Telling a different story: Five years of Reel Palestine

Telling a different story: Five years of Reel Palestine
Dana Al-Sadek, one of the founders of Reel Palestine in Dubai. (Supplied)
Updated 10 January 2019

Telling a different story: Five years of Reel Palestine

Telling a different story: Five years of Reel Palestine
  • Dana Al-Sadek, one of the founders of Reel Palestine in Dubai talks about the pop film festival
  • The fifth edition of Reel Palestine takes place in Dubai from January 18-26

DUBAI: Some time in the summer of 2014, having spent days watching news coverage of the Israel-Gaza conflict, Dana Al-Sadek made a decision.
“I knew that there was more to be celebrated in terms of Palestinian culture than just seeing war all the time,” she tells Arab News. “At that time, I was already working on film programming in my day job, so I thought why not pool my resources together to try and organize a series of screenings of Palestinian movies.”
Through mutual friends, Al-Sadek was connected to a couple of like-minded women, Noora Husseini and Nadia Rouchdy. The three met, brainstormed some ideas, and came up with a pop-up film festival they called Reel Palestine with the aim, according to the website, “of showing Palestinian culture and tenacity through film, submerging viewers in the beautiful, difficult, emotional, and inspirational moments that occur during occupation.”

The fifth edition of Reel Palestine takes place in Dubai from January 18-26. Al-Sadek seems slightly — and pleasantly — surprised that it’s come this far. The 2019 edition will be the first to be ticketed.
“It’s really grown organically,” she says. “We never really envisaged it being ticketed, but things have been changing as we’ve grown. We need to do in order to cover our costs and be sustainable. Before we used to try and get film fees waived, but that’s very hard right now, and at the same time we really want to be able to support filmmakers and be able to pay them royalty fees. And we also want to show the films in the best quality set up possible, with the best-quality projection.”
The festival’s long-term partner, Cinema Akil, recently opened its permanent premises in Al Serkal Avenue — becoming the region’s first arthouse cinema. So it was an obvious choice for this month’s screenings. The festival will also include a Palestinian arts and crafts market in Al Serkal.
Another sign of Reel Palestine’s growth is that Al-Sadek says they now get hopeful filmmakers emailing submissions to them on a regular basis — in addition to the research the team does themselves to find movies to screen.
While the festival may have grown significantly in stature since its small-scale debut, the mission has remained consistent.




A still from the film 'The Tower.' (Supplied)

“The mission was always to show Palestinian stories — narratives; to show life under occupation,” Al-Sadek says. “But also to show the beauty and rich heritage to give people a view of more than what we see on the news.
“It’s a country rich in history. There’s been cinema there for a very long time. There’s been a lot of Palestinian films made, pre-1942 and 1948. It’s always been there. It’s a country that has so much history. It’s an important region.”
Al-Sadek stresses that the festival has a cultural, rather than political, agenda, but recognizes that a large portion of art — of any kind — created in or about Palestine has a political element.
“The occupation is ongoing, and there’s a need to voice that. Land has been confiscated, our landscape’s changing, demographically everything’s changing, so it’s about not forgetting our history and identity. Not to forget the people there, who can’t even leave — and if they do get a chance to leave, maybe they can’t come back,” she says. “Of course, there’s a huge diaspora as well, and they can relate to the films. A lot of the topics are, unfortunately, not just related to Palestinians right now. They’re related to refugees from all over the world.
“Obviously there’s a need,” she continues. “There’s a need to speak out about oppression, the occupation, injustice, and people feel solidarity with that. That’s why there’s support for these sort of festivals.”
That support — for festivals and for the Palestinian cause in general — has been increasing internationally over the past decade or so, and this year, Al-Sadek notes (although she says it’s a coincidence rather than a conscious decision on her team’s part), many of the documentaries included in the festival’s bill are directed by non-Arabs. “It’s interesting. They’re fascinated by what’s happening and think it’s a story that needs to be told.”




An image from the film ' Naila and the Uprising.' (Supplied)

As they do every year, Al-Sadek and her co-organizers have tried to make sure there’s a wide range of stories included, covering different aspects of Palestinian life.
“We try to make sure there’s variety and we also try to add conceptual art films as well. For example, we have a documentary called ‘White Oil,’ which was done by a photography professor based in the UK. It’s beautiful imagery, and it’s more conceptual than narrative. It doesn’t have much voiceover. It’s more about the imagery giving you a sense of the story.
“We’re covering topics such as female empowerment,” she continues. “We have ‘What Walaa Wants,’ which is a documentary about a woman who wants to join the Palestinian Security Forces. We have ‘Naila and the Uprising,’ which is a story about a very strong lady who tried to stand up for (the right to self-determination).”
There are films, too, about joy, celebration and release under occupation. “In one of the documentary’s we’re screening, called ‘WALL,’ they cover the nightlife scene and how it was a place where people would forget the chaos and just be together, regardless of which side they were on or which area they were coming from,” Al-Sadek says. “And it shows you how one terrorist attack in a club kind of triggered the formation of the wall.




A still from the film 'White Oil.' (Supplied)

“Last year we screened a film called ‘Beneath the Earth,’ which is going to be made into a full-length feature about the music scenes within Palestine, and once we screened a film about mystical folklore across Palestine and it showed the different religions that had formed there and their music. There are so many different communities there and they have their different traditions as well.”
This year, there’s also a ‘family friendly’ movie showing, she adds. “The Tower,” by Norwegian filmmaker Mats Grorud, is an animated feature about one of the largest refugee camps in Lebanon. Screenings will be held during the daytime so that children can attend.
For all its admirable ambitions of spreading awareness of Palestinian heritage and of life under occupation, Reel Palestine still has a very personal benefit for Al-Sadek — one that will probably resonate with many visitors to the festival.
“I’ve never been to Palestine, and neither has my dad,” she explains. “I’m the second-generation to be born outside of Palestine, and I felt like I didn’t really know much about my heritage — whether that be food, accents, (colloquial) language and sayings, different dialects… I wasn’t aware of a lot of these things. And I’ve been able to learn about them through films.”
Five years on, she continues to learn.


British Museum, TEFAF team up to restore glass artifacts damaged in Beirut explosion

 British Museum, TEFAF team up to restore glass artifacts damaged in Beirut explosion
Completing "puzzle-work" of a smashed glass beaker at the Archaeological Museum, AUB. Courtesy of the AUB Office of Communications and Archaeological Museum
Updated 28 July 2021

British Museum, TEFAF team up to restore glass artifacts damaged in Beirut explosion

 British Museum, TEFAF team up to restore glass artifacts damaged in Beirut explosion

DUBAI: It has been almost one year since two explosions rocked the port of Beirut, killing more than 200, injuring over 6,000 and leaving hundreds of thousands without a home. The incident, which occurred on Aug. 4, 2020, caused significant damage to buildings in Lebanon’s capital, including the Archaeological Museum at the American University of Beirut (AMAUB), situated two miles away from Beirut’s port where the blasts occurred. During the explosions, many of the artworks on display were damaged.

Now, almost a year after the devastating event, the British Museum and The European Fine Art Foundation have announced that they will partner to help restore some ancient artifacts that were damaged by the blast.

The museum and the fair will restore eight glass vessels dating to Roman and early Islamic times.

The case of glass vessels displayed at the Archaeological Museum (AUB) before the explosion. Courtesy of the AUB Office of Communications and Archaeological Museum

During the explosion, the glass objects that were on display at the AMAUB shattered into hundreds of tiny shards. They will now be painstakingly pieced back together at the British Museum’s conservation labs in London.

Most vessels were shattered beyond repair with only 15 being identified as salvageable.  Of these, only eight are safe to travel to the British Museum to be conserved.

The restored glass works will go on view at the British Museum in a temporary exhibition before returning to Beirut.

Claire Cuyaubère, a conservator from the French Institut National du Patrimoine helped to collect and categorize the shards of ancient glass from the mixed debris, which included glass from the display case and surrounding windows, after the blast.

Conservator Claire Cuyaubère assisting with "puzzle-work" of shard from a glass dish at the Archaeological Museum, AUB. Courtesy of the AUB Office of Communications and Archaeological Museum

She returned to Beirut in July 2021 to identify and match broken shards from each vessel, and identify those suitable for shipment to London. The puzzle-work was supported by the Friends of the Middle East Department at the British Museum.

Hartwig Fischer, director of the British Museum, said in a statement: “Like the rest of the world, we looked on in horror at the devastating scenes in Beirut in August last year. We immediately offered the assistance of the British Museum to colleagues in the city. As we mark one year since the tragedy, we’re pleased to be able to provide the expertise and resources of the British Museum to restore these important ancient objects so they can be enjoyed in Lebanon for many more years to come.”


New exhibition in Manchester explores nature through British-Arab eyes

English-Moroccan creator Jessica El-Mal, lead artist and one of the co-producers of the installation, said her inspiration for the project came when the UK was still in lockdown. (Supplied)
English-Moroccan creator Jessica El-Mal, lead artist and one of the co-producers of the installation, said her inspiration for the project came when the UK was still in lockdown. (Supplied)
Updated 24 July 2021

New exhibition in Manchester explores nature through British-Arab eyes

English-Moroccan creator Jessica El-Mal, lead artist and one of the co-producers of the installation, said her inspiration for the project came when the UK was still in lockdown. (Supplied)
  • Manchester-based installation highlights stories of migration, diaspora
  • Lead artist: ‘After the year we’ve just had, this project and exhibition is the lightness we all need’

LONDON: A new mixed-media exhibition exploring the history, achievements and experiences of Arabs in Britain through the lens of people’s relationship with nature and green space has launched in the north of England.

Free to visitors and run by the Arab British Centre, the Manchester-based installation highlights stories of migration, diaspora, and the intricacies of the Arab-British experience in all its intersections and diversity. 

Themed around the idea of nature and named “Jarda” — “garden” in Moroccan Arabic — artists will give audiences a chance to “walk in nature through Arab eyes.”

English-Moroccan creator Jessica El-Mal, lead artist and one of the co-producers of the installation, said her inspiration for the project came when the UK was still in lockdown and when parks, fields and forests became people’s only outing.

The women-led exhibition encourages visitors to appreciate the green spaces available to them, while also exposing audiences to the Arab experience in modern Britain.

“Working with this group of amazing women has made me appreciate Manchester, myself and my femininity in a whole new way. After the year we’ve just had, this project and exhibition is the lightness we all need,” El-Mal said.

Amani Hassan, program director at the Arab British Centre, said: “Since it was first launched in 2019, our Arab Britain theme has set out to explore the history, achievements and experiences of Arabs in Britain.”

The program aims to overturn preconceptions, challenge prejudices, retrace the ways the Arab world has influenced and shaped British culture and society, and celebrate the contributions of Arabs in the country, past and present. 

“Jarda highlights the universal comfort and connection we can all find in nature through intimate and personal reflections on home, belonging and the power of community,” Hassan said.

“We hope that visitors to the museum enjoy their walk in nature through Arab British eyes and are encouraged to reflect on their own connections to it.”

The physical exhibition will be accompanied by a digital offering that will give people free access to a host of creative activities that aim to encourage people to reflect on their own connections with green spaces.

“Jarda” is open now, and will run until Oct. 10 in Manchester’s People’s History Museum.


Art installation ‘Beirut Narratives’ is a testimonial from a traumatized city

Art installation ‘Beirut Narratives’ is a testimonial from a traumatized city
The text-based installation “Beirut Narratives” is currently in display in Lebanon. Supplied
Updated 23 July 2021

Art installation ‘Beirut Narratives’ is a testimonial from a traumatized city

Art installation ‘Beirut Narratives’ is a testimonial from a traumatized city
  • Text-based installation offered residents ‘a silent, anonymous way of protesting’ after the devastating port explosion

DUBAI: “I burst into tears.” “I was shaking.” “My chair flew me right above ground.” “No right to dream.” “Bitter feelings.” “Apocalypse.” 

These are some of the brief-but-harrowing testimonials from survivors of the catastrophic Beirut Port explosion of August 4, 2020, which are now being publicly displayed on the streets of the Lebanese capital as part of the text-based installation “Beirut Narratives.” The installation was conceived by Lebanese sisters, architects and co-founders of Architecture et Mécanismes, Celine and Tatiana Stephan. 

From the banking crisis to price inflation and fuel shortage, it has been a surreal year of lows for most Lebanese civilians. On the day we had arranged to discuss the sisters’ latest project, Prime Minister-designate Saad Hariri resigned after failing to form a new government. 

The text-based installation was conceived by Lebanese sisters, architects and co-founders of Architecture et Mécanismes, Celine and Tatiana Stephan. Supplied

“Each one of us is thinking: ‘How can people still be so adapted to such a situation, in terms of the economic crisis and the socio-political situation?’ Everything is happening all at the same time,” Celine told Arab News. “People are, I believe, tired and frustrated. What we’re trying to do, as architects, with this urban installation is to rethink the city.”

Unlike many young professionals who are hoping to migrate or have already left the country for better opportunities abroad, Celine and Tatiana have decided to stay for now, for better or for worse, in their home country. “Beirut is like a parent to us,” said Tatiana. “When your parents are getting old, you just don’t leave them behind and go. You help them, support them and push them to be better.” 

Continuing the theme of family, Celine added: “I have two daughters. I would like them to live in Lebanon and see change happening and be part of that change. Despite its misery, chaos, and lack of infrastructure, it’s a city that inspires us at all levels.”

The Stephan sisters gathered testimonials from a diverse group of people, including friends and family, firefighters and healthcare workers. Supplied

In recent months, the pair turned their attention towards buildings and spaces in the neighborhoods of Gemmayze, Karantina and Mar Mikhael, which have been damaged and stand empty in the aftermath of the blast. In a commemorative manner, these silent and neglected buildings are given their own voice. 

“We wanted to make those buildings talk, because it’s somehow like a new way of manifestation,” explained Celine. “It’s a silent, anonymous way of protesting,” added Tatiana. 

The Stephan sisters gathered testimonials from a diverse group of people, including friends and family, firefighters and healthcare workers, all of whom were releasing pent-up anger and sadness and were willing to share their experiences of that horrific day. Children also contributed drawings to the project. 

Children also contributed drawings to the project. Supplied

For the Stephans, it was all an emotional and healing experience. “We sat with those people, we talked to them, we cried, we heard every single story. I still have goosebumps now,” said Celine. 

Divided into three categories — descriptions, emotions, and reflections — the testimonials were written out with red, black and white spray paint onto pieces of brown jute, later transformed by stitching into bold tapestries or “fragments.” According to the Stephans, who did the spraying and stitching, the use of jute was intentional, as it is accessible and serves as a reminder of the durable material used to transfer wheat into the silos at the Port of Beirut. 

The sisters and their collaborator, the Lebanese-Danish creative consultant Mira Hawa, went to different sites, personally hanging the fragments, which is in itself a risky task. “We had to go to the edge of a high building, on the 11th floor, and the wind was extremely strong. We had to improvise, we didn’t know how to install it because it was huge and there was a lot of wind,” Tatiana said of one of their challenging experiences near the port. 

The testimonials were written out with red, black and white spray paint onto pieces of brown jute, later transformed by stitching into bold tapestries. Supplied

Seeing the women lead the installation process on site was surprising for some. “Men were coming out in their sleeveless vests, with their big muscles, hanging over their balconies to see who these three girls were,” said Hawa. “One of the first comments we got was: ‘Who’s going to help you? Where are the guys?’” 

Despite encountering difficulties in accessing some buildings, they persisted and installed the work on 13 buildings. For some, the fragments proved to be too intense — akin to rubbing salt into a wound. 

“Some people were very disturbed when they saw the piece,” said Celine. “I remember one time we were not even installing; we were trying to talk to an NGO to discuss the possibility of installing. The owner of a building was there and he was really destabilized and he started crying. We felt really bad and asked ourselves so many questions: Are we making the right choice?” 

The project also tackles the notion of speaking up in an environment that often suppresses inner thoughts and feelings related to trauma. Supplied

Tatiana echoed Celine’s sentiments, highlighting how sensitive this whole project has been. “I felt that for some who were engaged in the piece, you feel in their eyes as if you put a knife into a wound,” she said. But overall, the project was positively viewed and embraced by locals. It brought out a sense of community, with many assisting the women during the arduous installation process. 

“We were touched by everyone who wanted to help, who offered us coffee, or water. They barely have anything to eat and drink,” remarked Celine. 

“Beirut Narratives” ticks a number of boxes, acting as a form of cultural activism, supporting the Lebanese people and offering them a sense of justice. The Stephans and Hawa hope that one day these fragments can also travel abroad, igniting empathy with the Lebanese diaspora. The project also tackles the notion of speaking up in an environment that often suppresses inner thoughts and feelings related to trauma. 

“We have a very painful habit in the Middle East, that every time something (bad) happens we just get on with it. I think it’s about time we stopped and made some noise,” said Hawa. “When you see the pieces on the street, it’s very bold, it’s very raw and prominent. You cannot ignore it.”


Pop-culture highlights from across the region

Pop-culture highlights from across the region
Photographed by Kishore Das. Supplied
Updated 23 July 2021

Pop-culture highlights from across the region

Pop-culture highlights from across the region

DUBAI: From indie electronica to live performances, and adorable animals to wilting trees, these are the pop culture moments you might have missed from the region.

Kishore Das 

The Indian photographer was one of five winners of the Dubai-based Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award’s (HIPA) June Instagram photo contest, the theme of which was “Your Pet.”

HIPA Secretary General, Ali bin Thalith explained the reason for the theme in a press release, saying: “The relationship between humans and their pets is deeply ancient. The quality of its emotions is complex; it’s rich in detail, situations and beautiful in its spontaneous reactions.”

Das won for this image taken in 2016 at the Sacribel Elephant Camp in India’s Karnataka state. “I was catching a scene in the distance when I suddenly noticed this little elephant playing with one of the caretakers near me. I wanted to capture this perfect emotional moment, so I had to use my 70-300 mm zoom lens. One of the reasons that I love this photo is because it was the baby elephant who approached and showed his closeness and interdependence,” Das said in the press release. 

It's a major win for Das, who only began a full-time photography career in February last year, after quitting his job in IT.

Gurumiran

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by miran gurunian (@gurumiran)

The veteran of the Beirut indie scene (real name Miran Gurunian) pays tribute to his Armenian roots with his latest single “Partsratsoum.” The song is based on a poem by Vahan Tekeyan, an Armenian poet and activist, known as The Prince of Armenian Poetry.

“I related a lot to the story — which is a popular poem in schools,” Gurunian told Arab News. “I composed the music to reflect the theme, which is about the advice offered by a father to his son: Aim, reach, and rise high, but take along your loved ones, because the higher up one reaches, the colder and lonelier it gets.” The track has a jazz-y, folk-y feel, with Makram Aboulhosn’s double bass, Delaney Stöckli’s cinematic string arrangement and Dani Shukri’s stuttering drum beat underpinning Gurunian’s typically tasteful guitar work. And it was written in a single day. “Everything fell into place effortlessly,” Gurunian said. 

Zahed Sultan 

“Born to a Kuwaiti father and Indian mother, I had the fluidity to straddle both cultures; navigating being bullied and feeling shame to find my (super)power,” the London-based multimedia artist wrote of his latest single, “Hindi Majnoon.” He described the track — auto-tuned vocals over a pounding Bollywood-style beat — as “a tribute to people who were ‘othered’ for being different in whichever way while growing up.” The accompanying video, shot between Kuwait and London, is, he said, “a journey through industrial crevices and societal tropes laced with nostalgia to bring you closer to the experience of migrant ‘workers’ living in Kuwait.”

Tayar

The Arabic indie duo (singer-songwriter Ahmad Farah and producer and filmmaker Bader Helalat) have released a new two-track EP called “Khams Sneen.” The title track started out as a folk song, according to Farah, but has since morphed into a largely synth-driven indie-pop number. It’s heavily inspired by US duo MGMT, Farah told Arab News, because “they wrote a lot of songs that discussed childhood and also had a sense of absurdity.”

Sara Naim

The Dubai-based photographer’s striking 2019 image “Broken Palm” is part of “Chemistry of Feeling,” a community exhibition of analog photography that runs until Sept. 21 at Dubai’s Gulf Photo Plus. “Drawing on the delicate connections between a tumultuous past year for human relationships and photography, this exhibition locates moments of slowness, micro- and macro- revolution, introspection, and the folding priorities of the present, captured in film format,” the gallery says of the show. “We invite viewers to engage with these varied personal stories, and in the process, meditate on what it is to feel, care, and see in a fraught contemporary landscape.”

LUMI 

The much-lauded, often-inactive Lebanese duo — Marc Codsi and Mayaline Hage — dropped the title track of their new EP “Eternity,” a four-track record written between 2019 and 2021 “while our home country Lebanon and the rest of the world went through unprecedented turmoil,” the duo said on social media. The record is “rooted in the feelings and emotions triggered by these strange times.”

On the title track, Hage’s dramatic vocals float over increasingly urgent instrumentation, which, they said, “resonates like an ode to transcendence, to what is above and beyond human experiences and resides inside of us, in a longing to stay connected to that energy. We find ourselves transported in a frenetic and delicious race, suspended between a wild and aggressive electronic rhythm and a transcendent voice coming from another dimension.”


Lebanese filmmaker ‘honored’ to receive prestigious award in Cannes

Lebanese filmmaker ‘honored’ to receive prestigious award in Cannes
The film was directed by Australian-Lebanese filmmaker and journalist Daizy Gedeon. Supplied
Updated 22 July 2021

Lebanese filmmaker ‘honored’ to receive prestigious award in Cannes

Lebanese filmmaker ‘honored’ to receive prestigious award in Cannes

DUBAI: Lebanese documentary “Enough: Lebanon’s Darkest Hour” took home the Movie That Matters Award 2021 at a Better World Fund (BWF) gala in Cannes.

Directed by Australian-Lebanese filmmaker and journalist Daizy Gedeon, the documentary follows her personal and independent introspection into Lebanon’s descent into a state of turmoil over recent years.

Writing on Instagram, Gedeon said: “I am truly honored to have received the Better World Fund’s Movie That Matters Award for my film ‘Enough: Lebanon’s Darkest Hour’ at the Cannes Film Festival this week.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Daizy Gedeon (@daizygedeon)

“This film lays bare all the insidious forces currently at work ruining my beautiful homeland, Lebanon.”

Gedeon and her family fled Lebanon in the 1970s during the country’s civil war.

The Movie That Matters Award was established in 2016 and is a rare honor handed by filmfestivals.com to moviemakers with a strong, inspiring message. Only a few flicks have received the award since its creation.

Shot over four years and across four continents, the film highlights the 2019 October revolution and the global social justice movement that was triggered among the millions of Lebanese diasporas who rallied to support their families and friends back home.

The documentary also features exclusive interviews with key political leaders such as prime minister, Saad Hariri, former justice minister, Salim Jreissati, Hezbollah minister, Muhammad Fneich, and governor of the central bank, Riad Salame.

Previous award winners and attendees at the BWF gala include Prince Albert II of Monaco, US actors Sharon Stone and Forest Whitaker, German filmmaker Wim Wenders, French explorer Jean-Michel Cousteau, and American singer Mary J. Blige.