Nisimazine Abu Dhabi Issue#3

Abu Dhabi

Nisimazine Sunday 17 October

‫ أكتوبر‬١٧ ،‫األحد‬

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

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#3/

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

‫افتتاحية‬ EDITORIAL

FILM OF THE DAY /

٣

‫فيلم اليوم‬

‫ عامًا‬٢٣ ‫غسلين‬-‫ بقلم أليزابيث رينولت‬by Elisabeth Renault-Geslin, aged 23 )‫( (سوريا‬France)

‫ع‬W

‫ند وصولي إلى أبوظبي منذ أربعة أيام انغمست‬ ‫في نقاش حماسي لطيف عن السينما مع‬ ‫ أخبرني عن االرتفاع المريع‬.‫سائق التكسي‬ ‫في اسعار البطاقات وعن خيبة أمله المتكررة‬ ‫بعد مشاهدته لبعض األفالم التي لم تكن بالمتعة التي‬ ‫ مما جعله يشعر بأنه قد هدر ماله‬.»‫أوحى بها «التريلر‬ ‫ أخذنا نتجاذب أطراف الحديث حتى انتهى بنا‬.ً‫هباء‬ ‫ يرى السائق أن‬.‫المطاف بالحديث عن النقد السينمائي‬ ‫النقاد يخاطبون النخبة وال يأخذون جمهورهم العريض‬ .‫ والبد لي أن أوافق‬.‫بعين اإلعتبار‬

‫ال يجدر بنا كنقاد سينمائيين أن نتسرع في إطالق‬ ‫ البد‬.‫األحكام ونتناسى أن المهم هو الفيلم وليس نقده‬ ‫أيضًا أن نسمح ألنفسنا باالنغماس في الفيلم وفي‬ ‫ مما يعني أن ال‬.‫المشاعر التي يحركها في داخلنا‬ ‫ كذلك اليجدر بالمشاهدين‬.‫نبعد انفسنا عن الفيلم‬ ‫أن يعتمدوا بالمطلق على آرائنا بل عليهم أن يقرروا‬ ‫ فأنا أرى أن‬.‫بأنفسهم أية أفالم يريدون مشاهدتها‬ ‫مقاالت النقد السينمائي يجب أن تؤخذ على أنها فرصة‬ .‫للنقاش وليس على أنها عمل منتهي‬ ،‫ وبعد أن وضعت النقاط على الحروف‬،‫أما اآلن‬ ‫فيمكنني البوح بأننا الزلنا في نيسيمازين شبابًا يسمح‬ ‫ لذلك أرجو أن تتصفحوا هذه المنشورة‬.‫لهم بالخطأ‬ ‫المتواضعة وال تعتبروا كل ما ستقرأون فيها واقعًا بل‬ ‫ ال تترددوا بالقدوم‬،‫اذهبوا لمشاهدة الفيلم أوالً! واألهم‬ .‫لمناقشة المواد المنشورة معنا فهذا هو ما نريده‬ ‫ نحن المسجونون في مكتبنا الكبير ومع‬،‫سنسعد‬ ‫ بفرصة‬،‫ذلك المثير بشكل غريب للكالوستروفوبيا‬ .‫أكبرللتواصل البشري‬

The cab driver and the review writer

hen I first landed in Abu Dhabi four days ago, I had a pleasant and animated chat with the cab driver about cinema. He told me of the frightening increase in cinema ticket prices here and the fact that he was often disappointed after watching a film because the trailers he had seen before were better and he felt his money was wasted. One question led to another, and we soon came to the subject of film criticism. In his view, critics are often too elitist and don’t take the audience into account enough. And I can only agree with him.

As reviewers, we shouldn’t fall into complacency by forgetting that the film is most important, not the critic. We must still allow ourselves to feel immersed in a movie and the emotions it brings out in us, which means not maintaining too much distance while watching it.The audience shouldn’t take our opinions for granted either, but rather make up their own mind about films they want to see. My point of view is that reviews should be seen as an opportunity for debate and certainly not as a finished work.

All this said, here at Nisimazine, we are still young and allowed to make mistakes. So please read this humble gazette, but don’t take what we print as a given truth - go watch the movies first! And most importantly, feel free to come to us and discuss it all, as this is what we are looking for. When locked up all day in our big yet strangely claustrophobic office, we’d be happy for some more human contact!

PICTURE OF THE DAY /

‫صورة اليوم‬

Women are Heroes

17/10 Cinestar 6 07:15 PM 20/10 Cinestar 6 10:15 PM

J.R., France, 2010, Showcase

W

e go into cinemas, sit in front of a screen and watch stories unravel in front of our eyes. We try to submit ourselves to the narratives, understand the characters and feel the emotions they are going through. But when the film is over and the lights go back on, we all inevitably return to our daily existences.

In his debut film Women are Heroes the extravagant J.R., famous for his breath-taking photographs, explores what is happening with screens away from the cinemas and with characters outside fiction. The movie follows a project of the artist in which several large montages of faces are being placed on the walls of the communities his subjects belong to. The portraits showcase various women old and young, coming from the Brazilian favelas, Kenyan slums, poor regions of India and Sierra-Leone, or the Cambodian streets. All of them managed to survive severe poverty, rape or the deaths of close family members in gang wars, and this while still being able to joke and smile. Regardless of how difficult the conditions, they all kept fighting for their day-to-day existence, for a better life and sometimes even for a decent future.

REVIEW /

Although initially it might seem to be a simple making-of, the documentary not only presents how having the pictures displayed in public places influences and changes their lives, but also covers the reasons why all these women should be regarded as heroes. Interestingly enough, we also get to see the immediate effects of the portrait exhibitions within the communities. The director makes sure to capture the neighbours’ reactions towards the images displayed on their walls, trains and garbage trucks, and the “infestation” of positive energy generated by the images. J.R.’s work transcends the screen: through the pictures he inspires people facing various difficulties, and then again throughout the movie itself more people get to experience the great stories of these amazing individuals. Art overcomes its entertaining role and manages to really make a difference.

Every shot in the film is beautifully constructed, with incredible colours even in the greyest and most depressing spaces.

J.R. leaves none of his spectators wondering whether images truly are as powerful as they seem and can literally change lives.

by Maria Diceanu aged 26 (Romania)

‫تعقيب‬ Back-Door Channels: The Price of Peace Harry Hunkele, USA, 2010 New Horizons

Photo by TINA REMIZ

T Yuliya Aug - main actress of Silent Souls

he latest salvo in the ongoing sotto voce campaign to rehabilitate the reputation of the Carter administration, Back Door Channels: The Price of Peace had a lengthy delay between completion and screening that rather suggested the festival was about to drop a massive lump of coal. I’m happy to report this isn’t the case.

Whilst the film as a whole fails to live up to its exceptionally accomplished opening sequence (which inventively surmises millennia of enmity between Jews and Muslims in the Middle East in a mere 4 minutes), it remains an original addition to the political documentary canon, although its greatest audience may well be found amongst academics.

16/10 Cinestar 1 04:00 PM 17/10 Cinestar 1 09:00 PM

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‫سائق التكسي والناقدة‬

It traces the events leading to the signing of the Egypt-Israel Peace Treaty in 1979, focusing on the role played by civil servants and intelligence agents behind the scenes, orchestrating communications and negotiations that could not yet be conducted through official channels. It’s a convoluted tale involving Moroccan royalty and a Romanian dictator, but Hunkele possesses a masterful knowledge of the facts, which, combined with his tasteful eye for archival footage, keeps things on track. Unfortunately, the film is let down by inexplicably clumsy transitions between scenes, as well as by an intrusive score, which annoys more often than it moves.

by Michael O’Regan aged 29 (Ireland)

INTERVIEW /

‫مقابلة‬

REVIEW /

‫تعقيب‬ ‫كرنتينة‬

‫صورة مليئة بالحب والعنف والحجر فى الع راق‬

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Danis Tanović

Photo by TINA REMIZ

director of Cirkus Columbia (Bosnia and Herzegovina) Narrative Competition

Danis Tanović is one of Eastern Europe’s most successful filmmakers. Since the release, in 2001, of the influential black comedy No Man´s Land, he has become a reference in the war genre, offering a fresh vision on the subject. His new movie Cirkus Columbia is the latest excursion on the impact of war in everyday life, again with an unmistakable touch of irony.

Was it a painful experience to revisit the period just before the war? Was this some kind of personal therapy?

My whole life is a personal therapy. It wasn’t painful; actually it was great to go back to that belle époque. It was a pleasure; I had been wanting to do it for a long time. It goes back to a flashback I had a few years ago. I remembered something just before the war and I thought how weird it was that so much time had passed since I thought about that period. All I remembered was either my young childhood or wartime. This period just before the war was like it had disappeared. War is like a big cloud, it covers everything.

So I had that episode and then I read this book, Cirkus Columbia, written by Ivica Đikić. I took bits and pieces from it and use it has a point of departure to write the screenplay. It wasn’t painful

because I love to make movies, it is never painful. It is what I love to do. Even if some memories are painful.

Do you think Cirkus Columbia could help war children and older generations remember how life was before the war?

We showed it at the Sarajevo Film Festival and the film won the audience award. The audience was full of old and young people. I think they all understood it and got the message. Actually it is not a real message, at least not intellectually. It is more an emotional message, more than anything. The emotion always comes first. If there is something interesting about making movies it’s that they can stir up something powerful that gets a personal emotional response out of everyone.

What would you like to see being discussed from Cirkus Columbia?

I don’t know, whatever they feel like.

It´s funny because the same film can produce different reactions in different people, especially in different parts of the world. I just came back from Lebanon and I was delighted to see that they understood the film and what I was trying to say. I was pleased because then they started talking about their own problems, their own wars and how their lives used to be. It can start any kind of dialogue. The important [thing] is to create discussion.

You know, I was kidding and someone made a real statement of it. I remember saying it was funny that I had made three films: before, during and after a war. I joked that this could almost be a trilogy but there was never any intention or idea to make it so.

‫ كثف اخملرج‬،‫فى الفيلم الذى تصل مدته إلى ساعة ونصف‬ ‫ فى الكثير من حلظات‬،‫عدى رشيد احساس شخصياته‬ ‫ من خالل لغة سينمائية‬،‫الصمت والغضب والتأمل وأيضا ً احلب‬ ..‫ ورمبا بسبب رهانه علي املصور الشاب أسامة رشيد‬،‫مختلفة‬ ‫إضافة إلى أداء املمثلني الذى أكسب الفيلم طابع حيادي‬ ‫ لدرجة أننا كثيرا ً ما نفتقد إحساس تواجد الشصيات‬،‫للمكان‬ ...‫فى بغداد‬

،‫ وهو إنتاج مشترك بني العراق وأملانيا‬- »‫فى فيلم «كرنتينة‬ ‫واحلاصل علي منحة سند لدعم األفالم من مهرجان أبو‬ ‫ ألقى اخملرج عدى رشيد بشخصياته‬-‫ظبي السينمائى‬ ‫ ولم يشأ أن يضعنا أمام‬،‫ نخلق تاريخها كما نشاء‬،‫أمامنا‬ ،‫ بل قدمهم بطريقة تشبه لعبة الشطرجن‬،‫حكاية تقليدية‬ ‫لكنا ال جند خيط واحد‬..‫نحركها نحن بالطريقة التى نختارها‬ ‫ إال‬-‫يربط تلك الشخصيات – رغم تواجدهم فى مكان واحد‬ ‫ والتى كانت نتيجة لتغيرات‬،‫احلب واجلرمية واخلوف والطفولة‬ .. ‫ خاصة بعد احلرب‬،‫طرأت علي اجملتمع العراقى‬

،»‫ يظل فيلم عدى رشيد «كرنتينة‬،‫ ورغم كل شئ‬،‫فى النهاية‬ ‫ مبثابة رغبة فى عودة جديدة للثقافة‬،‫وغيره من اخملرجني اجلدد‬ ‫ من خالل الذاكرة التى يحاول الكثيرون‬،‫والسينما العراقية‬ ‫ لديها القدرة علي‬،‫مثل رشيد والدراجى توثيقها بأفالم جيدة‬ .‫املنافسة فى مهرجانات سينمائية فى العالم‬

17/10 Cinestar 5 18/10 Cinestar 8

You called your films a “personal trilogy”. What did you mean by that?

17/10 Emirates Palace 03:30 PM

‫برجاء زيارة موقعنا اإللكتروني‬

* www.nisimazine.eu *

‫لالطالع على مدونة الفيديو وغيرها من املواد املتعلقة باملهرجان‬

‫ مهمته جمع معلومات‬،‫فالبطل الرئيسي هو قاتل مأجور‬ ‫ والتى‬،‫ مع عائلة‬،‫ يعيش فى منزل مهجور‬،‫عن ضحاياه‬ ‫بدورها تخلص حالة اإلرتباك التى يعيشها أهل العراق منذ‬ .‫ وحتى األن‬2003 ‫عام‬

09:30 PM 04:00 PM

‫ نسرين الزيات‬:‫بقلم‬

REVIEW /

You claimed your part of the world, Bosnia and Herzegovina, had a very out-of-time feeling about it. What did you mean by that?

I say nonsense all the time. Well, I spent 15 years in Paris and working in many different places in Europe and I realized that time is very specific. In different parts of the world clocks tick differently. Here the clocks ticks like in Europe but naturally we are in between East and West. It is hard to pinpoint what it is about it.

by Fernando Vasquez aged 30 (Portugal)

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،‫فيلم «كرنتينة» للمخرج العراقى عدى رشيد‬ ‫ الذى يتم إنتاجه عقب احلرب‬،‫يصبح الفيلم الرابع‬ ‫ أولها‬، ‫ بعد أن سبقته ثالثة أفالم‬،‫علي العراق‬ ‫ والذى‬2005 ‫فيلم «غير صالح للعرض» عام‬ ‫ وفيلمان للمخرج‬،‫كتبه وأخرجه عدى رشيد اثناء احلرب‬ ..»‫محمد الدراجى هما «أحالم» و « إبن بابل‬

So this doesn’t mean this will be your last war film?

I hope not (laughs).

Miki Manojlovic is one of the biggest actors in Eastern European Cinema.

He has become a somewhat iconic figure in European cinema in general.

How was working with him and what do you think he brought to the part?

Himself. (laughs) I don’t know. He is a great actor and what do you get from a great actor? Above all he brought great acting and a lot of fun. I love being with him. I love working with him, I would always be ready to work with him.

‫ب‬

‫ والتى‬،‫و»كرنتينة» هى إحدى املناطق القدمية فى بغداد‬ ،‫شهدت عمليات قتل وتصفية لعدد كبير من أبناء البلد‬ ‫ لذلك‬-‫وذلك علي خلفية صراعات طائفية وجرائم منظمة‬ -‫قد تبدو إشارة حلالة احلجر واحلصار – النفسي واإلجتماعى‬ ‫ تلك احلالة التى قد توازي حالة احلصار‬،‫للشخصيات فى الفيلم‬ ..‫التى سبق وأنا عاشها العراقيون قبل وبعد احلرب‬

‫تعقيب‬

Potiche

François Ozon, France, 2010 - Narrative Competition

I

n France, you know, we invented cinema and created the Nouvelle Vague, so we think of ourselves as very important and take the seventh art pretty seriously. Which is why sometimes, a refreshing breeze named François Ozon is well-needed. Between more tragic and dark stories, he makes lighter but no less acidic comedies. They are often adaptations of plays (such as 8 Women and Water Drops on Burning Rocks - which was adapted from Fassbinder) in which clichés can be pushed to their limits.

The “Potiche” (meaning trophy woman) of his latest film is played by Catherine Deneuve. In the 70s, Suzanne Pujol is M. Pujol’s wife and there ends her identity.

She doesn’t have her own place in society because everyone in her family prevents her from becoming emancipated. Although she soon finds the opportunity to take her revenge.

17/10 Cinestar 2 04:30 PM

Ozon obviously had a great time with his many great French actors and plays with them like miniatures in a doll house, complete with colourful outfits and big retro mansions. In this way, he can watch them almost kill one another, only in a refined way and whilst wearing pretty costumes.

He hasn’t forgotten his many aesthetic obsessions either, from shooting through windows to kitsch wallpapers. There are even does in the opening sequence as in 8 Women, an element which was already taken from Douglas Sirk’s All That Heaven Allows.

The film also delights in dealing with clichés about French culture: maybe a little too much for foreign audiences, who might not be able to understand all the references.

by Elisabeth Renault-Geslin aged 23 (France)

It’s no surprise then that filmmaking is not yet considered as a real career in the Gulf. Talented as they may be, it is still very difficult to make it big. Ahmed Zaid, an Emirati filmmaker, won the Jury prize at last year’s Abu Dhabi festival (known then as the Middle East International Film Festival) for Seashell and got his films selected for festivals in Tehran and Dubai.

Although he has made more than ten movies, he still works as an electro-mechanical engineer.

However, the UAE is now starting to encourage the development of cinema infrastructures and schools.

Abu Dhabi has welcomed the New York and Manhattan Film Academies. In Dubai, Knowledge Village’s SAE Institute and Dubai Women’s College offer a full immersion in the universe of cinema.

REVIE W /

At the ADFF this year, Emirati Jumana Al Ghanem is presenting her film Am Arab, which she co-directed with Ahlam Al Bannai. She studies at Dubai Women’s College alongside Maitha Hamdam, who is showing her short Mahar al Mahera. They are both participating in the Student Shorts Documentary of the Emirates Competition, and both dream about becoming professional filmmakers and seeing more posters of Emirati films in movie theatres amongst the Hollywood and Bollywood ones. “The government is trying to support us. Festivals organize workshops and at schools, they supply us with everything. We enjoy a high quality training”, gushes Jumana.

In general, films revolve around society and tradition. Many filmmakers aim to introduce their culture, convey a positive image of the region and encourage dialogue. Jumana wants to make one of the biggest Hollywood movies to unveil the Gulf society with a religious edge: “I want to show the world how very cool we are. We are very open. I’ll send the right message”. Maitha’s short deals with dowries: “People here like to show off about it. Some well-known families are proud to say ‘our daughter got married and she got one million dirhams’. It’s unbearable! My next film is about divorce. When a woman asks for a divorce, she doesn’t get any alimony but if the man does, she gets it. My goal is also to educate my own people. [I want] them to be responsible of their actions... This film is going to help us”.

In the Gulf, cinema can also have the impact of changing societies. Concerning these young female film directors, we could reinvent the proverb ‘action speaks louder than words’ and turn it into ‘actions

‫تعقيب‬

Tears of Gaza

Vibeke Løkkeberg, Norway, 2010 Documentary Competition

G

aza has been the subject of countless documentaries and the issue has been covered from most conceivable points of view. So, why make another film about Palestine? Norwegian filmmaker Vibeke Lokkeberg has found an obvious answer: some images need to be seen whether media editors want it or not.

Her film Tears of Gaza, competing for the documentary prize, is just that, a compilation of horrifying images of the 2008 Israeli bombings in one of the most crowded areas in the world, Gaza.

Between some of the most impressive and hard to digest footage recorded in recent years, Lokkeberg added a series of interviews with survivors, in particular children orphaned by the bombings.

17/10 Cinestar 4 10:00 PM 18/10 Cinestar 2 05:00 PM

from Mahar Al Mahera

Today in the UAE, film festivals such as the ADFF give a voice to Gulf filmmakers. They help develop film appreciation and create bridges between cultures, offering locals the chance to see international programmes and allowing expats to discover the productions of their adopted country. Furthermore, they organise workshops to educate people about the film industry. Although currently these workshops last only the length of the festival, and the lack of film schools means that most directors are selftaught.

‫بقعة ضوء‬

from Am Arab

I

t’s only been less than a decade since some cinema lovers and a young generation of filmmakers planted the seeds of a film culture in the Gulf. It took them determination and passion to turn the region into a fertile terrain for the growth of a cinema industry.

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EMIRATI FILMMAKERS: Actions Speak Louder Than Films

FOCUS /

The main problem with Tears of Gaza is its method. After watching small children literally being blown to pieces, the emotional testimonies of survivors are somewhat less striking. Perhaps there is some truth in the old cliché that your sensitivity is numbed by graphic violence.

Lokkeberg also intentionally avoids any contextualization, concentrating instead on the mere horror brought about by the Israeli military machine.

All in all Tears of Gaza is a must-see for those in need of an introduction to the daily life of Gaza. Avid consumers of documentaries on Palestine are perhaps better off looking somewhere else.

by Fernando Vasquez aged 30 (Portugal)

speak louder than films’. Their involvement in filmmaking is disrupting Emirati society, even though they keep their abayas and sheilas on when they are shooting on set. Young Emirati ladies are considered as ‘covered diamonds’, hence “it is forbidden to talk to guys.” Thanks to these aspiring female filmmakers though, mentalities are changing. They are likely to direct men but for Maitha, this isn’t an issue anymore: “My parents accepted the fact that I’ll be speaking with guys.” Jumana believes that ladies can do as well as gentlemen. She strives to convince people, especially when it comes to financing and asking foundations or private companies to finance her movies.

Finding financing in the Gulf region is a big issue; because so far no governmental institution has been set up to invest exclusively in films. At the moment, filmmakers in the Gulf have no other choice than to finance their movies from their own pockets. Consequently they are forced to become the producers or co-producers of their own films. Most film productions here make TV commercials, a few corporate movies and documentaries. They only want to do features if you bring your own money.

make the movies so that directors don’t have headaches and concentrate on the artistic view of the film.”

Besides sponsors, foundations can help raise funds.

Emirati filmmaker Waleed Al Shehhi is well-informed about the existence of the two main foundations within the UAE. “To be honest, it’s a bit difficult to get sponsors in the UAE. Emirates Foundation and Abu Dhabi Music & Arts Foundation give those funds. We try to get an idea of a story that wouldn’t cost much in terms of production. Then we play with the situation because we can’t beat it. It’s a situation I’ve been facing for nine years. Things are getting better and better: it will take time for the UAE to make filmmaking a habit.” Abu Dhabi Arts and Culture Heritage (ADACH) also plays an important role in the blossoming of a film culture.

Gulf filmmakers will make it to the international stage if they have not only the necessary talent, but the marketing skills and business knowledge to bring people to movie theatres. That’s the mentality they should have for this industry to become sustainable.

But we can already see that their passion for cinema is making them overcome the obstacles and change mentalities.

UAE national Nayla Al Khadja, a young entrepreneur, producer and director of Scene Club, one of the most famous cinema clubs in the Gulf, reacts: “We need producers whom you give a budget to make movies. I don’t think directors should be producers. It’s a big mistake.

Producers are businessmen. They need to find the money and market the movies, find the director, the script and

Correction Annecy program:

The films shown on ADFF family day in the Annecy program have the following running times: - About one Bird: 9min - Don’t Go: 4 min - Whistless: 5 min - Kungfu Bunny 3 - Counterattack: 6 min - The train the tree and the thriller: 4 min - The cow who wanted to be a hamburger: 6 min - The terrible thing of Alpha-9: 6 min - Train of Thought: 4 min - Westen: 2 min The total running time of the program is 46 minutes

by Samira Mesbahi aged 34 (France) AM ARAB and MAHAR AL MAHERA are screened in Program 5 of the Emirates Competition 18/10 Cinestar 4 09:30 PM 20/10 Cinestar 1 01:00 PM

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PORTRAIT /

by Michael O’Regan, aged 29 (Ireland)

)‫ عامًا (إيرلندا‬٢٩ ،‫بقلم مايكل أريغان‬

Hammad Khan

‫حمّاد خان‬

Director of Slackistan: Living a Boy’s Adventure Tale

Photo by TINA REMIZ

‫بورتريه‬

‫ نعيش حكاية مغامرات ولد‬:‫مخرج سالكيستان‬ ‫والعشرين حين أخرج فيلمه‬ ‫األول القصير؛ ثم أتبعه بثالثة‬ ‫أفالم أخرى قبل أن يتوصّل‬ ‫لفكرة إطالق مساهمته في إسالم‬ ‫آباد بأول أعماله مع ريتشارد‬ ‫ حيث تتبّع مجموعة من‬،‫لينكالتر‬ ‫االشتراكيين األثرياء الذين يقتلون‬ ‫ال من االنخراط في‬ ً ‫الوقت بد‬ ‫ اعترف بأن‬.‫وظائف ذات معنى‬ ‫العنوان الجذاب «سالكيستان» قد‬ ‫ الذي‬،‫وصله قبل سيناريو الفيلم‬ ‫شاركته في كتابته زوجته شنانا‬ ‫ وهي طبيبة نفسية موطنها‬،‫أيوب‬ ‫ فكان ال يعرف أحيانًا‬،‫إسالم آباد‬ .‫إن كان المشهد واقعيًا أم ال‬ ‫كما ساعدته أخته الصغرى في‬ ‫ ثم‬،‫استطالع مواقع التصوير‬ ‫أطلق الفيلم باإلعالنات العادية‬ ‫ بدأ الفيلم في‬.‫وعلى الفيسبوك‬ ‫ من دون تصريح‬،2009 ‫إبريل‬ ،‫رسميّ أو ميزانية ضخمة‬ ‫مستخدمًا معدات رقمية رخيصة‬ ‫ ويعتقد اآلن أن المراجعات‬.‫نسبيًا‬ ‫األمنية المشدّدة «هي الطريق‬ ‫الوحيدة لبدء التصوير في هذه‬ .»‫المدينة‬

H

ammad Khan opens his hotel door and greets me with a warm smile and a firm handshake, the very model of affability. The thirtysomething Englishman has every reason to be in a good mood; his debut feature, Slackistan, recently had its world premiere in London, garnering favourable notices from critics and distributors alike. “It’s hard to take in”, he says, “I’m still trying to process it all”.

Filmmaking seems an unlikely career for someone of Khan’s background, which he understatedly describes as “interesting”. He was born in Pakistan, the son of a prominent army major who unprecedentedly resigned his post in the aftermath of the 1977 coup d’état that plunged Pakistan into a decade of military rule. Soon after, his parents sought refugee status in London and became central figures in a burgeoning government in exile. “I understood what ‘democracy’ was at age 5, because I was painting banners and protesting at the Embassy”, the filmmaker remembers. The Khan household was a hive of activity; poets, artists and politicians (including “Auntie” Benazir Bhutto) were regular visitors.

before he arrived at the idea of shooting an Islamabad-set tribute to the early work of Richard Linklater, which would follow a group of wealthy socialites killing time in lieu of having meaningful careers. He concedes that the catchy title, Slackistan, arrived before the screenplay, which was co-written by his wife Shanana Ayub, a psychiatrist and Islamabad native, who could let him know whether a scene rang true or not. His younger sister helped him scout locations and he cast the movie through word of mouth and Facebook.

Shooting began in April 2009, without either official permission or a sizable budget, using relatively inexpensive digital equipment. He now believes that due to heightened security checks “it’s the only way to shoot in this city”.

Khan acknowledges that the step up to full blown feature-making proved a steep learning curve for cast and crew. He was initially keen to encourage improvisation, but the inexperienced actors baulked at the idea. However, he animatedly recounts his delight that the architecture of the city, with its prison-like grid structure, “really helped articulate the confinement of these young people”.

As we finish our conversation, he strolls over to his bedside table and picks up a copy of Krzysztof Kieślowski’s autobiography, pausing a moment to extol the virtues of auteurism; I notice he is wearing an Antonioni themed t-shirt. “I feel like I’ve made my American film”, he concludes. “Now it’s time to do the European one”.

Still, it took him a while to pluck up the courage to try directing.

He was 27 when he made his first short film; three more followed

Nisimazine ABU DHABI 17. 10. 2010 / # 3 A gazette published by the association N I S I M A S A with the support of the Abu Dhabi Film festival

‫تبدو صناعة األفالم مهنة بغيضة‬ ‫ فهو‬،‫لشخص من نوعية خان‬ ‫ لقد‬.»‫يصفها مستخ ّفًا بأنها «مثيرة‬ ّ‫ لضابط حربي‬،‫ولد في باكستان‬ ‫بارز استقال من وظيفته على غير‬ 1977 ‫المتوقع في أعقاب انقالب‬ ‫الذي أقحم باكستان في عقد من‬ ‫ وقد بحث والداه‬.ّ‫الحكم العسكري‬ ‫فيما بعد عن ملجأ آمن في لندن‬ ‫وصارا من األشخاص المهمين‬ .‫بالحكومة المزدهرة في المنفى‬ ‫«فهمت ما تعنيه‬ ‫يتذكّر المخرج‬ ُ ،‫(الديمقراطية) من سنّ الخامسة‬ ّ‫وكنت ألوّن الرايات وأحتج‬ ُ ‫ وكان منزل خان‬.»‫عند السفارة‬ ‫عبارة عن خلية نحل؛ زوّاري‬ ‫المعتادون هم الشعراء والفنانون‬ »‫والسياسيون (كان بينهم «عمتي‬ .)‫بنازير بوتو‬ ‫ الذي يتحدّث عنه‬،‫عاد والد خان‬ ‫ مع‬،‫المخرج بعاطفة وتوقير بالغين‬ ‫العائلة إلى باكستان قبل استعادة‬ .‫ ولذلك سُجن فترة‬،‫الديمقراطية‬ ‫بعد إطالق سراحه عيّنوه بمجلس‬ ‫ لكن مجهوداته نبّهت‬،‫الشيوخ‬ ‫األنظار إليه فأُبعد تدريجيًا عن‬

،ّ‫«أحسّ أني انتهيت من فيلمي على النمط األمريكي‬ .»‫وحان الوقت أن أنتقل إلى النمط األوربي‬

Khan’s father, of whom the director speaks with obvious respect and affection, returned the family to Pakistan in advance of the He is conscious of the fact that some people may regard the charestoration of democracy, and was imprisoned for a time. Upon his racters as indolent and spoiled, particularly in the context of the release he was made a Senator, but his exertions had taken their ongoing political and meteorogical strife that is engulfing Pakistan. toll and he gradually moved away from active politics. “He felt that Khan appreciates this viewpoint, but defends himself by asserting power had gone to the heads of some people, and was a little disappointhat it’s “impossible to represent the whole situation in 90 minutes”, ted”, his son recalls, adding that the chamagnanimously. This racters in the movie “I feel like I’ve made my American film, “are the ones who will peripatetic childhood inevitably made it now it’s time to do the European one”. inherit the country”, difficult for Khan to and therefore dedefine his identity: was he English or Pakistani? “That question is serve analysis. In any case, he is already writing a new script which the eternal struggle. It’s something that I constantly try to understand, “in marked contrast to Slackistan [...] will deal with the Pakistani psyalthough I don’t think I ever will”, he admits. che”.

Feeling alienated and alone while studying law at university, he experienced a Damascene conversion after a friend advised him to watch Taxi Driver: “I suddenly realised I was in the wrong library and that film was my real passion”, explains Khan.

‫يؤكّد خان أن الخطوة المعتمدة‬ ‫لعمل فيلم روائيّ هي في منحنى‬ ‫التعلّم الصعب مع الممثلين‬ ‫ وقد كان عنيفًا في‬.‫وطاقم العمل‬ ‫البداية حيث حاول تشجيعهم على‬ ‫ لكن الممثلين الهواة‬،‫االرتجال‬ ‫ وهو يروي‬.‫عارضوا هذه الفكرة‬ ‫عمومًا بحماسة أن معمار المدينة‬ ‫ بسجنها الشبيه بعمارة‬،‫قد سرّه‬ ‫ فيقول «لقد‬،‫كلّها قضبان مصبّعة‬ ‫ساعدتني حقًا في توضيح مسألة‬ .»‫احتجاز هؤالء الشبان‬

‫ي‬

‫فتح حمّاد خان باب‬ ‫فندقه ليُحيّيني بابتسامة‬ ،‫دافئة ومصافحة حازمة‬ ‫ لدى‬.‫كأنه مثال للدماثة‬ ‫الرجل اإلنجليزيّ الحزين سبب‬ ‫ليكون في مزاج هادئ من ملمحه‬ ّ‫ فقد أطلق عرضه العالمي‬،‫األول‬ ‫ مختزنًا‬،‫«سالكيستان» في لندن‬ ‫التعليقات المفضّلة من الن ّقاد‬ ‫ يقول‬.‫والموزّعين على حدّ سواء‬ ،‫«من الصعب دخول عالم السينما‬ .»‫فال أزال أحاول األمر‬

‫كما أنه واع بحقيقة أن بعض‬ ‫الناس قد ينظرون إلى هؤالء‬ ‫الشخوص على أنهم كسالى‬ ‫ظل السياق‬ ّ ‫ خاصة في‬،‫وفاسدون‬ ‫السياسيّ المستمرّ والمرصود‬ ‫ ويقدّر خان‬.‫الذي يجتاح باكستان‬ ‫ لكنه يدافع عن‬،‫وجهة النظر هذه‬ ‫نفسه بتوكيد أنه «يستحيل تمثيل‬ ،»‫ دقيقة‬90 ‫الموقف كلّه خالل‬ ‫مؤكّدًا أن شخوص الفيلم «هم‬ ‫ لذلك فهم يستحقون‬،»‫وارثو البالد‬ ‫ فهو يكتب‬،‫ على أيّ حال‬.‫التحليل‬ ‫اآلن سيناريو جديدًا «يوضّح به‬ )...( ‫تناقضه عن سالكيستان‬ ‫حيث يتعامل هذه المرة مع نفسية‬ .»ّ‫الباكستاني‬

‫من إحساسه باالغتراب والوحشة‬ ،‫وهو يدرس الحقوق في الجامعة‬ ‫اختبر نوعًا آخر من الهداية بعدما‬ ‫نصحه صديق بمشاهدة «سائق‬ ‫ ويوضّح خان «لقد‬،»‫التاكسي‬ ‫أدركت فجأة أني‬ ‫ قام‬،‫أخطأت طريقي وحين انتهينا من حوارنا‬ ُ ُ ‫استل مني ذلك‬ ‫ فقد‬،‫إلى المكتبة‬ ‫يتمشى إلى طاولة سريره فالتقط‬ ّ ّ .»‫الفيلم عاطفتي الحقيقية‬ ‫نسخة من سيرة كيرستوف‬ ‫لحظة‬ ‫متوقّفًا‬ ،‫كياسلوفسكي‬ ‫ استغرق األمر منه ليُطري فضائلها الشبيهة بسيرته؛‬،‫مع ذلك‬ ‫فترة أن يمتطي شجاعته ليجرّب وألحظ أنه كان يلبس قميص تي‬ ‫ واختتم‬.‫ كان في السابعة شيرت ماركة أنطونيوني‬.‫اإلخراج‬ ‫ال «أحسّ أني انتهيت من‬ ً ‫قائ‬ ،ّ‫فيلمي على النمط األمريكي‬ ‫ وحان الوقت أن أنتقل إلى النمط‬SLACKISTAN .»‫ األوربي‬17/10 Cinestar 1 06:00 PM 18/10 Cinestar 2

‫ فريق التحرير‬/ EDITORIAL STAFF

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

‫ يتذكّر‬.‫مجاالت السياسة النشطة‬ ّ‫ابنه اآلن برحابة صدر «أحس‬ ‫أن القوة قد ضعفت في رؤوس‬ .»ً‫ فخاب أمله قليال‬،‫بعض الناس‬ ‫وقد صعّبت طفولة خان الجوّالة‬ ‫ إن‬،‫هذه عليه أن يحدّد هويته‬ ‫كان إنجليزيًا أم باكستانيًا؟ وهو‬ ‫«تظل هذه المسألة هي‬ ‫يعترف‬ ّ ‫ ومع أني أحاول‬.ّ‫الصراع األزلي‬ ‫ إال أني لم أفكّر‬،‫دائمًا أن أفهمه‬ .»‫في حسمه‬

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