Directed, Produced & Choreographed by Katya Bourvis
Created in collaboration with dance artists: J BAUTISTA, ALEXANDER NUTTALL, NOVAYA SHEY and PATRICIA ZHOU
Loosely inspired by Ovid’s ‘Metamorphoses’, ‘Myrrha’ is a vivid fever dream exploring classical themes of fluidity and re-creation from a strikingly contemporary perspective. Invited into the liminal space of Studio Wayne McGregor, the viewer observes a strange cabal of characters as they grapple with the boundaries of identity and gender - and over the course of the film’s three parts, we’re taken on a surreal odyssey of transformation, presided over by the immersive beauty of Ruaraid Achilleos’ camerawork. Supported by a Sadler’s Wells artist grant and featuring the genderless designs of Max Zara Sterck, ‘Myrrha’ is hypnotic and eerily arresting — and marks a powerful solo directorial debut for choreographer Katya Bourvis.
READ OUR INTERVIEW WITH KATYA
Tell us a bit about yourself and your filmmaking background.
I trained in classical ballet before dancing with Stuttgart Ballet, English National Ballet and the Royal Opera House. Later, I started freelancing in a more commercial and contemporary capacity, and worked a lot more for film. During the pandemic, I started experimenting with film and sound, and fell in love with how the body could be captured in moving image; how stories could be told through physicality and immersive sound design. Around this time I transitioned into Movement direction for music promo, branded content and film. My experience in the surreal and imaginative world of ballet and theatre and the sensitivity that I’ve acquired as a dancer has given me my own way of looking and feeling the world, which I feel is a huge attribute to my developing directorial eye. I co-directed and choreographed my first short ‘What are We Doing’ which featured on Girls In Film last April and will be showing at this years Leeds Festival. ‘Myrrha’ is my solo directorial debut.
Tell us about the genesis of 'Myrrha'? How did the project come about?
I started reading Ovid’s ‘Metamorphoses’ during the pandemic and it felt so relevant to the transformative time we were all facing. Rich in imagery and archetype, to me the myths craved a modern retelling and I felt a pull to explore classical themes of fluidity and recreation.In the Summer of 2021 I was afforded a Sadler’s Wells artist in residence grant; this was my first ever choreographic residency, and I decided to use it as the first step in creating ‘Myrrha’. A lot of the choreographic material was generated collaboratively with my brilliant dance artists, using the original text as a jumping off point. It also felt important to me to incorporate my dancers’ personal experiences, so I interviewed each dancer on transformation, gender and artistic identity. We used the interviews to layer intention over pre-existing movement language, which then informed how I imagined retelling the myths.When it came to filming a month or so later, I had a clear vision of the film being a triptych and I wanted it to feel like a fever dream. I owe a lot to Ruaraid Achilleos and Ken Schijf the Movi operator for the hypnotic and immersive camera work. And of course to the incredible Max Zara for creating such striking genderless designs! The project also owes a huge debt to Edmund Roberts, who’s atmospheric compositions form the backbone of the piece’s soundtrack; he was also very open to collaborating with me, and helped me to integrate my own field recordings into his work, building a surreal, but beautiful sound world. It was a real team effort, and I’m still genuinely moved by everyones generosity and contributions.
What obstacles did you overcome while in the making of this film?
I was very naive as a first time film maker and had no idea of what it actually takes to make a film, until I was deep in it! My budget was so low, so I ended up taking the role of choreographer, director, producer and stylist. It was a little overwhelming and I remember being found by a sales woman breaking down in a tiny cubicle in M+S surrounded by about 20 trouser options and being asked to leave as the shop had shut! A low moment! There were many moment like this — but I wouldn’t give up any of them for all that I learn’t and the resilience built… Well maybe a few ; ) It was hard to distance myself from my own creative vulnerability, and not to take things personally. I was working with sensitive personal stories and that takes a lot of awareness. Everything was new to me, it was my first residency choreographing, my first solo shoot, my first editing experience, my first time collaborating with a composer — and it was hard not to give in to doubt. But I was so lucky to have a brilliant creative team who got me through.
Tell us about the journey of getting your film to audiences.
It took a few of weeks of existential crisis - ‘aaah it’s shit… I’m awful… it was all for nothing…’ Luckily Schön picked it up for their platform and minute shorts. Finally, New Renaissance Film Festival have been wonderfully supportive, and it was incredibly vindicating to win Best Choreographer at their award ceremony last month!
Words of wisdom. What advice would you give to other filmmakers?
Work with good people and keep going. Try to zoom out in moments of feeling totally consumed or totally important. Get a producer!
What are you working on now?
I just finished choreographing on another short film and working on an immersive stage piece. I’m taking a little break to re-enter the world after a busy creative period. I hope to return to directing shortly, with a female led short set to a dream pop soundtrack, featuring some really incredible dancers.
Any film recommendations that we should add to our watchlist?
The Pandemic turned me into a bit of a arthouse genre geek - Possession, Les Bonheurs, Suspiria (the 70’s one) and The Night of The Hunter. In fact, all of those have a slightly Halloween appropriate mood. So those three!