Nisimazine Abu Dhabi Issue#4

Abu Dhabi

Nisimazine Monday 18 October

‫ أكتوبر‬١٨ ،‫االثنني‬

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

-----------------------------------------------

#4/

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

‫افتتاحية‬

‫الدروس المستفادة من أبوظبى‬ ‫وجود الصحفايين السينمائيين فى‬ ‫ تعتبر تجربة‬،‫مهرجان أبوظبي‬ .‫مرضية ومفيدة جدًا‬

‫وكلما تجولت فى الممرات الفاخرة‬ ..‫ ألتقط األنفاس‬،‫فى قصر اإلمارات‬ ‫وأحاول أن اجد طريقة لفهم طبيعة‬ ‫ الذى يدفع تطوير‬، ‫هذا المهرجان‬ .‫صناعة السينما المحلية هنا‬ ‫فى البرتغال أعمل فى مهرجان فيست‬ ‫ وهو مهرجان مستقل‬،‫ألفالم الشباب‬ ‫ لكنه يركز على دعم‬،‫وضغير جدًا‬ .‫المواهب السينمائية الشابة‬ ،‫إن صناعة السينما فى البرتغال‬ ‫ حتى لو‬،‫تواجه عقبات كثيرة‬ ‫كانت ترجع هذه السينما الي القرن‬ ‫ سنجد اوجه تشابه مع‬،‫العشرين‬ .‫السينما فى الشرق االوسط‬

‫وبقدر ما رأيت فى مهرجان ابوظبي‬ ‫ من مجهود كبير‬،‫السينمائي الدولى‬ ‫فى تسليط الضوء علي المواهب‬ ‫ وليس فقط عن‬..‫السينمائية الشابة‬ ‫طريق تخصيص قسم خاص لالنتاج‬ ‫ بل من خالل‬،‫السينمائي المحلى‬ ‫خلق طاقة كبيرة من التواصل وتبادل‬ .‫الخبرات‬ ،‫هذه فرصة فريدة للمخرجين الشباب‬ ‫ وكيف يستغلون‬،‫من اجل التعلم‬ .‫الفرص إلى أقصى حد‬ ‫ أخطط إلستعادة‬،‫ومن جهتى‬ ‫واإلستفادة العديد من الدروس إذا‬ .‫إستطعت‬

‫ ان المهرجان لديه‬،‫ومن الواضح‬ ‫القدرة علي إستكمال الطريق للنهاية‬ ،‫فى السينما المحلية واألجنبية‬ .‫وضمان هذه اإلنجازات وإستثمارها‬

‫فيلم اليوم‬

FILM OF THE DAY /

EDITORIAL

by Fernando Vasquez, aged 30 (Portugal)

Lessons from Abu Dhabi Being both a film journalist and a festival organiser, I have found my stay in Abu Dhabi a tremendously satisfying experience.

As I roam around the luxurious and breathtaking corridors of the Emirates Palace, I find myself trying to understand exactly what part a festival of this nature plays as a driving force behind the development of a local film industry.

Back in Portugal I work for FEST – The International Youth Film Festival, a small but growing independent event focused on the promotion of young talent. The film industry in Portugal is constantly finding obstacles to distribute its content internationally. Even if our cinematic tradition dates back to the early 20th century, perhaps one could find some similarities in the Middle East.

As far as I have seen the ADFF has made all efforts possible to highlight young local talent, not only by dedicating a section to regional productions, but also by creating and multiplying avenues for networking and the sharing of experiences.

This is a unique opportunity for young filmmakers to learn from the best and such a chance should be exploited to the maximum. For my part, I plan to take back home as many lessons as I possibly can.

Obviously a festival can only do so much to complete such a task. In the end it is up to press agents and audiences alike, both local and foreign; to develop a genuine interest and guarantee that all this titanic investment is not in vain.

In A Better World (Hævnen) Susanne Bier, Denmark/Sweden, 2010 - Narrative Competition

A

nton, a surgeon, is working in a makeshift clinic in a refugee camp in rural Africa. It’s the end of a long day and he’s physically and emotionally exhausted. Suddenly, a jeep full of machine gunning thugs appears on the horizon, thundering towards the enclosure. Upon its arrival, the sentries jump out, revealing a solitary man lying in agony on the floor: he’s ‘Big Man’, a notorious warlord who has mercilessly attacked several women who’ve sought treatment at the clinic. His leg is badly wounded, and doesn’t look far from needing amputation. He turns to Anton and asks: “Will you help me?”

It’s the sort of moral quandary that has

provided the thematic bedrock of the films of Danish director Suzanne Bier throughout her career: After the Wedding queried whether rich should help poor; Open Hearts wondered whether marital fidelity remains a realistic goal in middle age, and Brothers pondered how far a person should go to save their own skin. There’s an autobiographical impetus for Bier’s preoccupation with such questions. Her parents, who were both Jewish, fled persecution from Germany and Imperial Russia, and they instructed their children to consider the consequences of their actions.

In A Better World (Hævnen) continues this tradition, assessing the desirability of vengeance and the protective

by Michael O’Regan aged 29 (Ireland)

REVIEW /

‫تعقيب‬

The Life of Fish (La Vida de los Peces)

www.nisimazine.eu PICTURE OF THE DAY /

role of men in contemporary society, shot in her familiar post-Dogme aesthetic. At its heart is the relationship between the children of two troubled, Copenhagen-based families: Christian, grief-stricken following the death of his mother, and Elias, Anton’s son, bullied at school. Christian, who has acquired a lack of compassion and a hatred of injustice, helps Elias take revenge on his tormentors, challenging their parents’ view that conflicts should be solved without resorting to violence. This in turn causes Anton (played by Mikael Persbrandt in a standout performance) to revaluate his own approach. It’s a sporadically compelling film, but the contrived plot and drawn-out conclusion deaden the emotional impact.

18/10 Abu Dhabi Theatre 06:30 PM 20/10 Emirates Palace 03:00 PM

Besides our daily at the festival in print, you can also find all our coverage online at

‫صورة اليوم‬

Matías Bize, Chile, 2010 Narrative Competition

L

single location, a house party. It creates a dreamlike environment of enclosure, as if the main character is locked inside the troubled past he does not want to either relive or escape, choosing instead to swim around in circles, like a fish in a tank.

The Life of Fish, screening in the ADFF narrative competition, is one example. Written and directed by the young, yet experienced, Matías Bize, this intimate and personal story of a young travel writer’s encounter with his own past is Chile’s latest answer to the ever growing interest in the region’s film industry.

However, although the story is set up brilliantly, as it goes on and becomes ever more predictable you cannot help but feel let down. The characters are left unpolished, even if at an early stage they’re powerful enough to be engaging and oddly stimulating. Despite the fact that it may not be the most well-executed piece coming from Latin America, the film’s drive to create a sense of intimacy makes it an enjoyable experience.

Photo by TINA REMIZ

atin American cinema’s rise to fame seems to be enjoying a renewed sense of excitement. The recent critical and commercial success of films like The Milk of Sorrow (La Teta Assustada) and The Secret in Their Eyes (El secreto de sus ojos) have paved the way for a series of new directors to break through internationally.

At first, Bárbara Álvaréz’s cinematography is quite breathtaking, skillfully using the natural limits of the

18/10 Abu Dhabi Theater 03:30 PM 19/10 Emirates Palace 04:00 PM Alamar, life in Abu Dhabi

-------------------------------------------------------------

)‫ عامًا (برتغال‬٣٠ ،‫بقلم فرناندو باسكيز‬

٤

by Fernando Vasquez aged 30 (Portugal)

INTERVIEW /

‫مقابلة‬

REVIEW /

Once Again

Joud Said, Syria, 2010 - New Horizons

O

nce Again opens with a long travelling shot, bathed in golden and sepia tones, in which mother, father and child are spending a peaceful afternoon on a terrace. The next shot is of a deserted landscape invaded by military trucks, which uses a colder, bluish filter.

---------------------------------------------------------------------

Mohamed Al-Daradji

co-director of In My Mother’s Arms (Iraq/UK/UAE) Documentary, Out of Competition

These sequences demonstrate right from the beginning how the main character’s psychology is divided. The story itself follows two different plots which eventually come together: on one side, in the context of the Syrian military presence in Lebanon, the young Majd survives a gunshot but loses his memory; on the other side, Majd in his adulthood, now settled in Syria, fights against his past when a Lebanese woman comes to work for him.

Director Joud Said deals with separation on all levels. The characters are locked up inside window frames or between walls, and the background is often detached from the foreground, with the action taking place simultaneously in each space. Majd’s view of war is also split, between the childish and the realistic. He forgets about his father’s past in the military, but has an obsession with guns as a child and plays war video games as an adult.

These divisions are brought together in long slow travelling shots which link the different characters within the frame. The last shot leaves Majd lost in the middle of the border bridge between Syria and Lebanon. Joud Said’s first feature uses strong and inspired directing choices to underline the complex psychology of his character.

by Elisabeth Renault-Geslin aged 23 (France)

Photo by TINA REMIZ

18/10 Cinestar 6 07:00 PM 19/10 Cinestar 2 01:30 PM

Mohamed Al-Daradji was in post-production in Leeds for his film Son of Babylon when his brother, back in his hometown Baghdad, received a phone call from Husham, the director of his neighbourhood’s orphanage. Husham needed financial support to keep protecting his 32 orphans, whom he considered as his own children. He believed filmmaking could change lives.

This encounter with Mohamed Al-Daradji reveals why Husham was right.

Why did your family get involved with helping this orphanage? Did they have the money to help?

No, not really, we sometimes get calls from needy people. You know we live in a poor neighbourhood and the neighbours know I am a filmmaker. In our religion, if you receive something then you give it back. People knew we were supportive, so my brother got this phone call from Husham, a man in charge of a group of 32 children who were living in a one-bedroom rented house. My brother visited them and he was shocked by the conditions these children were living in. Then he helped them out a bit. We finished Son of Babylon that my brother produced. We gave them some

money and decided to make a film.

Those children have been affected by the Americans or sectarian violence.

What do you mean by sectarian violence?

Well, actually it’s the violence between different sects but the truth is that we don’t call it Shia/Sunni violence, because it is actually random violence... So my brother started filming with a digital camera. When I finished editing Son of Babylon, I saw the material and was blown away, it was like wow! Then we got another call saying they had to leave the house because of the landlord and they had nowhere else to go. So we filmed again and we got support from the UK. I sold my own awards at charities to raise some money and managed to gather around ten thousand dollars.

Isn’t the government supporting orphans?

A law states that when children lose their parents they come under the protection of Iraq. They become the children, and Iraq, the mother, but my country doesn’t help them. Our religion advises us to look after people. If Mohammed the Prophet would come back and see what had happened, he would certainly not accept this Islam. Without identification, you are treated like scum. In my film an old man cries over those kids. He fears that they would become sol-

diers, join Al-Qa’ida or end up being abused. Husham names his orphans after him and guides them the best he can.

What is the story about?

The film focuses on a seven-yearold boy who lost his parents due to a market suicide attack. Living in a two-bedroom house, he became violent because of his trauma. The kids provoked him by calling him by his mother’s name. His name is Imad and they’d call him Madjoode. That drove him crazy. His story is about striving to survive. Husham uses music and drama to help the children release their anger and aggressiveness, and to recover from what they have been through. He directed the theatre play In My Mother’s Arms, which they perform in front of people. My film is named after it.

It must have been emotionally exhausting for you to finish the filmmaking of a tense movie such as Son of Babylon and get right away into this experience...

I’m emotionally tired. I cried a lot during the making of this film because I love them. I love these children.

They are all very talented. Five of them are in the top Iraqi swimming team, another two in the Iraqi soccer team and they do very well at school.

When they sing, it’s purely beautiful.

I try myself to release my pain and my stress through songs. The Iraqi culture has something to do with music and sounds. When I write, shoot or edit any film, I think of the Holy Qur’an. It helps me to develop my film. I need to find a rhythm for the film. Son of Babylon starts with a song whose beat is binary. During my shootings everybody sings, even the technicians.

by Samira Mesbahi aged 34 (France) 19/10 Cinestar 2

06:45 PM

‫الرجاء زيارة موقعنا اإللكتروني‬

* www.nisimazine.eu *

‫لالطالع على مدونة الفيديو وغيرها من املواد املتعلقة باملهرجان‬

.

‫تعقيب‬

REVIEW /

‫تعقيب‬

Certified Copy

Abbas Kiarostami, France/Italy, 2010 Showcase

C

ertified Copy is the story of an English writer (William Shimell) and a French gallery owner (Juliette Binoche) who meet under the Tuscan sun. Yet the real male-female interest here is not between the protagonists, but between Binoche the internationallyacclaimed actress, and Iranian director Abbas Kiarostami, winner of the Palme d’Or in 1997 for his Taste of Cherry.

This meeting is as curious as the French star herself - who over the years has worked with Hou-Hsiao Hsien, Leos Carax, Michael Haneke, Louis Malle… and chose Kieslowski instead of Spielberg - and as surprising as Kiarostami’s first international production experience. The director is more than hypnotized by Binoche’s astonishing eyes

18/10 Emirates Palace 06:30 PM 19/10 Cinestar 6 09:30 PM

and body, alternately feverish, pitiful, and broken. In several extraordinary sequence shots the actress shows a moving and uncommon vulnerability, which earned her a well-deserved prize at the Cannes Film Festival earlier this year.

Love is just a cruel joke in which one plays a good or a bad part, with more or less skill. There are many ways to tell this kind of story; Certified Copy uses cinema to draw out its complexity, which makes it magical yet heartbreaking. The film creates a sense of unease, determined to destroy classical narration and time whilst breaking the audience’s expectations. And this is the main reason why it’s so painfully unforgettable.

by Geoffrey Crété aged 23 (France)

------------------------------------------------------

FOCUS /

‫بقعة ضوء‬

from Queen of the Sun, What are the bees telling us?

“Bee Panic” in Abu Dhabi city?

Gérard Depardieu: where is my Potiche?

     



   

 

      

   

A

from The Last Beekeeper



ccording to Einstein (or maybe it was not him who said it after all?), if the honey bee became extinct then man would only have four years left to live. In 2002, 40% of German bee colonies died. In 2006, 50% of bees in the USA died and according to all the “bee articles” I have read it has been downhill from then on.

But is not having more honey worth all this fuss? According to bee experts, as bees pollinate our plant-life, if they are gone then 40% of our food will be gone as well.

So the world freaked out; are we going to die? Ok, not the whole world - we in the Middle East have too many wars right now to worry about bees. Tens of Western filmmakers have started the trend of “bee docs” - take for example The Last Beekeeper by Jeremy Simmons, To Bee or not to Bee by David Suzuki, The Last of Honey Bees by Jeremy Simmons, Vanishing of the Bees by George Langworthy and Maryam Henein and Colony by Ross McDonnell and Carter Gunn, to name a few. The latter focuses on the human rather than the scientific or environmental angle of the Colony Collapse Disorder (CCD), or in other words the declining population of honey bees.

With Taggart Siegel’s Queen of the Sun, What are the bees telling us?, screened at the Abu Dhabi Film Festival this year, the “bee panic” has finally reached here.

While most bee films create fear and anxiety, Siegel tries to touch the heart of viewers in his lighthearted and at some points even funny film. “Without inspiration, audiences will leave the theatre depressed and we won’t overcome the issues facing the honey bees,” the film’s co-editor and producer Jon Betz said.

The film does include talking heads and lots of scientific information.

Nonetheless, the animations, lively characters and hair-raising art scenes that Siegel incorporated in his film make it more accessible.

from Vanishing of the Bees



It is also clearly an activist film.

That said, in spite of his obvious passion for bees, Siegel resists being too pushy and imposing solutions on how the viewers should save bees. Instead, he follows the typical American film recipe of a happy ending by presenting a cheerful image of what is being done for the “insects in distress”.

Betz does hope though that their film will push the audience into action: “It is tough to achieve change on a large scale, but by raising awareness you are actually achieving some change. If you choose not to eat pesticide-treated food, for example, that’s already a kind of activism." He has reason to be optimistic - in previous screenings, he has seen some of his audience members crying for the bees, and when after the screening he asked the audience his favourite question: “Now who wants to become a beekeeper?”, many hands were raised.

But how many hands will be raised at the Abu Dhabi Film Festival? I doubt that people would be bothered, although according

to expert consultant Gunther Hauk, they should be.

“We are seeing changes in climate but I think the Colony Collapse Disorder and the disappearance of the honey bee is a much more pressing, urgent problem to solve”, the expert says in Queen of the Sun, What are the bees telling us?. For someone like me coming from a region that has been severely affected by climate change, this is rather shocking.

Let’s face it though, with the growing political tension and economic concerns, environmental issues aren’t a priority for Arab audiences. So even if the film has a full house for its first international film premiere, I doubt that there will be any “would-be beekeepers” crying.

by Nadia Muhanna aged 26 (Syria)

QUEEN OF THE SUN 18/10 Cinestar 2 07:30 PM

---------------------------------------------------------------------

PORTRAIT /

‫بورتريه‬

by Nesreen El-zayat (Egypt)

‫ مصر‬،‫بقلم" نسرين الزيات‬

Dina Hamza

‫دينا حمزة‬

director of In / Out of the Room (Egypt)

‫اإلعدام علي طريقة مخرجة شابة‬.....‫ خارج الغرفة‬/‫داخل‬ ‫الذى لديه القدرة علي تنفيذ حكم‬ ..‫اإلعدام علي اجملرمني‬ ‫ كانت‬،‫وطوال فترة إعداد الفيلم‬ ‫«دينا» منشغلة بكيفية قدرة هذا‬ ‫ علي‬،ً ‫الرجل الذى جتاوز الستون عاما‬ ‫مواصلة عمله ووظيفته كمنفذ‬ ‫ وماذا‬،‫حلكم اإلعدام أللف شخص‬ ‫؟ ورغم ذلك فإن‬..‫تعنى له فكرة املوت‬ -‫عم «حسني» – كما اخبرتنى دينا‬ ‫أنه رجل يحب احلياة بكل مبا حتمله‬ ..‫من عذابات وألم وموت‬ ،‫و تعترف دينا بأنها ضد هذا احلكم‬ ‫ فكثير ا ً ما سألت‬،‫لكونه غير أدمى‬ ‫ كيف يأتى شخص يحدد‬:‫نفسها‬ ‫الوقت الذى يفارق فيه شخص اخر‬ ‫ «الشئ اخمليف‬:‫ لذلك تقول‬،‫احلياة‬ ‫هو فكرة اإلعدام فى حد ذاته وليس‬ ،‫الشخص الذى ينفذ هذا احلكم‬ ‫ وبالتالي‬، ‫إضافة ألننى اكره املوت‬ ‫ورغم‬..‫اكره الطريقة التى ينفذ بها‬ ‫أن الكثير منا يرفض تنفيذ حكم‬ ‫ يرى نفسه‬،‫ إال أن عم حسني‬،‫اإلعدام‬ ‫ ومبا‬،‫ ينفذ ما امر به اهلل‬،‫مثل رسول‬ ‫!! وهذا هو‬. ‫جاء فى القرأن الكرمي‬ . »‫قمة األلم والقسوة‬

F

rom the moment her first short fiction Eyeliner came out in 2004, it was clear that Dina Hamza was a talented young director. So I was expecting a lot from her new work; something I cannot say about many of the young Egyptian filmmakers who are classified as “alternative”, “different” or “independent”.

She is now awaiting the reaction from critics about her 52-minute documentary In / Out of the Room, which is participating in the New Horizons competition at the Abu Dhabi International Film Festival.

Hamza, who studied English at Cairo University, loved movies and decided to learn about the origins of cinema by joining the Institute of Cinema, attending classes without making a graduation project like the rest of the students. However this was not enough for her, so she participated in different film workshops, then got a scholarship to study at the Arab Film Institute in Jordan, where she completed her first documentary Ruia. It was her calling card as a documentarymaker of the new generation, as she continued on the road paved by the great documentarist Attiyad Abnoudi.

She then worked as an assistant director with names such as Yousry Nasrallah, Khaled Youssef, Kamla Abu Zekri and Abu Inaam Mohamed Ali.

Ahmed Noor and two other directors from Germany.

On one occasion, Hamza told me that every time she wants to make a fiction film, she instead ends up finding a story which compels her to make another documentary. Through her documentary experience, she continues to see the importance of being a film director, because it gives her the capacity to preserve a realistic feeling in her movies. It allows the filmmaker to choose the best characters with great care, as with the films of Khairy Beshara and Syrian director Mohammed Malas.

Hamza has a poetic way of expressing herself through cinema, and is well aware of the importance and seriousness of documentaries; this is a cinema based 100% in reality. In her latest film, she raises the question of how we deal with death and killing through the character Hussein Qorny - known as “Ashmawi”, the only one in Egypt who has the power to

being to make the decision of when another would die: “the scary thing is the idea of the execution in itself, not the person who carries out the order... I don’t like this practice of killing.

Although many of us would refuse to carry out the death sentence, Hussein sees himself as a prophet, submitted to the will of God and what is written in the Qu’ran! Even though this is the epitome of pain and cruelty”.

During this period she also directed her second documentary Voices in 2008, and later participated in another film, produced by the Goethe Institute in Egypt, called But Something is Missing, with young Egyptian director

It cannot have been easy to direct such a film. Even just watching it, you can smell the stench of death. The director decided to go through this experience and focus on the person who does the execution. She says: “I wanted to really see if Ashmawi could convince me of the interest of his work. He actually cares if people like him. I wanted to figure out if he was satisfied with his life or not”.

Being herself against the death penalty, she wondered how it was possible for a human

Nisimazine ABU DHABI 18. 10. 2010 / # 4 A gazette published by the association N I S I M A S A with the support of the Abu Dhabi Film festival

‫ التى درست اإلجنليزية فى‬،‫دينا حمزة‬ ‫ أحبت‬،‫كلية األداب جامعة القاهرة‬ ،‫ وقررت أن تتعلم اصولها‬،‫السينما‬ ‫فأختارت ان تلتحق مبعهد السينما‬ ‫ لكن كمستمعة فقط‬،‫فى مصر‬ ‫– بدون مشاريع تخرج مثل بقية‬ ..‫ بعدها‬-‫الدارسني‬ ‫ فقد شاركت‬،‫ولم تكتفى بذلك‬ ‫«دينا» فى العديد من الورش‬ ،‫والسينمائية فى صناعة االفالم‬ ‫بعدها حصلت علي منحة لدراسة‬ ‫السينما فى معهد الفيلم العربي‬ ‫ ومنه اجنزت فيلمها‬،‫فى األردن‬ ‫ والذى كان‬،»‫الوثائقى األول «رؤية‬ ‫بطاقة سينمائية خملرجة تسجيلية‬ ‫ وتكمل‬،‫من اجليل الذى ننتمى إليه‬ ‫طريق كانت قد بدأته اخملرجة عطيات‬ ‫ وبعدها عملت كمساعد‬..‫األبنودى‬ ‫مخرج مع العديد من اخملرجني فى‬ ‫السينما املصرية مثل يسرى نصر‬ ‫ وكاملة أبو ذكرى‬،‫ وخالد يوسف‬،‫اهلل‬ .‫وإنعام محمد على‬

‫الشئ المخيف هو فكرة اإلعدام فى حد ذاته‬ ،‫وليس الشخص الذى ينفذ هذا الحكم‬

The preoccupation was to make people understand who this “Ashmawi” was, especially since the Egyptian media usually gives an inaccurate image and cultivates fear. She says: “I did not feel scared of this guy at all; I think that Ashmawi is a weak man. Originally he was in the military and worked in the prisons, before doing what he does now. He refused to be just a soldier for the Interior Ministry of Security, and to be treated violently by the officers. So he decided to become an executioner, rejecting the idea of being in a weak position. After, he saw the fear people had of him, which is just an image in the media – in fact he is a nice person.”

‘‘the scary thing is the idea of the execution in itself, not the person who carries out the order...’’ impose the death penalty on criminals. The director was concerned with the ability of this man – already over sixty years of age – to continue his work as an executioner, having already sentenced nearly 1000 people to their deaths.

She was interested in what death meant to him, given his position. According to Hamza, Hussein is a person who loves life and all of its good and bad sides.

‫كانت دينا منشغلة طوال الوقت‬ ‫بالرغبة فى معرفة ماال يعرفه أحد‬ ‫عن هذا الشخص املسمى ب‬ ‫ خاصة وأن اإلعالم‬،»‫«عشماوى‬ ‫ إعتاد أن يعطينا صورة غير‬،‫املصرى‬ ‫ وزرع اخلوف فى قلوب‬،‫حقيقية عنه‬ ‫ «لم أشعر‬: ‫ لذلك تقول‬،‫الناس منه‬ ‫ وأرى ان‬،ً ‫باخلوف من هذا الرجل إطالقا‬ ‫«عشماوي» ال يجب أن يخاف منه‬ ‫ وهو فى األصل يعمل داخل‬،‫احد‬ ‫ وقرر أن يصبح كما‬،‫مصلحة السجون‬

‫م‬

‫نذ فيلمها الروائى القصير‬ ‫األول «مكحلة» – عام‬ ‫ وأنا أدرك موهبة‬، 2004،‫اخملرجة الشابة دينا حمزة‬ ‫ مثل القليل‬،‫كنت انتظر منها الكثير‬ ‫ والذين‬،‫من اخملرجني الشباب فى مصر‬ ‫يصنفون كمخرجني لألفالم البديلة‬ ‫فهى االن‬..‫ أو املستقلة‬-‫– اخملتلفة‬ ‫تترقب رد فعل النقاد السينمائيني‬ ‫ خارج‬/ ‫حول فيلمه الوثائقى «داخل‬ ‫الغرفة» والذى يشارك فى مسابقة‬ ‫أفاق جديدة فى مهرجان أبوظبي‬ 52 ‫ ومدته‬،‫السينمائى الدولى‬ ..‫دقيقة‬

‫ ورفض ان يكون مجرد‬،‫هو عليه االن‬ ‫عسكرى فى وزارة الداخلية واالمن‬ ‫ ويأتى ضابط ويصفعه باليد‬،‫املصرى‬ ‫ فكانت وظيفة العمل‬،‫علي عنقه‬ ‫كمنفذ حلكم اإلعدام فى مصلحة‬ ‫السجون املصرية مبثابة رفض منه ان‬ ‫ومن ثم ادركت‬..‫يكون شخص ضعيف‬ ‫ مجرد صورة يضعها‬،‫أن اخلوف منه‬ ‫ فهو رجل يحمل خفة‬،‫اإلعالم أمامنا‬ ..»‫دم ال يصدقها احد‬ ‫لم يكن سهالً خوض جتربة إخراج‬ ‫ خاصة وأن رائحة‬،‫فيلم مثل هذا‬ ‫املوت والقتل كانت حاضرة فيه طوال‬ .‫الوقت‬ ‫لذلك قررت اخملرجة دينا حمزة بثقة‬ ‫ والتركيز‬،‫ خوض تلك التجربة‬،‫شديدة‬ ‫ « كان‬: ‫ وتقول‬،‫مع من ينفذ اإلعدام‬ ‫ فى معرفة إحتمال‬،‫لدى حتدى كبير‬ ‫ان يقنعنى عشماوي بأهمية وظيفته‬ ‫!! وكيف يهتم‬..‫ام يفشل فى إقناعى‬ ‫وطوال الوقت كانت‬..‫بأن يحبه الناس‬ ،‫ وماهي شكل حياته‬،‫لدى اسئلة عنه‬ ..»‫هل هو راض عنها‬ IN/OUT OF THE ROOM 18/10 Cinestar 1 03:54 PM 19/10 Cinestar 2 04:15 PM

‫ فريق التحرير‬/ EDITORIAL STAFF

‫ مدير التحرير‬/ Director of Publication: Matthieu Darras ‫ احملرر املسؤول‬/ Editor in Chief: Jude Lister ‫ ترجمة‬/ Translator: Nadia Muhanna, Laila Hotait Salas, Nesreen El-zayat ‫ 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.

NISI MASA (European Office) 99 Rue du Faubourg Saint Denis 75010, Paris, France.

Tel + 33 (0)1 53 34 62 78 europe@nisimasa.com / www.nisimasa.com

‫وخالل الفترة التى عملت فيها‬ ‫ أخرجت فيلمها‬،‫كمساعد مخرج‬ ‫الوثائقى الثانى «أصوات» عام‬ ‫ وبعدها شاركت فى إخراج‬،2008 ‫فيلم وثائقى من إنتاج معهد جوتة‬ »‫مصر إسمه «بس فيه حاجة ناقصة‬ ،»‫مع مخرج مصري شاب «احمد نور‬ ..‫واثنان من اخملرجني األملان الشباب‬ »‫ أخبرتنى «دينا‬،‫وفى إحدى املرات‬ ‫بأنها كلما كانت تقرر العمل‬ ‫ جتد السينما‬،‫علي فيلم روائي‬ ‫ وهو ما يجعلها‬،‫التسجيلية تأخذها‬ ‫ فهى ترى ضرورة ان‬،‫تسجيب لندائها‬ ‫مير اخملرج السينمائى بتجربة الفيلم‬ ‫ ألنه يعطى اخملرج القدرة‬،‫التسجيلى‬ ‫علي اإلحتفاظ باحلس التسجيلى فى‬ ‫ ويجعله يختار شخصيات‬،‫أفالمه‬ ‫ مثل افالم‬،‫أفالمه بعناية شديدة‬ ‫ واخملرج السوري‬،‫اخملرج خيرى بشارة‬ ..‫محمد ملص‬ ‫حتمل دينا حمزة حسا ً شاعريا ً فى‬ ‫ فهى تدرك جيد ا ً مدى‬، ‫أفالمها‬ ‫ رمبا لكونه‬،‫اهمية الفيلم التسجيلى‬ ..‫ مائة فى املائة‬،‫سينما حقيقية‬ / ‫ففى فيلمها األخير «داخل‬ ‫خارج الغرفة» تطرح فكرة كيفية‬ ‫ من خالل‬،‫تعاملنا مع املوت والقتل‬ ‫شخصية «حسني قرنى» والشهير‬ ‫ب «عشماوي» وهو الوحيد فى مصر‬