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Skywalkers: A love story on the edge of the world
In Netflix’s “Skywalkers: A Love Story,” Russian rooftopping couple Ivan “Vanya” Beerkus and Angela Nikolau mount some of the world’s tallest skyscrapers without a safety net — breaking laws, deceiving security guards, and running from authorities in the process.
If it were a scripted movie, some of it would feel too unrealistic.
In climbing Malaysia’s Merdeka Tower — which, at 2,227 feet tall, is the second-tallest structure in the world after Dubai’s Burj Khalifa — Beerkus and Nikolau pull off the ultimate heist with the ultimate stakes, while ignoring orders from director Jeff Zimbalist.
“You’ve got to get out of there. We can’t risk an arrest. We know how dangerous getting arrested here in Malaysia is. … It’s not worth it. Don’t do it,” Zimbalist recalls telling Beerkus and Nikolau sometime during their 30-plus hour climb. “Sometimes they would override us, and they would do their own process. So, the best we could do in those circumstances was tell them to be safe and tell them that the film didn’t need them to risk their lives, and then the rest was up to them.”
Discussing their adrenaline-pumping documentary with Zimbalist via Zoom, Beerkus and Nikolau are nestled in their new home in New York. They can’t keep their hands off of each other, interrupting each other with laughter, rubbing cheeks, and combing their fingers through each other’s hair. After watching the movie, which premiered at Sundance and debuted on Netflix on July 19, it feels like a miracle that they’re both alive, let alone still together.
The duo were joined by Zimbalist and “Skywalkers” co-director Maria Bukhonina, who translated Beerkus and Nikolau’s responses from Russian.
When did it become apparent that you all would be making a documentary? In other words, Jeff, when did you come on board this process?
Jeff Zimbalist: I had done some very amateur rooftopping myself in my teens and 20s, which was in the late ‘90s and early ‘00s. I knew that it had a profound impact on my life, and I wanted to find a story in that space that resonated as deeply as my own experience urban exploring had. But for 15 years, I was just seeing daredevils risk their life for likes, and that wasn’t enough of a story for me. I had sort of a transcendent drawing to the unknown, and felt like I was able to face my fears on my own terms.
It wasn’t until Angela burst on the scene in late 2015 as the first female rooftopper, and she was posting that she didn’t want to be like the guys, that she wanted to do it her own way. She genuinely was creating what I thought of as art. She was referencing role models like Basquiat and Warhol, and wasn’t looking at, like, the Kardashians or Jake Paul as influences. Here’s a real artist, and I was intrigued by that. I reached out to her. She told me she was raised in a traveling circus. I was even more intrigued. And then she introduced me to Vanya, and at the time, they weren’t public about their relationship, so they presented each other as competitors or rivals. And it was clear, even on those initial calls, that there was a respect and admiration, maybe even a flirtation. That was when the seed was first planted. All of a sudden, this whole world makes sense. It’s going to be a love story on top of the world, and we’re going to use extreme climbing as a metaphor for romantic trust. If their relationship works out — amazing. If it doesn’t, we can look at the reasons it didn’t, and explore trust and courage through the ups and downs of their romance.
The film plays out like a heist movie. How did you give it a narrative arc, and when was it clear that Merdeka was going to be the centerpiece?
Zimbalist: In the edit, we went even further into the heist. We even considered going further into the politics around the invasion of Ukraine. So, these genres were present the whole time. It’s about finding that singular container and continuously bringing yourself back to it like a North Star. And saying: This is not a film about the fear of falling from heights; this is a film about the fear of falling in love. Every scene in the film needs to advance the story of their trust for each other. The genuine suspense has to be: Will Angela overcome some of the fears from her childhood and choose to trust Vanya? And if a scene isn’t about that, then it’s not playing to the primary suspense of the movie.
We went as far as to say to Angela and Ivan, “Don’t do anything you wouldn’t do otherwise for the cameras.” That’s a whole other conversation about safety. But it doesn’t matter if you succeed or fail at your external goal. Merdeka is a great container for a climax and for an end to the film if it reveals something new about their relationship, if it advances or evolves their trust for each other. Ultimately, the audience will be satisfied if they choose to trust each other, even if they fail at their external mission. They’ll be satisfied if they achieve their internal mission.
You’re credited as the writer on the film. How much of it is scripted?
Zimbalist: There was no written dialogue or written scenes. There were times when we had an idea like, “Hey, Angela, there’s a circus here in Kuala Lumpur. Do you think you would go over and try to start conversations with some of the performers?” And then it would evolve into something authentic, like Angela crying and being nostalgic for her childhood in a moment of loneliness. Or, if Ivan and Angela were on a roof having a conversation, we might say, “Hey there was this thing we weren’t there to film that you guys mentioned to us. Would you talk about that thing?” The usual throwing out of ideas that happens in most vérité documentaries. The reason we had the opportunity to advance their story at a quick pace is because we waited. We had independent financing and could follow them over the course of seven years, which meant we could skip large chunks of time. They went to Kazakhstan after the war [in Russia], and we did some filming there that we never used. That period of their life wasn’t as eventful as when they went to Thailand.
When “Jackass” first came out, it raised a lot of controversy as people and politicians felt it encouraged young people to try dangerous stunts without proper training. Have you faced a similar response?
Ivan “Vanya” Beerkus: I remember seeing clips of “Jackass” years ago, but it absolutely cannot be compared to what we do. That show was about doing something stupid and getting hurt. We have an art form. We’re inspired by street artists who sometimes maybe do things illegally — graffiti was an illegal art form in the beginning, but it was meant to create something inspiring for other people. We’re never hanging off something with one hand or doing something intentionally risky, like some people. Our objective is to create a work of art. It’s a performance of sorts, meant to inspire people to pursue something in their life that may have nothing to do with physical risks.
Angela Nikolau:### Skywalkers: A love story on the edge of the world
The thrill of rooftopping and the bond that defies gravity
In the world of extreme sports, few activities are as heart-stopping and controversial as rooftopping. This daring pursuit involves scaling skyscrapers and other towering structures without any safety equipment, capturing breathtaking views and adrenaline-pumping moments. The documentary “Skywalkers,” now streaming on Netflix, delves into this high-risk world through the lens of two of its most prominent figures: Ivan Beerkus and Angela Nikolau. Directed by Jeff Zimbalist, the film is not just about the thrill of rooftopping but also about love, trust, and pushing oneself to the creative limits.
The cast: Ivan Beerkus and Angela Nikolau
Ivan Beerkus and Angela Nikolau are not just partners in crime but also in life. Their relationship is the emotional core of “Skywalkers,” providing a unique perspective on the extreme sport. The film captures their journey as they scale some of the world’s tallest buildings, including the Merdeka Tower in Malaysia and the Eiffel Tower in Paris. Their chemistry and mutual support are palpable, making their story as compelling as the dizzying heights they conquer.
Legal ramifications and the thrill of the chase
One of the most intriguing aspects of “Skywalkers” is the legal gray area in which Ivan and Angela operate. Trespassing on private property, especially in countries with strict law-and-order policies like Malaysia, comes with significant risks. Ivan recalls, “In relation to Malaysia, we weren’t officially served any papers. There was discussion in newspapers by Malaysian authorities [after we climbed Merdeka], but we were out of the country already. If we are banned, we don’t know about it.”
Their notoriety has even led to heightened security at famous landmarks. Angela recounts a visit to La Sagrada Familia in Barcelona: ”We realized we were being watched when Ivan brought me to La Sagrada Familia as a tourist. He wanted to give me a romantic tour, so we bought the normal tourist ticket. As we entered, we realized the security was waiting for us. We went left, and the security guards went left. We went right, and the security followed right. We were being tracked.”
The making of “Skywalkers”: A high-risk endeavor
Creating a documentary about such a dangerous activity posed its own set of challenges. Director Jeff Zimbalist explains, “It was clear from the beginning that we needed independent finance during production to make the film. There was legal liability if there were arrests, and we weren’t going to get location releases from the buildings that we’re trespassing, obviously. And then there’s safety concerns for both our Skywalkers and our crew.”
The film’s production spanned several years, capturing the evolution of Ivan and Angela’s relationship and their ever-increasing feats of daring. “We were certain it wasn’t going to be something we could reverse-engineer in a 12-month period,” Zimbalist adds. “We were going to need to spread our resources out across many years and wait for their relationship to evolve.”
The emotional toll: Panic attacks and mutual support
One of the most harrowing scenes in “Skywalkers” features Angela experiencing a panic attack while perched on a crane thousands of feet above the ground. “When I see that moment in screenings, I feel unpleasant feelings, but I try not to focus on it and just let it pass,” Angela admits. “Yesterday, I was watching the film with my close friends, people who know me and care for me, and I almost got a panic attack again, just watching it, because it’s so vivid and visceral for me.”
Ivan and Angela’s ability to support each other in such extreme situations is a testament to their deep bond. “Being a couple, we always know when the other one needs support,” Ivan says. “As you can see in the film, Angela uses the metaphor of the trapeze couple at the circus. There’s the flier and the catcher — one person calms the other one down, and the other is pushing ahead. That happens with us a lot.”
Facing death: Negotiating fear and risk
Every climb comes with the risk of death, a reality that Ivan and Angela confront head-on. ”We’ve done this a lot, so we have a lot of experience,” Ivan explains. “We rely on our ability to make right decisions in the moment, and our collective experience of doing the tallest buildings in the world for several years.”
Angela adds, “We pinky swear with each other. We make a deal about how much time we think is safe to spend on any particular roof. There are cameras that we bypass on the way up, so we say, ‘Well, we have five minutes, 10 minutes or 15 minutes,’ and we give ourselves limits.”
The director’s perspective: A unique emotional landscape
Jeff Zimbalist was drawn to Ivan and Angela not just for their daring feats but for their introspective nature. “One of the things that I always look for in subjects is whether they can speak introspectively, if they have an ability to talk about their feelings in a unique way,” he says. “Vanya’s mom is a therapist, so he’s done a lot of work understanding his drives, particularly his drives around rooftopping, which his mom has questioned him about for over a decade. And Angela is very poetic in the way that she explores her emotional landscape.”
Unlike other extreme athletes who claim to have made peace with the possibility of death, Ivan and Angela are constantly negotiating their thresholds for fear and risk. “They’re saying, ‘We’re afraid of death like everybody else. In fact, we’re constantly negotiating our threshold for fear and risk on every single climb,'” Zimbalist notes. “That sometimes looks like a fight on a spire, but it’s really the tug of war that they’re going through to figure out just how far they want to push themselves.”
The emotional rollercoaster of filming
For Zimbalist, the process of filming “Skywalkers” was fraught with its own emotional challenges. “It’s some of the most stressful work I’ve ever done,” he admits. “I felt deeply responsible for everybody on the set, and when they were off and we weren’t there, we couldn’t control the situation. It was even harder for me because I want to be there and be a more neutral voice who can hopefully…”
The journey of Ivan and Angela, as captured in ”Skywalkers,” is a testament to the human spirit’s capacity for love, trust, and pushing beyond perceived limits. Their story invites us to reflect on our own fears and the boundaries we set for ourselves, offering a unique lens through which to view the world.
For more information and to watch the trailer, visit Skywalkers Trailer.Exploring the world of movies and TV series: A journey through the lens of creativity and storytelling
The world of movies and TV series is a vast and ever-evolving landscape, filled with stories that captivate, inspire, and entertain. From the adrenaline-pumping action sequences to the heart-wrenching dramas, each film and series offers a unique experience. In this article, we delve into some of the most intriguing titles, exploring their narratives, cast members, and the impact they have on audiences.
The magic of storytelling: How movies and TV series captivate audiences
Storytelling is an ancient art form that has evolved over centuries. In the modern era, movies and TV series have become the primary mediums through which stories are told. The magic of storytelling lies in its ability to transport audiences to different worlds, evoke emotions, and provoke thought.
One such example is the critically acclaimed series ”Stranger Things.” With its blend of supernatural elements and 80s nostalgia, the show has garnered a massive following. The main cast, including Millie Bobby Brown, Finn Wolfhard, and Winona Ryder, brings the characters to life with their stellar performances. For those who haven’t yet experienced the thrill of “Stranger Things,” you can check out the trailer and information sheet here: https://trailers.movieetv.com/search/stranger-things.
The power of character development: Why we connect with fictional personas
One of the key elements that make movies and TV series so compelling is character development. Well-developed characters resonate with audiences, making them feel invested in their journeys.
Take, for instance, the film “Joker,” starring Joaquin Phoenix. Phoenix’s portrayal of Arthur Fleck, a man descending into madness, is both haunting and mesmerizing. The film delves deep into the psyche of its protagonist, offering a raw and unfiltered look at his transformation into the infamous Joker. The trailer and information sheet for “Joker” can be found here: https://trailers.movieetv.com/search/joker.
The role of cinematography: Visual storytelling at its finest
Cinematography plays a crucial role in storytelling, as it sets the tone and mood of a film or series. The use of lighting, camera angles, and color palettes can evoke specific emotions and enhance the narrative.
A prime example of exceptional cinematography is the series ”Breaking Bad.” The show’s visual style, combined with its gripping storyline, has made it a modern classic. Bryan Cranston’s portrayal of Walter White, a high school chemistry teacher turned methamphetamine manufacturer, is nothing short of iconic. For a glimpse into the world of “Breaking Bad,” check out the trailer and information sheet here: https://trailers.movieetv.com/search/breaking-bad.
The impact of soundtracks: Music that moves us
Soundtracks are another vital component of movies and TV series. A well-chosen soundtrack can elevate a scene, making it more memorable and impactful.
Consider the film “Guardians of the Galaxy,” which features a nostalgic mix of 70s and 80s hits. The soundtrack not only complements the film’s lighthearted and adventurous tone but also adds depth to the characters and their journeys. The main cast, including Chris Pratt, Zoe Saldana, and Dave Bautista, brings a perfect blend of humor and heart to the film. You can find the trailer and information sheet for “Guardians of the Galaxy” here: https://trailers.movieetv.com/search/guardians-of-the-galaxy.
Personal reflections: The lasting impact of movies and TV series
As a movie and TV series enthusiast, I often find myself reflecting on the impact these stories have on my life. They offer an escape from reality, a chance to explore different perspectives, and an opportunity to connect with others who share similar interests.
One series that has left a lasting impression on me is ”The Crown.” The show’s meticulous attention to detail and powerful performances by actors like Claire Foy and Olivia Colman bring the history of the British monarchy to life. The trailer and information sheet for “The Crown” can be accessed here: https://trailers.movieetv.com/search/the-crown.
the world of movies and TV series is a treasure trove of stories waiting to be discovered. Whether it’s through compelling characters, stunning cinematography, or unforgettable soundtracks, these narratives have the power to move us in profound ways. As we continue to explore this ever-evolving landscape, we are reminded of the magic of storytelling and its ability to connect us all.
