Hans Dortmans and the mystery of the eel and life

By Lies Aris Eels are mysterious creatures. No one has ever found out where they mate or where they are born. What we do know is that as young eels, they swim across the ocean from the Sargasso Sea off Bermuda until they arrive in European rivers. When they reach adulthood, they swim back the same way to reproduce. They are an endangered species and yet people still eat them. DOXY produced Hidden Dance of Eels, the second documentary by researcher and documentary filmmaker Hans Dortmans, which premieres at Visum Mundi in Wageningen on 23 June. More than a biological travel story that leads from Bermuda to Volendam and Japan, this film raises an existential question: how makeable is nature?

How did this film come about? 'At the idea that I knew I should better not eat eel, but also didn't know exactly why. I heard that people were trying to control the extinction of the eel in laboratories. Then we might be able to eat eel with peace of mind again, I thought. Then I went to Volendam to find out because I heard that they have been working there for years on using IVF to breed glass eels from eggs. Actually, that research is as long a journey as the eel has to make to reach Europe, and we don't yet know the end of this adventurous journey either. The fact that you do this for a fish I found so fascinating. I myself tried to get pregnant with my wife through IVF, but we remained childless. I knew what an impact that had on my life. That's why I feel emotionally connected to this research in a way.' So is there a similarity between humans and the eel? 'If you start reading more about the eel, it is precisely that mystery in which people mirror their own lives. I found it intriguing to see if I could also make the protagonist in the film go on a journey that would bring him closer to big life questions. In a way, this film is philosophical. Of course, this is also because of the wonderful character in Japan, Kenichi. Initially, the Volendam part was easy to organise and I started doing that a long time ago. But I also wanted to make that trip to the Sargasso Sea. Perhaps that was the most difficult because only eleven scientists were allowed to participate on that ship. The trip takes a month and is terribly expensive and is only undertaken once every three years. Coincidentally, they had the idea of taking a science journalist on board for once. Once I passed the balloting, corona cancelled the first trip.' So that became years of waiting? 'Yes, that was a big setback though. And in Japan, of course, it was also very difficult. During the research trip to Japan, I presented my plan at an eel congress in Tokyo. At the very beginning of the congress, someone in the audience caught my eye because he asked two questions that were very different in tone from those of the scientists. I asked my interpreter to engage with him afterwards. I sensed he had a special connection with the eel. That's how I met Kenichi Ikeda. He was actually quite embarrassed by my question because he felt he knew nothing at all about eels. But the way he talked about the fish instantly connected me to him.' Were you able to direct him well? 'I recognised a lot of my own issues I have with that eel. I also suspected that he was childless, like me. He had his own references and had the image that he should figure as some kind of presenter of a travel series. My proposal to Kenichi was, "I'm going to follow you when you go on a trip and I'll organise the things we'll encounter along the way." As a city man, he only knew eels from books. Never before had he seen, let alone held, a live eel. It was a gift that, in his poetic way, he gave his account into the microphone every night in his hotel room. That really brought tears to my eyes.' Was it an easy film to make? 'Well, it did take me years and longer than intended. Fortunately, the funds had leniency and DOXY had a lot of perseverance. I had a cameraman and a sound guy, but nobody on the ship could join me, so I had to film everything myself. Thankfully, that went well with all the advice I got in advance from good professionals. This is only my second film. Nor is this my only source of income. In particular, I am a researcher for other filmmakers, co-write scripts and coach during filming. That's basically what I normally do. For Hidden Dance of Eels, I did all the research myself. Documentary is mainly about finding the right protagonist to win for the film and whose story you want to know. Sometimes you have a subject and a theme but then find someone who can carry that. So that whole process of informing, gaining trust and organising the concept. That's typical documentary.' Do you like the role of filmmaker? 'It's fun but also tough because you have to keep pulling the cart. That's what I find most difficult: to try to stay true to yourself but at the same time have an eye for what the film can do for the audience. My first film went to a lot of international festivals, so that ambition is there for Hidden Dance of Eels as well. My feeling is that this film has to find its footing in the Netherlands first. It is no coincidence that it will premiere in Wageningen, at the university where Dutch eel researchers work. The distributor has focused very strongly on target group distribution where there are people who really have something to do with fishing, sports, nature and the environment. I think the film can eventually handle a larger audience.' What was that first film about? 'Also about an animal! Divine Pig, about my relationship with the pig. I come from a farm-based family. My father was an agricultural extension worker so he spent his life helping pig farmers in the Dutch province of Brabant become big, building their barns which, in my opinion, ruined the whole of Brabant and produced more pigs than people. That then prompted me to become a vegetarian for some time. I also studied for a year in Wageningen, where I did remain working under the umbrella of my father's work in agriculture. That certainly did intrigue me and I also believed very much in the makeability of nature. For instance, my father was also proud that pigs were bred with more nipples than before so that even more piglets could be born... That is also a bit the basis for this film. The limits of social engineering. I ran into that myself, of course, because of my own fertility experience. The big dilemma in this film is, when you get attached to an animal, do you still want to eat it?' What is the most important trait for a documentary filmmaker? 'Feeling a fascination is essential. There are also people who are asked to direct a documentary. Those are just good professionals. I also consider myself a good craftsman but more to serve others in making their documentaries. Occasionally there is something that interests me particularly and I throw my craft on that. You have to be really good at dealing with setbacks, otherwise you won't last. I have the advantage of having worked for 25 years in permanent employment at a production office. That was a luxury position so I was able to work on many films from the very beginning.' Do you actually still eat eel? 'I wouldn't dare say I would never eat it again. For me, it's like Kenichi who does eat it, but only as a very special experience. "Sorry for eating it," he says in the film with contrition. The day before going to an eel restaurant, he doesn't eat all day. Making a film gives you such a bond with the animal, I had that with the pig then and now again with the eel. While making the film, I did eat more eel than in the past 15 years, so I am not very consistent or principled in this. What drives me is the wonder and lust to dive into the story and research with all my vulnerabilities and then try to project them into the characters. What I don't want is to take a biased point of view, because then you get a kind of pamphlet.' Did this film give you an answer to the question of whether we should be allowed to create and manipulate or let the mystery exist? 'On the contrary, I'm not trying to answer it! Talking about social engineering; no, I think man is unstoppable in his drive for social engineering. But it is good to realise that social engineering has its downside and that there are limits. That we should not have the illusion that we are lords and masters of creation...'