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    In 'Flee,' Jonas Poher Rasmussen Animates His Friend's Story

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    COPENHAGEN — Midway through Jonas Poher Rasmussen’s latest documentary, a decrepit boat crowded with Afghans fleeing violence crosses paths with a gleaming Norwegian cruise ship somewhere in the Baltic Sea.The passage for the migrants so far has been harrowing, and most of them greet the ocean liner with joyous relief, convinced their salvation has arrived. But the film’s protagonist, Amin, takes in the well-groomed passengers on the ship’s deck, snapping photographs of the refugees below and only feels “embarrassed and ashamed at our situation.”“Flee” tells, in animated form, the true story of how Amin, Rasmussen’s close friend since high school, fled Kabul as a child in the ’80s with his family, before heading to the Soviet Union and trying to reach asylum in Scandinavia. For the subsequent 20 years, Amin kept the specifics of this perilous five-year journey a secret, and in this emotionally nuanced documentary, we discover the story’s twists and turns much as Rasmussen did.When Amin told him about the cruise ship incident, the director was initially surprised by the weight and impact of his friend’s shame. “And then, I had to say, ‘but, you know, I’m the cruise ship now,’” Rasmussen said in an interview at his home in Copenhagen. “I’m the one standing up there looking at your story.’”Rasmussen, whose other documentaries include 2012’s “Searching for Bill,” is acutely aware of the responsibility that comes with telling another person’s story. Amin is not his protagonist’s real name; at his friend’s request, “Flee” keeps Amin’s true identity hidden, even as the film tells a deeply intimate story in arresting detail.Over the last year, the documentary has garnered a slew of awards, including at Sundance Film Festival, and now looks like it might be an Oscar contender. Opening in theaters in New York and Los Angeles on Dec. 3, the film has had so much positive attention in its native Denmark — a European country that has taken a comparatively hard line on refugees in recent years — that there are hopes that it may change the debate on migration.Rasmussen, now 40, has known he wanted to tell the story of Amin’s flight from Afghanistan for nearly two decades, even though he only vaguely knew what his friend went through. The two met when they were both 15, and Rasmussen noticed Amin on the train to school. As he recounts in the film, Rasmussen was drawn to the Afghan’s stylish clothing (“In rural Denmark,” he said, “people did not commit to fashion,”) and from there the two struck up a friendship..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}One of Rasmussen’s grandmothers was the daughter of Russian-Jewish refugees and had to flee Nazi Germany, which may also explain why the two 15-year-olds recognized something in each other.When they were both in their 20s, Rasmussen asked Amin if he could make an audio documentary about his story, but the latter said he wasn’t ready. By 2014, he was. Even then, their arrangement was tentative, and they explored whether Amin felt safe recounting his history for the first time and, if so, whether Rasmussen could find an effective way of telling it. To start, he drew upon a technique he had learned in radio, asking Amin, with his eyes closed, to recount a story in the present tense.“You’re asking them to paint an image for you,” he said. “What does the house look like? What are the colors on the wall? That gives you a lot of information that we could use in the animation, but it also brings him back, so he kind of relives things instead of just retelling them. It’s really about making the past come back to life.”Amin is not the protagonist’s real name; at his friend’s request, Rasmussen keeps Amin’s true identity hidden in “Flee.”Final Cut for RealThis became the structure for the film’s interviews, which took place over four years, at the same time as the refugee crisis erupted in Europe. With a center-right government newly in power, Denmark took a much harder line than other Northern European countries, drastically limiting the number of asylum seekers it accepted and the benefits they received, as well as passing legislation that required them to hand over valuables. Although the crisis heightened the project’s relevancy, it also pushed Rasmussen to make the film feel even more personal.“In the beginning, of course I wanted to tell my friend’s story, but there was a political aspect to it,” Rasmussen said of his determination to remind his fellow Danes of the human beings behind the label of “refugee.” “That became less so because the debate here was so harsh and so polarized,” he said. “I didn’t want to be a part of that.”That polarization continues in Denmark, with school lunches as well as laws around the processing of asylum seekers becoming cultural flash points. The stridency of the debate makes “Flee,” with its intimate tone and complex lead character, stand out all the more.“A lot of Danish documentary filmmakers have made films on refugee topics,” said Kim Skotte, the film editor for the Danish newspaper Politiken. “Those show the suffering of thousands of people, but after a point you kind of block it out. This is a much easier film to watch in some ways because you’re drawn into one person’s story.”Animating the documentary, with actors voicing the dialogue Amin remembered, helped emphasize this focus on one individual’s story, while the anonymity made it easier for Amin to recount his past. “This is life trauma, and it’s not easy for him to talk about,” Rasmussen said, who hadn’t worked with animation before “Flee.” The fact that Amin isn’t now a public figure, “that he wouldn’t meet people who would know his intimate secrets and traumas, was key for him to feel safe.”Rasmussen was also drawn to the creative possibilities that animation offers. While he conducted the interviews, the director noticed changes in Amin’s voice. “When he came to things it was difficult for him to talk about, you could feel that he was in another place. I thought we should see that visually,” he said.Understand the Taliban Takeover in AfghanistanCard 1 of 6Who are the Taliban? More

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