I am every woman

As we mark 100 years of International Women’s Day, Natasha Walter argues that British feminism is sh

A few weeks ago, I found myself sitting in a café in Camden Town, lost for words. I was with Saron, a woman who arrived in the UK seeking asylum some years ago. When she spoke of her youth in her home country, you could catch a spark of the woman she had once been - ambitious, talented and fearless. When she talked of her life now, it was as if a cloud had blocked out the sun.

Afraid, hopeless and with no sense of self-worth, Saron spoke dully about the feeling she had that she was living a life - at the age of 33 - that had come to an end. What silenced me was the way she summed up how she had reached the end of the road. "It wasn't what happened to me at home that broke my spirit. It was what happened to me here."

When she said this, it was shame that stopped my voice. Yes, many men who flee their countries are also treated badly. In the current political climate, we cannot offer a home to everyone who crosses our borders. But the manner in which women are treated when they journey to the west in search of safety shames us all. If you believe that women deserve a voice, you have to listen to their stories. If you believe that they should be entitled to human rights, you must act in response to these stories.

To understand what I mean, listen a little more to Saron's story. She lived a free life in Ethiopia until her early twenties, when, as a young journalist, she went out to report on a student demonstration. Police attacked the protesters, leaving many dead. "Horrible to see," she says succinctly. Because she reported the facts in a newspaper, she was sent to prison. She was naive. "I thought that problems of that kind wouldn't happen to me," she says, explaining why she spoke out.

She got through one episode of imprisonment but, the second time she was jailed, she was raped violently by a police officer. When she was released, her family decided that enough was enough and paid for an escort to get her out of the country. She didn't know where she was going. At first, there was a long journey on foot through the hot, forbidding desert to Sudan; then an aeroplane ride to a cold, forbidding airport in England. She claimed asylum on arrival but was refused.

Saron is articulate about her experiences, yet even now she finds it hard to speak about what happened next. She has, however, been working with a London-based project called Write to Life, run by the Medical Foundation for the Care of Victims of Torture, which has helped her to express herself again through writing.

Her accounts of her life as a refused asylum-seeker in the UK make for chilling reading. Without the right to work, earn money or claim benefits, she was forced for a long time to sleep rough on the streets around King's Cross train station, where, she says: "Men offer you a safe place and then it is like what the policeman did to me in prison."

When she came back into the asylum process for another attempt to secure leave to remain in the country, she was imprisoned, on three separate occasions, in Yarl's Wood, the huge detention centre in Bedfordshire where hundreds of women like Saron are locked up. "I felt nobody was safe in that place," she says. "I thought I'd rather die there than fight. I felt that they had all the power."

During one episode of detention, she stopped eating until she was taken to the hospital. During the third episode, she was placed on suicide watch for a few days before being bundled into a van and driven to the airport. She would be in an Ethiopian jail right now, she tells me, had her lawyer not managed to get her a last-minute reprieve as the van was waiting on the tarmac at Heathrow.

As I walked away from our meeting, what made my heart feel heaviest was not just the thought that this young woman had lived through so much injustice, both in this country and Ethiopia, but also my growing understanding that Saron was not alone. The sad truth is that there are many other Sarons enduring the kind of persecution she suffered as a woman in her own country and the ordeal she went through in the UK when she tried to find refuge here. There are hundreds, even thousands, of other Sarons.

Yet we rarely hear about them, let alone from them. It is as though we edit out the plight of refugee women whenever we talk about equality for women or our desire to help women resist violence. They become the unheard, the voiceless, living among us but invisible. I wonder about the women - perhaps I was one of them - who walked past Saron when she was sleeping rough at King's Cross.

Histories of violence

Many experts are now speaking out about what is happening to women refugees. One of the foremost organisations working for the rights of these women, Asylum Aid, published a telling report in January entitled Unsustainable: the Quality of Initial Decision-Making in Women's Asylum Claims.

The document is not an easy read, but some of the conclusions jump off the page. Many of the decisions that the Home Office makes every day on whether or not to grant women asylum in the UK are badly thought through: "The research found that women were too often refused asylum on grounds that were arbitrary [and] subjective, and demonstrated limited awareness of the UK's legal obligations under the Refugee Convention" - in other words, one could argue that they were illegal.

There is something quite calm and forensic about this sort of language. It's when you meet a woman such as Saron, however, that you
understand what these arbitrary, subjective decisions of dubious legality mean for the women seeking refuge.

“We all know that awful things happen in Africa," Saron says to me. "Nobody claims otherwise. But then you come to a country where there are supposed to be human rights and you find out that they do not apply to you. That is so hard. That's when you realise that you will never be safe. You feel so alone."

The two books I have written, The New Feminism and Living Dolls: the Return of Sexism, have mapped women's experiences of a certain kind - the inequalities that western women come up against every day, from assumptions about our appearance to pressures on our working lives. These things matter; I wouldn't choose to write about them if I didn't care that I, and all women in the west, live in a world that still stifles meaningful equality. But my recent work has brought me up against issues that overshadow many of those experiences.

Five years ago, I co-founded the charity Women for Refugee Women, which works in partnership with other organisations to increase awareness of the experiences of women seeking asylum in the UK. We work with women who are seeking asylum for any reason, but we have discovered that sexual violence is the thread that runs through their stories.

They have been raped or threatened with rape to punish them for speaking out. They have been raped or threatened with rape for being born into the wrong ethnic group or for worshipping the wrong god. Many of them have fled from other experiences that are very specific to women, such as honour crimes, forced prostitution, female genital mutilation and forced marriage.

Women around the world are suffering such abuses. Most of them have no option but to stay within their own communities. A very few manage to cross over to the west, hoping that the commitments that western Europe, the United States and Canada have made to human rights extend to them, too.

Another woman who talked to Women for Refugee Women recently is Alicia. She lived in a society in Cameroon where it was customary for a widow to be married off to the brother of her dead husband. Most women in that situation consent but Alicia refused to do so. She was raped and beaten by her brother-in-law every day while the community stood aside, until a friend took pity on her, took her out of the house and brought her on a plane to the UK.

Once here, she learned that her uncle, in an act of retribution, had killed one of the sons she left behind. "I know that this is the tradition of my country - that a woman must become the wife of her dead husband's brother. But this is
a bad tradition," she says.

Like Saron, Alicia was refused asylum. Like Saron, she was repeatedly imprisoned in Yarl's Wood, and even taken to the airport for attempted deportation.

Tipping points

Even though I have worked in this field for years, I am still shocked by how casually women are refused asylum here. In its report, Asylum Aid noted that Home Office decision-makers often doubted the credibility of applicants' accounts for no good reason.

Indeed, one of the reasons Saron was given for refusal was that, if she had already been imprisoned for so long and had been treated so badly in Ethiopia but had refused to give the police any information, she would no longer be of interest to the government even if she returned, as they would have given up on her. Alicia, meanwhile, was told that her asylum request had been refused because the Home Office believed that her young children would stop their uncle from attacking her.

By using such spurious grounds to refuse these women's applications, the Home Office is trivialising their experiences. It often compounds a women's trauma to have her asylum claim refused. As in Saron's case, refugee women can become destitute, leaving them open to further abuse and exploitation. Many are detained for long periods, as Saron and Alicia were, and this arbitrary loss of liberty can drive them to despair.

We can't call ourselves feminists or supporters of women's rights unless we listen to these women and learn from them. In many ways,
it does not feel like the right time to try to speak up for migrant women - the cuts and the recession have made it harder to shift people's attention away from the problems that we are all dealing with in protecting our jobs and public services.

And yet, in one important way, this is the right moment to bring the experiences of refu­gee women into the foreground. On 8 March, supporters of women's rights and equality between the sexes will be celebrating 100 years of International Women's Day. Film screenings, festivals, marches and parties will take place across the UK. In these celebrations, links will be made between the interests of women in the west and those of women all other parts of the world. Equals - the coalition celebrating Women's Day - includes both organisations that work in the UK, such as the Fawcett Society and UK Feminista, and those that work internationally, such as Women for Women and the White Ribbon Alliance.

In all its campaign messages, the Equals coalition is drawing connections between the experiences of women in the UK and those of women elsewhere. "Why do women feel forced into having sex?" asks its brochure, backing the question up with statistics drawn from life in the UK. But then it asks, "Is being a woman in a warzone more risky than being a soldier?" - referring to statistics from international surveys. One of the coalition's leaders, Annie Lennox, notes: "From India to Illinois, women face violence just for being female."

Only connect

As a feminist, I am excited to see these links being made so clearly. It is essential to raise our eyes from our own experiences from time to time to see what is happening among our neighbours. We cannot talk about the ways in which women who experience violence are disbelieved in our criminal justice system without also listening to the experiences of the women fleeing violence who are being disbelieved in our asylum system.

We cannot talk about how we want equality in our families unless we listen to those who have been forced to flee their own families. And we cannot talk about the need for economic equality without acknowledging the women who are sleeping on the streets of our capital cities, lacking the papers they need to work or claim benefits.

We cannot talk with a superior air about how women are being oppressed in other countries such as Afghanistan or the Democratic Republic of Congo unless we can understand that, even after women have fled from those places to seek refuge in our countries, they may be treated brutally.
If we want a feminism that rests on true solidarity between women of west and east, north and south, the voices of refugee women must play their part. These women are not just victims: many have an important role in increasing our understanding of what women are experiencing throughout the world.

Female refugees can teach us so much. I would not have any notion of how governments all over the planet use sexual violence against women as a tool of ethnic, religious and political persecution if I had not been working, over the past few years, alongside women from countries where this has become a common experience. I would not know about the ways in which women who resist the norms of femininity are punished so violently in some parts of the world if I had not worked with women who had dared to take this path. Nor would I understand how, despite suffering so much in political or domestic conflicts, women who survive these abuses can come to our shores with the desire to rebuild their lives, learn and contribute. Despite the shocking stories they tell, I count myself lucky to have met these survivors of the international wars waged against women, who are determined to move on from their experiences and walk tall.

If you are talking about rights this International Women's Day, you may be talking about what still needs to be done in the UK. Or you may be talking about what needs to be done in far-flung places across the globe. But please understand that these are not separate issues. We are connected.

Saron lives among us, as do thousands like her. No woman is an island. Only when we recognise this will we be able to build a movement that can ensure safety for women such as Saron and others like her.

Some of the interviews were carried out by Sheila Hayman and Melanie McFadyean. Names have been changed “Journeys", readings by women refused asylum in the UK, will be at the Southbank Centre, London SE1, during the Women of the World Festival on 13 March. For more details visit: refugeewomen.com.

Natasha Walter is the founder of Women for Refugee Women, @4refugeewomen

This article first appeared in the 07 March 2011 issue of the New Statesman, The great property swindle

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Rebel with a realist cause

Michael Winterbottom, Britain’s busiest film-maker, discusses cinema, social mobility and how we are returning to the 19th century.

In the early 1960s, Lindsay Anderson was enjoying the power and esteem that he had always thought the English would be too philistine to grant him. His Free Cinema movement, launched in February 1956 with a series of modest, hand-held documentaries and a strident manifesto, had mutated into “kitchen-sink realism”, a series of popular feature films that included Tony Richardson’s Loneliness of the Long Distance Runner, Karel Reisz’s Saturday Night and Sunday Morning and his own This Sporting Life. Anderson seemed dangerously close to becoming the  leading spokesman of mainstream British cinema. But then, as he recalled, “Realism gave way to the myth of Swinging London. The Americans, God bless them, put up a lot of money and the British made a lot of bad films.”

When, bored and broke, the Americans went home, taking many of his colleagues along with them, Anderson stayed behind. He made if . . ., which won the 1969 Palme d’Or at Cannes, and a sequel, O Lucky Man!, and then – nothing. For most of the 1970s, British cinema was virtually an oxymoron. But when the industry came back to life at the start of the next decade, with GandhiChariots of Fire and the formation of Channel 4 Films, he refused to celebrate or capitalise, preferring to tut and clutch his brow.

In November 1985, the month when his former protégé Stephen Frears first startled a general British audience with My Beautiful Laundrette, which updated kitchen-sink realism with new causes (multiculturalism, gay rights) and villains (Thatcher, the National Front), Anderson was making gentle progress on a backward-looking endeavour – a television documentary about Free Cinema, to form part of an initiative he despised called British Film Year. A born dawdler, equally petrified of success and failure, he was having trouble with the stills and inserts. “I finally get the operation organised,” he wrote in his diary, “by insisting that the attractively cherubic Michael Winterbottom be my assistant.”

When I spoke to Winterbottom last year, he told me, “Lindsay Anderson was a director I really admired and I wondered why he had made so few films. Then I met him. There was a lot of messing around” –bickering, procrastination, mischief. And perfectionism: “Even on the Free Cinema documentary, he ended up reshooting ­everything.” Winterbottom wanted to emulate Anderson’s work – the intransigence, the looseness – but he realised that in order to follow those examples and still have a career, he needed to make peace with prevailing industrial conditions and devise a plausible, even hard-nosed working method.

Three decades later, he is constantly in work. Alongside Frears, he is Britain’s busiest film-maker. At any given moment, he occupies two or more points in a process that goes something like: development, financing, casting, filming, editing, festival circuit, domestic release. But where Frears has graduated to working with Hollywood studios, Winterbottom relies on independent financing and employs a no-fuss, often hand-held, digital shooting style. David Thompson, the former head of BBC Films who is now an independent producer, told me, “Michael pioneered a way of working that we tried and failed to get other directors to adopt: if you can’t get the crew in a minivan, then you’ve got too many people.”

The results so far have included 24-Hour Party People, a comedy about the Manchester music scene that captured Winterbottom’s own philosophy of productive chaos, and 9 Songs, in which a climatologist recalls a relationship through nights at rock concerts and uncensored days in bed. Winterbottom’s most recent film, The Emperor’s New Clothes, a documentary about inequality, presented by Russell Brand, was his 28th. And that doesn’t include The Trip, the BBC2 comedy series starring the comedians Steve Coogan – a Winterbottom regular – and Rob Brydon, which was released outside Britain as a pair of films, The Trip and The Trip to Italy: to date, his only sequel.

***

Working alongside the producer Andrew Eaton, Winterbottom has established an atmosphere of rigour and determined focus that allows him to take risks. Eaton, who has known Winterbottom for more than 30 years, told me that “no other director comes to set with such a strong sense of what he’s trying to get combined with a complete openness to what could happen in the day”. When Winterbottom was making the family drama Wonderland in the late 1990s, he took his skeleton crew into London bars that were open for business. Punters became extras. “The people in a place are so much part of the environment,” Winterbottom said. “We were trying to get a different texture, to let the characters interact with the real world.”

Winterbottom and I were having breakfast in a London hotel restaurant. When I arrived, he had just finished a television interview about The Face of an Angel, a rumination on the Amanda Knox trial starring Daniel Brühl and Cara Delevingne, which opened in 2014 to baffled reviews. Winterbottom, who turns 55 in March, still looks like a cherub, but a cherub going grey at the sideburns. He is affable, even happy-go-lucky, but also remote – withdrawn. His gaze carries a slight air of wistfulness, as if he is distracted by some opportunity five yards beyond your shoulder. And though he talks very quickly, he is a specialist in prevarication and reversal. Assertions are parried, questions dodged. But when he’s comfortable, he’s fluent.

Winterbottom continued to tell me about the thinking behind Wonderland, which many consider his greatest film. He compared it to Notting Hill, which was being shot further west around the same time. “As soon as you go in and control everything, you’re destroying the essence of what London is. If you want to catch what normal life is like, you have to work in quite a small way, a hand-held way, in real places.”

Yet Wonderland is never dowdy. Shots of, say, an average night at the Slug and Lettuce or the bingo hall, or yet another frustrating afternoon at Selhurst Park, are offset by the lithe, buzzing images (a 16mm negative blown up to 35mm), the restlessly inquisitive editing and Michael Nyman’s soaring symphonic score. The result far exceeds anything made during the kitchen-sink period in the breadth of its humanism and the range of its social portraiture, and deserves to be recognised as one of the great achievements of British cinema.

The Scottish actress Shirley Henderson said that working on Wonderland, the first of six collaborations, wasn’t like being on a film set, with “caravans” and co-stars. “You were just waiting on a pavement somewhere.” To help Henderson research her role as the working-class Londoner and single mother Debbie, one of three troubled sisters, Winterbottom sent her on what she called “errands”: going clubbing in character, or visiting the sort of hairdresser at which Debbie worked. Henderson added the details garnered on these field trips to a screenplay, written by Laurence Coriat, that was treated as far from sacrosanct. Speaking generally of her work with Winterbottom, she said: “You know the lines – and you might get to say them, you might not. He might run the scene another five minutes after your lines are finished.”

I asked Henderson how Winterbottom’s toss-the-script-aside approach compared with the process favoured by Mike Leigh, who directed her in Topsy-Turvy. With Leigh, she said, “You improvise for hours to find a honed scene that you shoot the next day. With Michael, it’s a quicker process. You don’t rehearse as such. You’re improvising on film. If he’s not got enough, he’ll just go again and again and again.” At breakfast, Winterbottom, who recoils from analysis, defined his ambitions with a shrug: “Try to keep it simple, get as close to the characters as possible, encourage actors to be spontaneous.”

Wonderland was Winterbottom’s sixth feature film and marked a breakthrough for him, in particular a turn away from the professionalism of Welcome to Sarajevo, his polished, starry account of TV journalists covering the Bosnian War, in favour of a realist aesthetic. He told me that he doesn’t see himself as part of any movement – “What, like Free Cinema? No, no” – but his desire to find an alternative to conventional dramatic narrative connects him to a loose group of artists and writers intent on bringing more “reality” into their work. Prominent among them are the authors David Shields, who mentions Winterbottom in his manifesto Reality Hunger, and Karl Ove Knausgaard, whose My Struggle series Winterbottom has been reading (“I’m very impressed”). But where Shields and Knausgaard have turned away from the novel in favour of more direct, less dissembling forms such as the memoir and the essay, Winterbottom’s desire to get as far away from artifice and as close as possible to hectic, complex, undramatic life has resulted not in a choice of one form that solves all the problems but a sensibility that he brings to a range of genres.

Winterbottom’s war against tidy artifice has taken various forms. Sometimes it is built in to a project’s conception: he made 9 Songs because he thought that his previous love story Code 46 had been timid in the way it presented sex. It has determined his approach to source material. When he was adapting Thomas Hardy’s Tess of the d’Urbervilles as Trishna, he combined the roles of the “spiritual” Alec and the “sensual” Angel because, he told an interviewer, “most people are a combination of both”. But with Jim Thompson’s novel The Killer Inside Me, he took the opposite approach: he found Thompson’s portrait of psychosis so complete, so convincing, that he treated the book “like the Bible”.

Winterbottom’s widely acknowledged formal innovations are a means to an end. I mentioned the editing in his 2008 film, Genova, which constantly prevents exchanges and encounters from settling down into a set piece. He dismissed the idea that he was consciously experimenting. “When you’re making a film, you’re worried about the specifics of what you’re trying to do and then building out from that,” he said. The starting point of Genova is the dynamic between the dad and the two daughters. “I have two daughters [from his 13-year relationship with the teacher and novelist Sabrina Broadbent] and one aspect of the film, like with Wonderland and London, was to portray a relationship that I would recognise. The aim was to not make it dramatic, because your relationships at home aren’t very dramatic.”

***

In his diary, Lindsay Anderson – who often quoted the ancient maxim “Character is destiny”– marvelled at Winterbottom’s ability to attend to things that mattered and ignore the things that didn’t. Where Anderson was an idealist and a perfectionist, Winterbottom was “wholly unsentimental” – “conscientious” in tracking down stills, his assigned task, but “quite happy to absent himself from crucial, if routine stages of finishing”.

It was partly a product of breeding. Where Anderson, scarred by boarding school, loved to defy those with power (having a private income helped), Winterbottom attended the local grammar school in Blackburn and grew up in kitchen-sink territory; a scene in John Schlesinger’s 1962 film A Kind of Loving was shot at the factory where his father worked. When he was a teenager, his favourite book was Jude the Obscure, Hardy’s novel about a farm labourer who dreams of going to Biblioll College, Christminster. Winterbottom made it to the real-world version – Balliol College, Oxford – where, in a desultory, distracted way, he studied English. (In 2012 he returned to Oxford to become the first Humanitas Visiting Professor in Film and Television.)

Winterbottom likes to say that he’s simply attracted to good stories and interested in the same things as “everybody else”, but The Emperor’s New Clothes, which came out in April last year, emerged from his personal history. A product of grammar schools and grants, he considers himself a beneficiary of the “social mobility and access” that burgeoned after the Second World War. (He campaigned for Jack Straw in Blackburn in 1979.) “The idea that to be ‘modern’, you need an unregulated free market that helps the rich get richer is bullshit,” he said, adding that its widespread acceptance has been “one of the triumphs of that ideology”. He continued, “We had a phase of about fifty years where what was ‘modern’ was the idea that things will get fairer – there will be a narrowing of the gap, maybe not in a radical way, but at least a general trend in that direction.

“It’s fairly hard to believe that we used to collectively own the water, gas, coal, trains, telephone. People were being taxed at 98 per cent on unearned income, 83 per cent on earned income. Instead, we’ve returned to the 19th-century idea that if you’re born poor, you’re going to stay poor.”

After his English degree, he completed a one-year course in film-making in Bristol. Then he needed a job.

“There was no way I would have been able to hang around and do ‘internships’,” he told me. “I became a trainee assistant film editor at Thames Television” – which is how he came to work for Anderson and where he was given his first professional directing job, on a pair of documentaries about the Swedish director Ingmar Bergman, from whom he learned that if you establish fruitful partnerships and retain a clear sense of what you’re trying to achieve, film-making is “not that hard”. (Bergman may have been “just as complicated psychologically” as Anderson, “but when it came to the work, he was disciplined”.)

In 1993, after the Bergman documentaries and then a run of commissions in television drama, including the opening episodes of Jimmy McGovern’s ITV series Cracker, Winterbottom was itching to make his first feature film. Frank Cottrell Boyce, a friend from Oxford, had written a script entitled Delirious, about car thieves in Liverpool, but it was failing to attract a backer, so they moved on to a new idea: another crime thriller set in Lancashire, but with a difference – it could be done cheaply, with money cobbled together from public funding bodies. “All our anger and frustration about not making the other one went into it,” Winterbottom recalled. “We did it for nothing. It was a very stressful phase. And that was Butterfly Kiss” – in which a pair of chalk-and-cheese lesbians cause havoc on the M6.

In Icons in the Fire, an attack on “practically everyone in the British film industry”, in which Winterbottom is one of the few heads spared, the critic Alexander Walker recalled his surprise when the director followed up Butterfly Kiss with a “period drama”. But Jude – the first of Winterbottom’s three Hardy adaptations – was fast-moving and stark, not at all Merchant-Ivory. After Jude, there came, in swift succession, “Bosnia war reportage, period western, East End soap opera, Ulster social comedy, glam-rock clubland, overland asylum-seeking” – the films in question being Welcome to SarajevoThe ClaimWonderlandWith or Without You24-Hour Party People and In This World. (Walker forgot I Want You, which should probably be characterised as Hastings psychosexual noir – still, somehow, a genre of one.) “Bewildering,” Walker concluded: “at the same time, curiously courageous for a British director.”

***

Winterbottom has continued in this bewilderingly courageous way, combining speed with variety, adding to his genre hoard and keeping the operation small. While former collaborators such as Rachel Weisz and Kate Winslet have been starring in globetrotting thrillers and 3D blockbusters, or, in the case of Christopher Eccleston, David Tennant and Peter Capaldi, playing Doctor Who, Winterbottom has carried on telling intimate tales about what he calls “home, family, things like that”; among them Everyday, a drama about a struggling mother (played by Shirley Henderson) that was shot over five years. Where his near contemporary Danny Boyle went off to make Slumdog Millionaire, Winterbottom made Trishna, an Indian adaptation of Tess, described by its star, Freida Pinto, who was also the lead actress in Slumdog, as “a hardcore independent project”.

Generally, his dealings with the US have been marked by resistance. On its release in 1997, Harvey Weinstein’s company Miramax distributed Welcome to Sarajevo – even screened it at the White House for Bill Clinton. But when Weinstein offered Winterbottom $1.5m to direct Good Will Hunting the director said the script wasn’t good enough. It took him months of conversations with the novelist John Irving to reach the same conclusion about another Miramax project, The Cider House Rules. (Each film won an Oscar for its screenplay.) Winterbottom didn’t make a film on American soil until 2009, when he went to Oklahoma to shoot The Killer Inside Me, a thriller whose violence against female characters prompted outrage and earned him a nomination for the Sexist Pig Award from the Alliance of Women Film Journalists. (He lost out to Mel Gibson.)

On two occasions – both before the sexist pig accusation – he had been approached by women bearing offers too good to refuse. In 2004 Angelina Jolie brought him A Mighty Heart, an adaptation of Mariane Pearl’s memoir about her husband, the murdered journalist Daniel Pearl. Then, a few years later, Naomi Klein approached him to make an archival documentary based on The Shock Doctrine, her book about disaster capitalism. (Klein later changed her mind about the format – she wanted something more topical and responsive – and the film was made without her input.) But on the whole, the ideas for Winterbottom’s films have emerged from Revolution Films, the production company he started with Andrew Eaton in 1994.

In 2001 Winterbottom and Eaton were developing a project about illegal immigrants but couldn’t decide on a starting point. Then the 9/11 attacks happened, and within a few weeks Winterbottom and the writer Tony Grisoni were wandering around a refugee camp in Peshawar, looking for young Afghan men willing to play a version of themselves and do the trip to London for real. (“I thought it was going to be in English,” David Thompson, one of the executive producers of the film that emerged from the trip, recalled. “I was somewhat surprised when it came back in Pashto.”)

The year 2003 marked the high point of Winterbottom’s acclaim. In February, barely a year after Winterbottom had touched down in Peshawar, In This World – the asylum film’s eventual title – was accepted to show at the Berlin International Film Festival, where it won three prizes, including the Golden Bear. When it was released in Britain, the critic Sukhdev Sandhu, who was born in 1970, called it the best British film of his lifetime. Soon afterwards, Winterbottom appeared in a Guardian critics’ poll of the best directors currently practising. The citation announced: “British cinema would be lost without him.”

Peter Bradshaw, the Guardian critic who wrote that citation, has been less impressed with the films he has made in the past decade. “It’s all very good letting narrative and all those traditional things go hang,” he said recently, “but it does make for a rather miscellaneous experience in the cinema.” He described the films’ “rough-and-ready quality”, which he identifies in all Winterbottom’s recent work except for The Killer Inside Me and The Trip, as “more lax than loose”, and added: “I often wonder whether he’s thinking about the next project.”

Eaton identifies misunderstanding in both criticisms. To the idea that Winterbottom’s work since around Wonderland has been lax or slapdash: “Do you have any idea how hard it is to make stuff as natural as that, to have that flow?” To those who say Winterbottom makes too many films: “If Michael was a plumber, and you asked him to do work on your house, he wouldn’t say, ‘Oh, I’m far too creatively exhausted, I couldn’t possibly do it.’ It’s just the next job.”

Thompson offered a more matter-of-fact reflection. “That’s just the way he works –he does these things in a white heat,” said. “He’s finished them before you realise he has shot them. It’s like writing a song. Some film-makers spend two years fiddling with a film. Michael would go crazy. And I don’t think the result would be any better.” (Bradshaw conceded that “part of his mojo is to keep moving – something we critics don’t understand”.)

Thompson added, “Some of his films work better than others – he knows that.” In 1997, when he had made four films, ­Winterbottom reflected on the benefit that Ingmar Bergman derived from a hefty back-catalogue: “There’s actually enough volume that if he does a comedy that doesn’t succeed, it’s merely a blip in the overall work.”

***

A few days after I first interviewed Winterbottom, I went to the Revolution Films office in Clerkenwell, central London, to meet Melissa Parmenter, the composer who is now his regular producer (Eaton serves as an executive producer). Parmenter has a fondness for rhyme: “totes mahotes”, “okey-dokey”, “good plan, Stan”. Instead of “meltdown”, she says “granny panic”. She described Michael Nyman’s music for Wonderland, not inaccurately, as “an insane score – the best score ever”.

At first, Winterbottom and Parmenter, who live together and have a four-year-old son, seem an unlikely partnership. Where Winterbottom can be evasive, perhaps defensive, Parmenter is open and unguarded. She seems clearer about who Winterbottom is than he is. She is also more outwardly passionate. During my talk with Winterbottom, he used the word “love” twice – about Nyman’s music and Robert Altman’s McCabe and Mrs Miller. Parmenter, by contrast, said she “loves”, among other things, The Killer Inside MeGenova, “the melancholy bits of The Trip to Italy”, Nyman, and “the fact that Michael does what he wants”. But under the Noughties colloquialisms and granny-panic veneer, Parmenter is grounded and – to use a phrase that she might – on it, a total convert to Winterbottom’s heads-down ethos. She resembles her own description of Tracey Emin, whose 2004 film Top Spot she produced: “She looked like she had no idea what she was doing, but she knew totally what she was doing.”

“We make quite different films,” she told me. “It’s weird. What’s Michael’s most commercial film? But he doesn’t aim for that. He just makes what he wants to make.”

I asked Parmenter why he is so good at winning permission to do that. “Well, the idea of all his films is interesting. I mean, Road to Guantanamo: who wouldn’t want to see the story of the Tipton Three? It’s got to be made. Or 9 Songs – we’re going to show real sex. Filming Everyday over five years – that’s an amazing idea. We went to Tessa Ross at Channel 4 and said, ‘We’re going to film these people doing nothing.’ She said, ‘Here’s £1.1m. Bye!’ Obviously we reported back to them.”

It must help, I said, that there hadn’t been any disasters.

“That’s down to Michael. He’s so aware of all levels of the film-making process. He’s got his fingers in all the pies. It gets a bit much sometimes. [As Winterbottom told me, “When you’re a director, everything that happens is kind of your fault.”] But if you’re doing a small film, you can’t say, ‘Actors aren’t allowed trailers’ – if there’s a trailer even anywhere near, he goes mental – and then turn around and say, ‘I don’t want to know anything about the budget.’”

When I caught up with Winterbottom last summer, he expressed some frustration that The Emperor’s New Clothes – the documentary with Russell Brand – hadn’t been shown more widely, and that The Face of an Angel – the Amanda Knox drama– had been rounded on by British critics. Yet it was clear that his heart wasn’t really in it: both films were well on their way to becoming past obsessions. He’d been up at 6.30 that morning, doing rewrites for a new project, Russ and Roger Go Beyond, a comedy starring Will Ferrell, about the making of Russ Meyer’s camp musical Beyond the Valley of the Dolls. (I asked if Ferrell was someone he knew socially and he replied: “No, strangely not.”) Although the script originated in Hollywood and the production, based in Los Angeles, would almost certainly involve trailers, Winterbottom talked about Russ and Roger less as a necessary commercial compromise (“the money isn’t vastly better”) than as a much-needed break. He reminded me that “developing a film from scratch comes with a burden of effort”.

Still, it turned out that his heart wasn’t really in that one, either. Just before the end of the year, he quit. Someone muttered something about creative differences. Burdensome or not, it seems he prefers success – and failure – on his own terms: working under the Revolution banner with a small, familiar crew and room for improvisation with actors he calls friends. It is said he’s getting ready to shoot The Trip to Spain.

Leo Robson is the New Statesman’s lead fiction critic

Leo Robson is the lead fiction reviewer for the New Statesman.

This article first appeared in the 28 January 2016 issue of the New Statesman, Should Labour split?