Don Sawyer (center left) and Sam Mirpoorian (center right) talk about the ideas
and the filmmaking process behind the
film "Uncharted: The Truth Behind Homelessness."
The documentary was screened at Ashley Square Cinema and
a dialougue with Sawyer and Mirpoorian followed directly after.
SAM CARAVANA/THE DEPAUW
“Uncharted: The Truth Behind Homelessness” puts up no facades. The documentary which successfully portrays the issue of homelessness in the city of Indianapolis does not pretend be objective, making clear of its mission throughout.
Though homelessness is a national issue, directors Adam Oppenheim and Sam Mirpoorian limit the movie’s focus to Indianapolis, the only city in the top 15 largest cities in America that spends none of its budget on assisting the homeless.
The film, though a documentary, takes a subjective approach as it winds its way around the streets of Indianapolis, interviewing everyone from Maurice, the leader of a homeless camp, to members of Mayor Greg Ballard’s office. Oppenheim and Mirpoorian explore the issue of homelessness, diving into its causes as well as evaluating the solutions currently in place, including Indianapolis’s attempt to brush the homeless out of the streets while offering no alternative.
Though the filmmakers interview members of opposing sides they make no attempt to hide their opinions at multiple points, directly voicing their thoughts at the camera.
Speaking of camera the films cinematography is what one would expect from first time documentarians such as Oppenheim and Mirpoorian. At multiple points, the footage was so shaky that I found myself getting dizzy. In addition, the camera’s focusing and re-focusing on screen distracted from the content. This lack of polish is the result of the films sparse funding, with only one major donor who offered up $10,000.
“A lot was self-funded,” said Don Sawyer, a member of the filmmaking team.
Throughout the film these small mistakes pick away at the beauty of the film, but not its message.
Mirpoorian, whose film background is in music videos, adds some stylistic touches that make the film stand out from its genre. At multiple points the plot is slowed by black and white footage of Indianapolis that make the viewer feel as though he or she is flying through the city.
As the end of the film grows near and the homeless camp is demolished, Oppenheim and Mirpoorian end the scene with Sawyer playing a keyboard on an elevated parking lot.
“We tried to make it more cinematic than your average documentary,” said Mirpoorian, citing the artistic flourishes.
Though the film has been released and has multiple screening the films production is an ongoing process. Currently, footage is being recut by Emmy-winner Stephen Talbot in a new rendition.
Despite the technical shortcomings of “Uncharted,” the documentary thoroughly informs the viewer on the state of homelessness in an orthodox manner.