Nisimazine Abu Dhabi issue#1

Abu Dhabi

Nisimazine Thursday 14 October

‫ أكتوبر‬١٤ ،‫اخلميس‬

.»‫صحيفة مهرجانية تصدر عن ورشة للنقاد الشبان من تنظيم الشبكة الأوروبية لسينما الشبان «نيسي مازا‬

----------------------------------------------A festival gazette published in the framework of a workshop for young critics by NISI MASA, European network of young cinema

‫افتتاحية‬

...‫دلّنا على رأيك‬

،»‫ال بكم أعزاءنا القراء في العدد األول من «نيسيمازين أبوظبي‬ ً ‫أه‬ ‫دليلكم الذي ال غنى عنه إلى عالم المهرجانات السينمائية المقامة‬ ‫تنظمها‬ ّ ‫ وهي المجلة التي تصدرها ورشة صحفية‬،‫هذا العام‬ .‫شبكة «نيسي مازا» الباريسية للسينما األوروبية‬ ‫ جادة الكروازيت‬،2006 ‫ منذ عام‬،‫يجوب مراسلو نيسيمازين‬ ‫الشهيرة بمهرجان «كان» لتغطية أخبار السجادة الحمراء في‬ ،‫ مثل ليما وطهران‬،‫تورينو وتجميع األخبار من مواقع شتّى‬ ‫واضعين نصب أعينهم عبر هذا كلّه التركيز على المواهب‬ .‫الصاعدة‬ ‫لكننا سنلتمس لك عزيزنا القارئ العذر لو ظننت أن هذه‬ ‫المساعي قد تروي عطشنا لألسفار بحثًا عما يجري في عالم‬ ‫ فما‬،‫ فاسمح لنا أن نصرّح لك إن ظنك هذا ليس بمحله‬،‫السينما‬ ‫كنا لنحيد عن مبادئنا وننزل عن المستوى الرفيع الذي حدّدناه‬ ‫وسنظل ملتزمين بهدفنا المتمثّل في توسيع‬ ّ .‫ألنفسنا من البداية‬ ‫ ويأتي هنا دور مهرجان أبوظبي السينمائي الذي يمنحنا‬...‫آفاقنا‬ .‫الفرصة لتحقيق هذا الهدف المنشود‬ ‫يُشق‬ ّ ‫وهكذا جمّعنا في نيسيمازين فريقًا يمكنني التصريح بأنه ال‬ ‫ فقد جاء صحفيونا‬،‫له غبار وقد ال يكون له مثيل في العالم أجمع‬ ‫يمت‬ ّ ‫تمت إحداها بصلة إلى األخرى إال قدر ما‬ ّ ‫من بلدان ال‬ .‫ساحل أيرلندة على األطلنطيّ بصلة إلى شبه الجزيرة العربية‬ ‫كما ستلحظون على مدى األيام العشرة المقبلة هؤالء الشبان‬ ‫الفائرين بالحيوية والنشاط وهم يطوفون من دون كلل أو ملل بين‬ ‫ في محاولة من جانبهم للتعرّف‬،‫قصر اإلمارات ومارينا مول‬ ‫على األجدر بين المرشحين للفوز بجائزة اللؤلؤة السوداء التي‬ .‫يتوق إليها الجميع‬ ‫وستلقون خالصة ما توصل إليه صحفيونا في هذه النشرة اليومية‬ ‫ وسيدعم‬،‫التي ستضم مقاالت نقدية ومقابالت وتحليالت مدروسة‬ ‫ذلك كلّه مجموعة من الصور األصيلة‬ .‫المتميزة‬

‫لكن ما ينقصنا اآلن لترسيخ هويتنا هو أن نعثر على االسم‬ ‫ال ثلّة من أهل نيسيمازين؟‬ ً ‫ فهل نحن مث‬،‫المناسب لوصف أنشطتنا‬ ‫أم جمع من الصحفيين المتّسقين على رؤية واحدة؟ دلّونا على‬ ‫رأيكم؟ لم ال! ابعثوا إلينا بمقترحاتكم وشاركونا في اختيار‬ ...‫اسمنا‬

EDITORIAL

all. What follows is half an hour of motionless survival instinct. Strictly limited to the car interior, the director uses every possible corner to convey all the sensations, stimulating the audience visually from the opening credits with close-ups of organic and abstract matters that end in the blink of an eye.

by Michael O’Regan, aged 29 (Ireland)

We Think You Should Know…

Welcome to the first issue of Nisimazine Abu Dhabi, your indispensable guide to this year’s film festival.The magazine is the product of a journalism workshop organised by NISI MASA, the Paris based network of European cinema.

Greenspan plays with low and high-angle shots to amplify our focus on the man’s fate, as he is doomed to move round and round amongst trees and mud. The whole narrative is made up of circles, loops and parallels. After an entire hour of the film during which he drags himself as far as possible from the car, he ends up back where he started. In the first scene he first sees himself in the broken mirror of the car wreck when he wakes up, amnesiac; at the end he catches his reflection in one piece in the mirror of the rescue vehicle, with his memory back.

Since 2006, Nisimaziners have walked the Croisette in Cannes, strolled down the red carpet in Torino, and filed dispatches from locations as diverse as Lima and Tehran, paying particular attention to emerging talents.

You could be forgiven for assuming these escapades would have sated our thirst for cinematic globetrotting, but you’d be wrong; never for us the lowered banner! We remain committed to furthering our horizons, and the ADFF provides us with a perfect opportunity to do so.

We’ve assembled a crack team; our journalists hail from homelands as disparate as the Atlantic coast of Ireland and the Arabian Peninsula. For the next 10 days you’ll find these energetic young sprites flitting between the Emirates Palace and the Marina Mall, sifting wheat from chaff amongst the Black Pearl contenders.

Their reflections will be distilled into a daily digest of reviews, interviews and considered analyses, supplemented by outstanding original photography.

All we need to cement our identity is an appropriate collective noun. Are we a band of Nisimaziners? A gaggle? Drop us a line if you have any suggestions.

As he tries to overcome his situation, nature surrounds and challenges him constantly. He has to find his way through an endless forest.

He meets a friendly dog who helps him, and its opposite, a cougar ready to eat him alive.

Finally nature could be the enemy, considering that his utmost will is to find a road: a connection with human life. Can a human be human without any traces of his own existence?

WRECKED Michael Greenspan, Canada, 2010 - New Horizons

W

ith a very thin plot and a seemingly small budget, Michael Greenspan manages to hold our breath from beginning to end. This remarkable story could have ended in Deliverance-style perverted horror, but Greenspan and his screenwriter Christopher Dodd avoid this cliché and take their audience on an entirely different journey.

A man (Adrian Brody) wakes up bloodied and bruised in a car wreck in the middle of a forest, his injured leg stuck in the panels, with two dead bodies for company and no memory at

REVIEW /

Besides our daily at the festival in print, you can also find all our coverage online at www.nisimazine.eu Nisimazine is created by a team of young journalists.

This edition they are from Syria, Lebanon, Egypt, Ireland, Portugal, United Kingdom and France

PICTURE OF THE DAY /

by Elisabeth Renault-Geslin aged 23 (France) 15/10 Emirates Palace 09:30 PM 16/10 Cinestar 6 07:15 PM

Think Global, Act Rural Coline Serreau, France, 2010

‫صورة اليوم‬

- What In The World Are We Doing To Our World?”

T

In a fit of delirium fuelled pique, I’m going to declare her latest film, Think Global, Act Rural (Solutions Locales Pour Un Désordre Global) falls firmly into the latter category.

She has assembled a private brain trust of

Photo by TINA REMIZ

Haunted by hallucinations and broken memories, Wrecked deals with the survival of body and mind, manhandled then made infantile, condemned to forced immobility and deprived of leg use, dragged in the mud, then purified by water and saved. An inspired first feature film.

‫تعقيب‬

he career of Coline Serreau defies casual critical classification.

The scion of a distinguished French theatrical family, she has managed to combine writing/directing popcorn shifting hits like Trois hommes et un couffin (later remade as 3 Men and a Baby) and Romuald et Juliette with creating more outré minded fare like Chaos, as well as a landmark documentary study of her countrywomen, Mais qu’est ce qu’elles veulent (But What do They (Women) Want?).

15/10 Cinestar 4 03:45 PM 17/10 Cinestar 4 04:00 PM

First time view of the Festival venue

‫فيلم اليوم‬

٠

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)‫ عامًا (إيرلندا‬٢٩ ،‫بقلم مايكل أريغان‬

FILM OF THE DAY /

#1/

agronomists, economists, and microbiologists, who, talking straight to camera, admonish the way we produce food. Tracing the collapse of traditional farming to the senseless slaughter of millions of FrancoGerman smallholders on the battlefields of WWI, they proceed to make the case for sustainable organic production.

There are no filmic flights of fancy here, yet it’s somehow invigorating; has this story ever been told with such bloody minded intellectual rigour? The benignly fatalistic score by Garden Trio and Madeleine Bresson resonates; Serreau may know the fight is fixed, but it’s clear she’s determined to land a few punches before the bell rings.

by Michael O’Regan aged 29 (Ireland)

INTERVIEW /

‫مقابلة‬

REVIEW /

‫تعقيب‬ Incendies

Nidal Aldibs

Denis Villeneuve, Canada, 2010 - Competition

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director of Taming (Syria) – Narrative Competition

I

W

hat inspired your film? The state of selfcensorship that we have reached today; It is no longer oppression, ideology and taboos that used to be imposed on us from the outside which are preventing us from achieving what we want. Rather, we have created our own censorship mechanism. Fear plays a big role in that.

The eagle representing freedom is only one of the many symbols and metaphors that you used in Taming. What do you think of symbolism in films?

I do not like to call it symbolism. I include in my films “things” with different connotations. This, I believe, opens new horizons for the viewers.

The style of Taming differs from that of your first feature film Under the Ceiling (2005), which goes at quite a slow pace, with little action if any. Can you describe your style in Taming?

Taming is built on tension. The film starts with one extraordinary action that triggers a question, which is not answered until the very end of the film. Other than that, there are no big actions in the film. Rather, lots of

details. This is because I wanted to explore the inner side of people.

What challenges did you face in making the film?

To make a film like Taming you need an understanding producer who loves cinema. Fortunately, I could work with (Syrian producer) Haitham Hakki who is just that. Making a film with the small budget I had was challenging. I only had few days for shooting and could only work with a limited number of actors. But I enjoyed this challenge.

You mostly make fiction films.

However, before Taming you directed your first documentary Black Stone (2006). Would you consider going back to documentary filmmaking or is fiction your ruling passion?

It really depends on what I have to say. A film’s message is what dictates its form. I might even end up making theatre. Why not?

Syrian drama television series are very popular in the region.

The same could not be said about films. Why is that?

Because there is hardly any film production in Syria to start with. On ave-

rage, only one or two Syrian films are produced per year. Ironically, these few films are better known outside Syria.This is because there are few cinema halls in Syria. Amman alone has twice as many cinemas as the whole of Syria. But even if there were more, not many people can afford going to the cinema.

* www.nisimazine.eu *

‫لالطالع على مدونة الفيديو وغيرها من املواد‬ ‫املتعلقة باملهرجان‬ .

Denis Villeneuve’s direction is understated with an almost documentary feel, refusing aesthetic and melodramatic flourishes, even though the plot would have lent itself to them perfectly. This counterpoint between the weight of the events unfolding and the lack of dramatic emphasis could have been an interesting treatment, if it didn’t prevent the audience from feeling any implication or emotion. The story might have made a great TV saga or a thrilling Douglas Sirk melodrama, but the choices made by Villeneuve are at the opposite end of the filmmaking spectrum. Incendies doesn’t carry us away and can even lose us at certain points with its complex and impenetrable sequences.

by Elisabeth Renault-Geslin aged 23 (France)

15/10 Emirates Palace 05:30 PM 16/10 Cinestar 6 09:45 PM

Also, other Arab countries like Egypt, Tunisia, Morocco and Lebanon, among others, have a bigger cinema production than Syria. Consequently, there is more interest in films, including Syrian ones. Even so Syrian films are not sufficiently promoted abroad.

The only solution to this is the establishment of more private film production companies in Syria.

REVIEW /

‫تعقيب‬

China, the Empire of Art?

Sheng Zhimin and Emma Tassy, China, 2009 - Documentary Competition

Two Syrian films made it to Abu Dhabi film festival this year.

What do you think about that?

Taking into consideration the small scale film production that we have in Syria, I believe that having two films on show is quite a good number. I think that the quality of Syrian films does not match its production scale.

Syria produces some of the best films in the region.

What does it mean for you to be here at the Abu Dhabi film festival?

On a personal level, participating in the Abu Dhabi film festival is very important for me. Other than film festivals, there are not that many film screening opportunities in the region. Furthermore, this is a chance to screen my film for a new audience and meet producers and distributors.

This might open a new door for collaboration in the future.

by Nadia Muhanna aged 26 (Syria)

‫برجاء زيارة موقعنا اإللكتروني‬

t all begins and ends in a dark and shameful past. The past of one woman, set within the context of a violent civil war in a non-specified Middle-Eastern country (shooting took place in Jordan). In Incendies, based on the play of the same name by Wajdi Mouawad, Nawal (Lubna Azabal) decides to leave her family to look for her son, who was given over to an orphanage. Unable to reunite with him, she is instead swept along by a series of horrific and brutal events which shape her tragic fate. Years later, on her deathbed, Nawal’s final wish is that her two other children Jeanne and Simon seek out their father and long-lost brother.

15/10 Abu Dhabi Theatre 9:30 PM 19/10 Abu Dhabi Theatre 4:00 PM

F

rench journalist Emma Tassy and the award-winning Chinese filmmaker Sheng Zhimim’s first collaboration, China, the Empire of Art? is a unique voyage into the heart and soul of an artistic movement that is sweeping the Chinese contemporary art scene.

In a country where democracy is nothing more than mere utopia, an elite of visionary artists are not only given total freedom of artistic expression, but are also encouraged to do so by the state, in an attempt to challenge a society still at odds with its new reality.

Covering the change of perspectives from the period of the 1989 Tiananmen Square massacre, a time when an idealism based on western values was 15/10 Emirates Palace 05:30 PM 16/10 Cinestar 6 09:45 PM

flourishing, to the current cultural explosion redefining a new identity for an entire nation, the films attempts to demystify some of the contradictions of modern China.

Nowadays one third of the best-paid artists in the world come from China, making it one of the most culturally productive areas on the planet. Tassy and Zhimim document this phenomenon with both innocence and intent, capturing through it one of the most genuine and truthful portraits of China, its people and, perhaps most importantly, its culture.

This is the story of a movement that promises to re-establish to China some of the past glory that for centuries enchanted the world.

by Fernando Vasquez aged 30 (Portugal)

‫بقعة ضوء‬

SANAD - Real Support for Arab Filmmakers.

A

rab filmmakers have always had to look for funding from the strangest places: from the ex-colonisers the ones that were occupying their land, from their families, or from their own tired pockets. But today with funding programmes like SANAD of the Abu Dhabi Film Festival, they are being given the opportunity to make cinema in better conditions and without having to compromise their visions and their own subjectivities.

In its first round SANAD has been a total success and many applications were received.

The fund focuses on two stages of film production: the preproduction level, where filmmakers start going deeper into their subject, the period when trying to combine different jobs and writing doesn’t always have a happy ending, and the phase of post-production, when filmmakers have already shot

their film, spent all their money and have no more contacts to call and ask favours from (and so the money comes just at the right time). This means that the fund leads not only to the production of a film, but to the production of a film with quality facilities, which actually makes a difference.

Amongst the granted projects we find directors at many different stages of their works and careers, so the list draws out an interesting map of contemporary independent Arab cinema.

From Morocco Faouzi Bensaïdi, who directed the well-known WWW (What a Wonderful World), is one of the grantees for post-production with his latest film Death for Sale. Also from Morocco and in her post-production phase is Leila Kilani, whose latest film deals with migration, and is set in the free zone of the Atlantic coast of Tangiers.

It is interesting to see that SANAD has opened its doors to the reality of migrants and to Arab filmmakers of the diaspora. The programme is giving a great opportunity to the young Brahim Fritah, whose film Playground Stories is totally based in Paris, and to the new work of established Tunisian filmmaker Raja Amari, whose new film Corps Etrangers keeps exploring characters that are “carried by their desire”, like in her previous stories.

from In My Mother’s Arms by Mohamed Al-Daradji and Atia Al-Daradji

REVIE W /

‫تعقيب‬

Laura Poitras, USA, 2010 - Showcase

D

Ironically, it was Abu Jandal’s declarations during a 15-day non-violent interrogation by the US following the 9/11 bombing that changed the course of the war in Afghanistan. Salim Hamdan on the other hand, after five years of "extreme interrogation", turned out to be not guilty.

15/10 Cinestar 4 07:00 PM 16/10 Cinestar 4 04:15 PM

from WWW by Faouzi Bensaïdi

from A Plate of Sardines by Omar Amiralay

Iraqi filmmaker Mohamed Al-Daradji has two projects supported by SANAD: the documentary In My Mother’s Arms, already in post-production (a joint project with Atia Al-Daradji) and Train Station, a fiction in development also set in contemporary Iraq.

The Oath

irected, produced, and shot

by Laura Poitras, The Oath moves in a zigzag between the lives of two men: Salim Hamdan, Osama bin Laden’s driver, and Abu Jandal, his bodyguard. The first ended up on his knees with a sack on his head in a solitary cell in Guantanamo.The other was arrested in Yemen, enrolled in a government re-education program for Jihadis (called the Dialogue Committee) then released and offered a taxi to make a living.

There are a couple of projects which allow us to see how some filmmakers have become the producers of the new generation. This is the case for Tariq Teguia, who has the support of Lebanese filmmaker Ghassan Salhab.

Through drawing this stark contrast between the two men’s fates, The Oath reveals that the enhanced interrogation techniques used by the US are no different than the Osama bin Laden bombings. Both often target innocent civilians, both are done under the oath of saving a nation and both failed to reach that goal.

In her film, Poitras breaks the stereotype of an Al Qaeda terrorist by inviting the viewers into the lives of both Hamdan and Abu Jandal.While it doesn’t quite reveal why a man would enrol in Al Qaeda, it does show that members are also human beings, tender fathers and lighthearted teachers. So maybe it’s time to talk to their heads instead of covering them with sacks.

by Nadia Muhanna aged 26 (Syria)

Among the fiction filmmakers we find some promising newcomers, like Anne Marie Jacir, whose new work When I Saw You, tells the story of “the moment of hope, the particular moment in the life of an individual when the world seems to open up for him”.

Sobhi Al-Zobaidi, author of important titles in experimental Palestinian cinema, is in development of a fiction film that seems to question and examine Palestinian identity, and the way Palestinians themselves have constructed it.

Meanwhile Mohammad Malas, another grantee and probably one of the most prominent Syrian figures in cinema, is now in development of the last episode of his trilogy on contemporary Syria.

In addition, some of the most important names of Arab documentaries are supported by this first attempt of the festival: we see the latest work of the Lebanese couple formed by Joana Hadjithomas and Khalil Joreige, whose original project Lebanese Rocket Society is also supported by the Arab Fund for Arts and Culture.

Even Omar Amiralay has his latest film funded by SANAD, which carries the working title Seduction.

Another important name is Hala Abdallah. This Syrian filmmaker who held onto our hearts with the film I am the one who brings flowers to her tomb is now preparing a new project, entitled As if we were catching a cobra, in which she questions “arabitude” and tries to unfold what it means to be an Arab today.

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FOCUS /

from I am the one who brings flowers to her grave by Hala Abdallah

There are other grantees, like Kamel El Mahouti, who presents his film My Brother on the multiple identity of a young French-Arab-Muslim; Saeed Salmeen, whose film Sun Dress takes place in between Syria and the U.A.E.; Dalia Al Kury, whose film My Jinn takes a very interesting approach to one of the more popular Arab myths: the Djins.

To sum up, right now SANAD is supporting the work of many important names in the Arab filmmaking world, and will hopefully result in a number of good films, apart from giving filmmakers great networking opportunities. We might even be witnessing the beginning of a new era, in which a full rebirth of Arab independent cinema could take place - a cinema compromised of its times and peoples, but also often personal and intimate.

by Laila Hotait Salas aged 30 (Lebanon/Spain) IN MY MOTHER’S ARMS 19/10 Cinestar 2

06:45 PM

SUN DRESS 21/10 Cinestar 6 23/10 Cinestar 2

07:00 PM 05:00 PM

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PORTRAIT /

‫بورتريه‬

by Elisabeth Renault-Geslin, aged 23 (France)

Lola Doillon

‫ فرنسا‬،‫ سنة‬٢٣ ،‫بقلم" إليزابيث رينو جيسلين‬

A Coming of Age: affairs of the heart, from adolescence to adulthood

‫لوال دوايو‬

‫ من المراهقة إلى البلوغ‬،‫ أمور الفؤاد‬:‫العمر القادم‬ to repeat myself and be categorized in teenager movies. It’s very exciting to try a radically different movie. Perhaps the only link between the two is that they are both sentimental stories.”

A young man (Pio Marmaï) kidnaps his dead wife’s gynaecologist (Kristin Scott Thomas), blaming her for his wife’s death during childbirth.

He locks her up in the basement but can’t bring himself to kill her. From the very beginning the woman is isolated: the film starts with her escape from the house, running the streets, distraught. Back home, she hardly sees her friends and family, stops going to work, only listens to her voicemail. Then we go back to the day of the kidnapping. “I first wrote all the story in its continuity but it was too hard, too claustrophobic to read. So I put in flashbacks. But at the editing, this structure didn’t work anymore. We didn’t feel the seclusion enough so I had to come back to the first construction, with only the first flashback to be immediately in the woman’s situation and to say that this confinement is not going to be THE only story of the film.

The question isn’t: Will she manage to get out of this room? But: What’s going on after?”, says the director.

L

ola Doillon has no chip on her shoulder about being Jacques Doillon’s daughter, even if she admits that during her teenage years she was incapable of saying “I would really like to be a director”. The fully-fledged filmmaker is now presenting her second feature In Your Hands (Contre Toi) at the ADFF.

In your Hands deals with very few characters and places. Most of the film takes place in the basement room with just a bed, a table and a chair. It was a challenge, considering the very few ways of shooting a square room, but the complex psychological profiles and situations helped the crew give life to it. “It was very hard to find a way to shoot this room during so many sequences. With the director of photography we tried to find different camera places as much as we could, and to move as little as possible: we preferred to be too aesthetic than less. The green colour on the walls evolves and can be cold, hard at moments, and then almost warm. The sound design and the music were very important to give life to the room and to feel the sensations of (being) locked-up and the evolution of the relationship.”, explains the filmmaker. To complete this subtle work, the most competent lead was found in Anglo-French actress Kristin Scott Thomas, who plays a hard part with many emotional conflicts.

Her first forays into cinema were as an actress and photographer on her father’s sets, before working as an assistant-director with him and later with Cedric Klapisch, her future husband. She directed her first short in 2005 and three more soon followed, all of them about teenagers. Then in 2007, her first feature Et toi t’es sur qui? was selected for the Cannes Film Festival section Un Certain Regard. The film explored modern adolescent relationships, featuring non-professional actors in order to be as close as possible to real teenage behaviour. Lola Doillon even rewrote the script once the casting was over because after the many talks she had shared with them all she had found new ideas, mainly for the dialo- "The question isn’t: Will she manage to gues. “Teenagers’ lan- get out of this room? But: What’s going guage evolves with its on after?" time. I was completely out of touch with the expressions of today. CommunicaLola Doillon has already shown that she can handle tion ways and means evolve (chat, SMS, etc…) but sentiand appropriate different genres and we can only mental issues stay the same!”, she affirms. look forward to more radically different stories. La tely she has been working on a new script: a musical The same observation could be made for the transition to In Your Hands, an altogether more grown-up and sombre work in which the complex relationship between the two protagonists isolates them from reality. The French cineaste remarks: “After Et toi t’es sur qui? I needed to try a completely different kind of subject and ways to do it, also to work with adults. I didn’t want

Nisimazine ABU DHABI 14. 10. 2010 / # 1 A gazette published by the association N I S I M A S A with the support of the Abu Dhabi Film festival

road movie with children!

‫يقوم رجل شاب (بيو مارماي) باختطاف طبيبة النساء‬ ‫(كريستني سكوت توماس) التي كانت تتعامل مع‬ ‫زوجته املتوفاة ملقيا ً اللوم على عاتقها في وفاة زوجته‬ ‫ فيحبسها في البدروم لكنه لم يستطع‬.‫أثناء الوالدة‬ ‫ إن املرأة معزولة من البداية؛‬.‫غصب نفسه على قتلها‬ ‫ ركضها في‬،‫حيث يبدأ الفيلم بهروبها من املنزل‬ ،‫ وحاملا تعود إلى بيتها‬.‫ وهي ذاهلة عما حولها‬،‫الشوارع‬ ‫ وتتو ّقف عن الذهاب إلى‬،‫ال تكاد ترى صحابها أو العائلة‬ ‫ ثم يعود‬.‫ وتستمع فحسب إلى بريدها الصوتي‬،‫عملها‬ ‫«كتبت‬ ‫ وتقول اخملرجة‬.‫بنا الفيلم إلى يوم اختطافها‬ ُ ‫ لكن املسألة كانت صعبة‬،‫احلكاية أوال ً في صيرورتها‬ ‫ فوضعتها في ومضات‬.‫ ومن العسير قراءتها‬،ً‫جدا‬ ً ‫ لم يجد هذا البناء نفعا‬،‫ لكن عند حتريرها‬.‫مستعادة‬ ‫علي أن‬ ‫نحس بالعزلة الكافية فكان‬ ‫ لم نكن‬.‫معي‬ ّ ّ ‫ مع أول ومضة مستعادة فقط‬،‫لي‬ ّ ‫أعود إلى الشكل األ ّو‬ ‫ألصل مباشرة إلى موقف املرأة وأقول إن احتجازها‬ ‫ ولم تعد املسألة‬.‫هذا لن يكون قصة الفيلم الوحيدة‬ ‫ هل ستتوصل‬:‫هي‬ ‫إلى الهرب من هذه‬ ‫ ماذا‬:‫الغرفة؟ بل‬ » »‫سيحدث بعدئذ؟‬

‫ل‬

‫ا حتمل لوال دوايو رصيدا ً على عاتقها كونها ابنة‬ ‫ حتى لو اعترفت بأنها طيلة فترة‬،‫جاك دوايو‬ ً‫املراهقة كانت تعجز عن القول «أمتنى فعال‬ ‫ وتقدم صانعة األفالم التي‬.»‫أن أصبح مخرجة‬ »‫استوى عودها اآلن فيلمها الروائي الثاني «بني يديك‬ .‫في مهرجان أبوظبي السينمائي‬ ‫كانت أولى غزواتها في عالم السينما حني عملت‬ ‫ قبل أن تعمل مساعدة‬،‫ممثلة ومخرجة مع أفالم والدها‬ .ً‫ زوجها مستقبال‬،‫مخرج معه ثم مع سيدريك كالبيش‬ ‫ وأتبعته‬،2005 ‫قامت بإخراج أول أفالمها القصيرة عام‬ ّ ،‫بثالثة أفالم أخرى‬ ‫ وبعدئذ في‬.‫كل منها عن املراهقني‬ »‫ كان أول أفالمها الروائية «وماذا عن احلب؟‬،2007 ‫عام‬ ‫الذي اختير في مهرجان كان السينمائي بقسم «نظرة‬ ‫ وقام‬،‫ يكتشف الفيلم عالقات املراهقة‬.»‫عابرة‬ ‫بتصويره ممثلون غير محترفني كي يصبح أقرب ما‬ ‫ وقد أعادت لوال‬.‫يكون إلى سلوك املراهقني احلقيقي‬

‫ هل ستتوصل إلى الهرب‬:‫«ولم تعد املسألة هي‬ ‫ ماذا سيحدث بعدئذ؟‬:‫من هذه الغرفة؟ بل‬

‫يتعامل فيلم «بني يديك» مع عدد محدود من الشخوص‬ ‫ فمعظم أحداث الفليلم جتري في البدروم‬.‫واألماكن‬ ‫ أن‬،‫التحدي‬ ‫ هو نوع من‬.‫وكرسي فقط‬ ‫بسرير وطاولة‬ ّ ّ ّ ،‫نفكر في وسائل قليلة للتصوير داخل غرفة مر ّبعة‬ ‫لكن اتخاذ األوجه واملواقف النفسية املعقّ دة ساعد‬ ّ ‫الطاقم في‬ ‫وتوضح اخملرجة «كان‬ .‫بث احلياة باملكان‬ ّ ‫عصيا ً علينا أن جند طريقة للتصوير في هذه الغرفة‬ ‫ وجربنا مع مدير‬.‫ضمن تسلسل األحداث الكثيرة‬ ‫التصوير العثور على أماكن مختلفة للكاميرا بقدر‬ ‫نفضل‬ ‫ وللحركة البطيئة قدر املمكن؛ وكنا‬،‫املستطاع‬ ّ ّ ‫أن نصبح‬ ‫ فاللون أألخضر على احلوائط كان‬.ً ‫أقل جماال‬ ً ‫ ثم دافئا‬،‫ قاسيا ً في حلظات‬،ً‫يو ّرطنا وميكن أن يصبح باردا‬ ‫ وكان تصميم الصوت واملوسيقى من األهمية‬.ً ‫أحيانا‬

‫وميكن إطالق املالحظات نفسها لو انتقلنا إلى فيلم‬ ‫أشد نضجا ً وأكثر سوداوية‬ ‫ فهو عمل‬،»‫«بني يديك‬ ّ .‫حيث تعزل العالقة املعقّ دة بطلي الفيلم عن الواقع‬ ‫وقد ع ّلقت اخملرجة الفرنسية بأنه «بعد فيلم (وماذا‬ ‫كنت أحتاج أن أج ّرب نوعا ً متباينا ً من‬ )‫عن احلب؟‬ ُ

‫مبكان حتى مينح الغرفة حيا ًة ونشعر باألحاسيس‬ ‫ وكي نكمل هذا‬.»‫من قبيل االحتجاز وتطوير العالقة‬ ‫ كانت البراعة في اختيار املمثلة األجنلو‬،‫العمل احلاذق‬ ً ‫ التي لعبت دورا‬،‫فرنسية كرستني سكوت توماس‬ .‫صعبا ً يتضمن صراعات متناقضة العواطف‬

‫ مثل أن أتعامل مع‬،‫املوضوعات وطرق التعامل معها‬ ‫ لم أكن أريد أن أكرر نفسي وأصبح منطية في‬.‫البالغني‬ ً ‫ وإنه ألمر مثير أن أج ّرب فيلما ً مختلفا‬.‫أفالم املراهقني‬ ‫ وقد تكون الرابطة الوحيدة بني النوعني‬.‫بشكل مغاير‬ .»‫هو أن كليهما يتعامل مع القصص العاطفية‬

‫وقد أظهرت لوال دوايو فعليا ً أنها تستطيع التعامل‬ ‫واملواءمة بني األنواع اخمللتفة ونتطلع منها أن ترينا املزيد‬ ‫ وهي تعمل مؤخرا ً على‬.ً ‫من القصص اخملتلفة كليا‬ ‫خارجي مع مجموعة‬ ‫موسيقي‬ ‫ فيلم‬:‫سيناريو جديد‬ ّ ّ .‫من األطفال‬

‫دوايو كتابة السيناريو بعدما اجتمعت مع فريق العمل‬ ‫وحتدثت معهم طويالً فأشركتهم معها في العثور على‬ ّ ‫وتؤكد لوال «إن اللغة‬ .‫ خاصة في احلوار‬،‫أفكار جديدة‬ ‫ لم أكن‬.‫التي يتكلم بها املراهقون تنخرط مع زمانهم‬ ‫ فقد تطورت‬.‫أالمس مطلقا ً التعبيرات السارية اليوم‬ ‫وسائل وطرق التواصل (الدردشة والرسائل القصيرة‬ ّ .»‫تظل كما هي‬ ‫ لكن األمور العاطفية‬،)‫إلخ‬

IN YOUR HANDS 15/10 Abu Dhabi Theatre 06:30 PM 16/10 Cinestar 2 08:45 PM

‫ فريق التحرير‬/ EDITORIAL STAFF

‫ مدير التحرير‬/ Director of Publication: Matthieu Darras ‫ احملرر املسؤول‬/ Editor in Chief: Jude Lister ‫ ترجمة‬/ Translators: Muhammad Eid Ibrahim, Loubna Ammer ‫ التصميم وتنضيد الصفحات‬/ Design and Layout: Maartje Alders ‫ املساهمون‬/ Contributors: Laila Hotait Salas, Nadia Muhanna, Michael O’Regan, Tina Remiz, Elisabeth Renault-Geslin Fernando Vasquez.

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