‘Mother of Snow Cranes’, recently screened at NIFF, shows the life of Ellen Vuosalo, who escapes a toxic marriage and finds strength. Photo: Screengrab via YouTube
Although you never intended to marry or have children, life seldom adheres to your plans, and you ultimately find yourself as a wife and mother. This is what happens to Ellen Vuosalo, as life’s unpredictability places her in unforeseen circumstances. But she is determined to stop being a pawn of fate.
The documentary ‘Mother of Snow Cranes’ chronicles the life of this brave woman, Vuosalo. The title is so because she is known as the ‘Mother of cranes’ in Iran for her Siberian snow crane conservation work there.
It begins by introducing Vuosalo as a strong-willed young woman. The story moves back and forth, in retrospect and present. The scenes of retrospection are shown through old archival footage and personal photographs, which adds aesthetic appeal to the documentary. Moreover, it enriches the storytelling.
The documentary sheds light on distressing aspects of Vuosalo’s life, such as being regarded as her husband’s “property,” his decision to flee to another country with their three children without informing her, and the humiliation she endured at his hands. It portrays how she lost herself while being his wife.
As they get divorced, Vuosalo’s life gets adventurous as she enjoys independence. Seeing her living life on her terms feels heart-warming. She also starts seeing men, but none of them lasts long.
The documentary gradually evolves from a personal story of a woman’s empowerment into an exploration of a nation (Iran) undergoing immense change. It intertwines Vuosalo’s life with the turbulent events of the 1970s Iranian Revolution and highlights how personal and political struggles often go hand in hand.
One scene shows Vuosalo returning home after spending the day photographing wildlife. Wearing clothing appropriate for the rugged outdoors, she encounters a group of men who ask her why she isn’t wearing a hijab. In reply, she explains that she is wearing “men’s clothing” for photography. Then, in an attempt to rationalise her appearance, one of the men concludes that she is a “male-female”.
One prominent symbol in the documentary is Vuosalo playing a piano that produces no sound. This represents the silencing of women’s voices in the 20th century. It is a powerful metaphor for their struggles in a world that often refused to hear them. It also reflects how their thoughts, desires, and struggles often went unheard.
Vuosalo’s connection with nature is also portrayed beautifully. Living with her twelve cats, she often walks in nature, sits by the beach facing the sea and contemplates her life. She contributes to conserving snow cranes, too. It feels as if nature is healing her past wounds.
Witnessing Vuosalo’s transformation from a woman navigating societal constraints to someone who finds her voice and purpose is no less than a cathartic experience.
Sanskriti Pokharel, a former reporter and sub-editor at the Post, is a final-year student of Journalism, Mass Communication, and English Literature at St. Xavier's College, with experience in media, research, and communication.
20.62°C Kathmandu
