AUS Professor Bentley Brown On His Award-Winning Short Film

Bentley Brown, filmmaker and professor of film at the American University of Sharjah (AUS), has spent much of his career telling stories from communities that rarely appear on screen. His latest project, Guardian of the Well - a six-minute short set in Chad during the worst drought in half a century - has earned recognition at prestigious festivals including True/False and Encounters, Africa's largest documentary festival. The film is the first in a planned trilogy exploring climate change, resilience, and memory in the Sahel region. In a conversation with City Times, Brown reflects on his return to Chad, the collaborations that shaped the film, and how storytelling can shed light on overlooked voices.

What inspired you to return to your childhood home in Ati, Chad, to create this trilogy?

My father was a doctor in Ati, and I grew up witnessing both the beauty and the tensions around scarce water resources. Conflicts often erupted over access to wells, and those memories stayed with me. Years later, when a childhood friend suggested making a film, I received an AUS research grant and returned to the region. We found ourselves filming during the heaviest drought in fifty years, followed by torrential flooding. That contrast became the heart of the project - landscapes turning green just as livestock perished from lack of water.

Why focus on a single well in 'Guardian of the Well'?

During filming, we stopped at Biir Gardi, a historic well still used by herders today. Its system of horse-drawn ropes pulling water from deep underground was fascinating. What began as an unplanned stop turned into the film's setting. At just six minutes, the short experiments with time dilation and sound design built from recordings inside the well.

How did it feel to see the film win at Africa's largest documentary festival?

Screening at True/False was a career highlight - it brought global attention to the project. From there, Guardian of the Well screened at Encounters, the most important documentary festival in Africa, and other festivals in the US and Europe. For me, it's not about sending films everywhere, but about choosing festivals that can elevate the work and connect us with new audiences.

What larger message are you hoping to convey?

The droughts and floods in Chad aren't isolated - they reflect broader climate change driven largely by industrialized nations. At the same time, the film gives voice to Chadian Arabic speakers rarely heard on screen. We're not pushing an activist agenda, but rather offering testimony and observation. If the film sparks action, that's wonderful, but its main purpose is to witness.

You worked with your childhood friend Tahir Ben Mahamat Zene and cinematographer Gabriel Dae-sung Lee. How did that collaboration shape the film?

Tahir and I met as kids and have collaborated before, so there's a deep trust there. Gabriel and second camera Daniel Egnal joined us from the US, bringing fresh eyes to the situation. Once on the ground, we gave them freedom to respond to what they saw. That mix of long-time local perspective and new vision enriched the storytelling.

How do the next two films expand the trilogy?

The second film, Ephemeral River, focuses on flooding - the Batha River transforms from dry sand to dangerous crossings that threaten both people and cattle. It contrasts beautiful landscapes with real risks of hunger and capsizing ferries. The third film, tentatively titled The Bull Driver, will explore herding routes, popular astronomy, and the sustainability of pastoralist traditions. Each film experiments with new techniques, from sound design to narrative perspective.

Beyond film, you're also developing a book and installation with the Batha Collective. What's the vision there?

With designer Amparo Baquerizas and poet Aaron Brown, we're expanding the trilogy into a book and exploring multichannel video installations. Thanks to a 421 Artistic Research Grant, we're thinking about how to share these stories across different mediums and audiences.

How do you see film as a tool for underrepresented voices?

Growing up in Chad, I realised how often its stories and even its dialect of Arabic were dismissed. Film allows us to turn the camera inward and share perspectives otherwise ignored. I'm inspired by filmmakers who immerse audiences in overlooked communities, and I try to do the same - whether it's in Chad, Sudan, or here in the UAE.

How has support from AUS shaped your work?

AUS has been crucial. Faculty research grants allowed me to pursue creative scholarship, and the university's cultural diversity makes it a natural space for exploring global issues. The College of Arts and Sciences brings together sciences, humanities, and the arts - an environment that encourages experimentation and transdisciplinary work.

Finally, how do you balance teaching and filmmaking?

For me, they're inseparable. Film is a form of research, just like writing. My projects - from climate documentaries to virtual reality archives - are both creative ventures and scholarly pursuits. I try to channel that same curiosity to my students, encouraging them to see creative work as an intellectual contribution.

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