Wrestle may be the feature directing debut of the team of Suzannah Herbert and Lauren Belfer , but after working for industry heavyweights like Martin Scorsese and Michael Moore, they hit the ground running and their award-winning, critically acclaimed film that has already been compared to Hoop Dreams and Friday Night Lights. Herbert and co-director Belfer spoke to us about how they came to make this film and that decision to move to Alabama for a long while, as well as how the kids are doing today. Our film examines big questions about equality and injustice through the narrow lens of a wrestling team at a failing high school in Alabama. And w hat led you to this particular school and team in Huntsville? Were you casting a wider search before you found them or did you already know that was the place and kids for your film?
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Wrestle may be the feature directing debut of the team of Suzannah Herbert and Lauren Belfer , but after working for industry heavyweights like Martin Scorsese and Michael Moore, they hit the ground running and their award-winning, critically acclaimed film that has already been compared to Hoop Dreams and Friday Night Lights. Herbert and co-director Belfer spoke to us about how they came to make this film and that decision to move to Alabama for a long while, as well as how the kids are doing today.
Our film examines big questions about equality and injustice through the narrow lens of a wrestling team at a failing high school in Alabama. And w hat led you to this particular school and team in Huntsville? Were you casting a wider search before you found them or did you already know that was the place and kids for your film? Suzannah first heard about the Johnson wrestling team through her southern circle of friends.
The wrestling team at J. Johnson High School had gotten some local coverage because the wrestlers were new to the sport, yet they were defeating kids who had been wrestling since they were five. So, from the beginning, we knew that the young wrestlers were fighting against a lot of odds and that their efforts to make it to the Alabama State Championships would make a really compelling story.
That said, it was really when Suzannah first met the wrestlers in person that it really clicked that, hey, this needs to be a film. And for viewers who see glimpses of their own experiences depicted in the film, we hope they feel empowered by seeing their stories on screen.
In making this film we witnessed firsthand how boys are pushed to be hard, to suppress their feelings, to stifle their tears. Perhaps the process of being filmed and interviewed encouraged self-expression. Initially, finding support as new filmmakers was challenging. Could you talk about the decision to live in Huntsville full time while filming?
It was essential to our process that we were there for every tournament, every achievement, every heartbreak. For us, it was also about investing our own time, not just as filmmakers, but as individuals. You both reside in New York, so Alabama is a very different world in many ways. What were some universal things you found in common with local people you met?
In Huntsville, we were somewhat isolated from any life outside of the wrestling team and the lives of the wrestlers and their families. Suzannah is from the South, so to her, it did feel somewhat like home, especially in the people we met and the relationships we built.
People in Alabama especially in the wrestling community were excited we were there documenting J. A favorite moment from life in Alabama was going on the road each weekend with the team, families, and coaches.
It was always an adventure to pack up the cars and travel hours south to go wrestle in a tournament. It was exhausting, and we averaged 16 hour days, but those intense times altogether, driving, eating, losing weight, wrestling, and cheering really made us grateful to be a witness to such a beautiful group of people. The fact that he comes from such a different life experience and such a different place of privilege does factor into how he interacts with the team, and you see him figuring out where the boundaries are for him to relate to and motivate these kids.
Sometimes you see him push too hard, but then you see him also triangulate and figure out the ways that best meet their needs. Jamario is busy working in Huntsvill e.
What can parents learn from seeing the film? We really hope audiences walk away with a newfound empathy for the students whose only options are schools that are underfunded and unequal. The film profiles just four kids, but there are hundreds of thousands in similar situations across the country. We need to make education — and by that we mean, free, well-funded public schools with well-supported teachers — a priority in the US, or else as a society we will continue to fail our children.
Intellectually, we know that African Americans and minorities have confrontations with police at a much higher rate than whites, but to witness and film racial profiling in real-time brought their reality to a new level for us. One of our favorite scenes in the film is the horse farm scene. Once that comes to an end, a huge safety net is suddenly gone. We very intentionally wanted the film to end on a question and leave the audience with the somewhat uncomfortable realization that their adult lives are just now beginning, and even though they are amazing young men, their lives may not work out in ways we hope for them.
Suzannah: One of the first documentaries I really connected with was Paradise Lost. While watching the film as a teenager, after having absorbed the fear and tragedy of the murders as a five-year-old, I understood how powerful film is in capturing and revealing the truth. Since I was able to see part of my own life in that film, I knew then I wanted to make films and specifically films that documented the south and its people.
What led you to want to make a film about high school wrestlers? What were some of the biggest challenges you faced in making this film? Any favorite moments or discoveries from life in Alabama? Please review our comment guidelines.