shooting within an unused pool, which later evolved into the notion of a ‘stimming pool,’ eventually becoming one of the movie’s defining moments.

One standout scene from the movie is an intriguing zombie animation sequence, which Elliott-Knowles was responsible for creating. When asked about the inspiration behind this gruesome scene, he explained to THR that he wanted to express his affection for horror and science fiction genres. “Why not?” he thought, so he started sketching a concept. At home, he creates storyboards in a comic book style depicting an alternate history where women can be warriors without discrimination based on sex or gender. However, prejudice still exists regarding race and religion. With this in mind, he developed a small storyboard that imagines the American Civil War with a female Union soldier battling Confederate zombies in the swamp regions of Louisiana.

Is there a possibility that the movie world and larger community might witness further contributions from The Collective in the future? Bradburn hinted, “I don’t want to set any expectations. There are discussions ongoing.” He continued, “Throughout our process, we’ve all seen potential ideas and have been working on separate projects as well. Myself and Sam have just completed another film project, so we’re building a strong creative partnership.

As the gamer, I shared: “I collaborated closely with Lucy on an alternate character for the game that didn’t quite make it into the final version. There’s a unique bond between Lucy and me regarding this alternative narrative, and Robin too, for our joint project on history reimagined, which is truly captivating. Consequently, we’ve often discussed the desire to be deeply immersed in all these exciting projects together.

Eastwood takes pride in the fact that “The Stimming Pool” offers a unique perspective on filmmaking. As he put it to THR, “Many believe films are solely about character development and plot lines.” However, this movie is more about “the soothing, rhythmic flow of scenes that repeat, focusing on patterns and the simple pleasure found in repetition.” He thinks that everyone can relate to this feeling, and audiences don’t always need to be guided by traditional story structures.

At the conclusion of the meeting, he added one more point of importance. “The unique production process of our film, which holds just as much significance for us as the final product itself, was designed to ensure a fully accessible and inclusive set,” Eastwood underscored. “We provided quiet areas, consulted with advisors and advocates, assembled an almost entirely autistic cast, and a large portion of the crew also identified as neurodivergent. We implemented disability riders, enabling individuals to express their specific needs. This is something we are incredibly proud of. Moreover, it’s co-owned. Everyone had input on the editing process. Essentially, this project was truly collaborative, and that’s something we are eager to communicate.

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2024-11-04 19:57