The Milan Machinima Festival is thrilled to present the full length documentary Knit’s Island as part of the Game Video Essay program. The film will be screened on March 14 2024 at IULM University. We are equally excited to present Angelo Careri’s insightful interview with the filmmakers, Guilhem Causse, Ekiem Barbier and Quentin L’helgoualc’h. We are also sharing with our Patreon supporters the first of a series of exclusive excerpts of the film.
Thanks to Careri’s clever questions, we learn about the filmmakers’ deep engagement with the virtual world of DayZ, as they set out to examine the social and existential dimensions of online gaming communities. Their work blurs the boundaries between documentary filmmaking and virtual exploration, offering insights into how digital spaces can reflect and influence real human experiences and connections.
In this comprehensive and always compelling conversation that was shared with us by the film distributor, Square Eye Films, Causse, Barbier and L’helgoualc’h explain that the idea for the film began as an experiment during their studies at the Beaux-Arts. The young filmmakers were initially intrigued by the possibility of observing, rather than playing, within online games. This curiosity led to the discovery that games could serve as venues for documentary filmmaking, particularly after encountering players who used the game spaces for social interaction beyond the game’s intended mechanics.
The shift from Grand Theft Auto V, which was initially selected as a case study, to DayZ was influenced by the desire for a game that offered more realistic interactions and survival elements, contrasting with GTA V’s focus on consumerism. DayZ’s environment, which simulates a post-apocalyptic world requiring survival strategies and fostering player interactions, presented a compelling setting for exploring virtual community dynamics. The filming process involved significant preparation, both within and outside the game. The team had to manage survival elements like food and health for their avatars, navigate the game’s day/night cycle, and adjust to game updates that affected filming.
They described the experience as living a “double life,” balancing their real lives with their virtual existence in the game. The filmmakers experienced a gradual integration into the DayZ community, eventually being recognized and respected by other players. This acceptance allowed them to explore the communal and individual stories within the game, revealing layers of personal engagement and the blurring of lines between players’ virtual and real lives. The team was interested in how players and their avatars interact with the game’s boundaries and its virtual environment. They noted how the game became a space for contemplation and social interaction, contrasting with the fast-paced nature of contemporary internet culture. Knit’s Island is, first and foremost, an ethnography of online gaming spaces.
The Covid-19 pandemic which began in March 2020 mirrored some of the post-apocalyptic themes in DayZ, adding a layer of relevance to the film. The lockdowns and restrictions of the pandemic paralleled the isolation and survival themes within the game, influencing both the players and the filmmakers. Post-filming, the directors expressed ambivalence about returning to DayZ purely for leisure, highlighting how their experience has irrevocably changed their perspective on the game. They feel that their connection to the game and its community is now intertwined with their roles as filmmakers.
Finally, we learn that the title Knit’s Island reflects the filmmakers’ intention to name and define the virtual space they explored, drawing inspiration from the concept of “ghost islands” on maps, places that are marked but don’t actually exist, analogous to the virtual spaces in video games…
Matteo Bittanti
Works cited
Ekiem Barbier, Guilhem Causse, Quentin L’helgoualc’h, Knit’s Island, 2023.
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