Hold On

This year’s Karama Beirut Human Rights Film Festival 7th edition and under the title: โ€œHold Onโ€, will focus on holding on to the basics of Human Rights charter and on diversity and inclusion of marginalized groups.

Despite the clarity of the provisions of the International charter of Human Rights, its real understanding and practice are subject to a lot of blindness, misinterpretation, and obstructions, which leads to a practical denial of these rights. The KBHRFF is trying to shed light on the original formula of this charter, and call for reading it as it is in its clear form.

On this matter, Art Factory 961 Association dedicated its seventh edition of Karama Beirut Human Rights Film Festival, to call for everyone, through art and films, to re-read these provisions as agreed upon and announced by humanity, in order to reconsider the interpretive formulas, and to re-work according to them as standards of justice and fairness.

Over the course of 4 days, the KBHRFF will present 13 films from several countries in the world in an attempt to restore clarity to human rights practice, which means preserving human dignity and diversity everywhere, as a founding principle of human rights in our country. A wide range of films, fiction and documentary all of which will be screened, subtitled in both English & Arabic.

Themes included among others: Diversity and inclusion of marginalised groups, war, refugee rights, Women’s rights, Labor’s rights, migration and slavery.

The festival will take place at the Sunflower theatre, Tayouneh from 5 till 8 October 2023.

As every year, debates and Q&Aโ€™s will be organised after almost every film with the presence of the directors of the films from all over the world. In addition, a Master class to refute common myths and fallacies in media toward persons with disabilities, will be implemented during the days of the festival. The Master class will be recorded and screened later on our social media pages. Students from all over Lebanon will benefit from this Master class for free.

ุชู…ุงุณูƒูˆุง

ุณุชุฑูƒุฒ ุงู„ุฏูˆุฑุฉ ุงู„ุณุงุจุนุฉ ู„ู…ู‡ุฑุฌุงู† ูƒุฑุงู…ุฉ ุจูŠุฑูˆุช ู„ุฃูู„ุงู… ุญู‚ูˆู‚ ุงู„ุฅู†ุณุงู† ู‡ุฐุง ุงู„ุนุงู…ุŒ ุชุญุช ุนู†ูˆุงู†: “ุชู…ุงุณูƒูˆุง”ุŒ ุนู„ู‰ ุงู„ุชู…ุณูƒ ุจุฃุณุงุณูŠุงุช ู…ูŠุซุงู‚ ุญู‚ูˆู‚ ุงู„ุฅู†ุณุงู† ูˆุนู„ู‰ ุงู„ุชู†ูˆุน ูˆุดู…ูˆู„ ุงู„ูุฆุงุช ุงู„ู…ู‡ู…ุดุฉ

ูˆุนู„ู‰ ุงู„ุฑุบู… ู…ู† ูˆุถูˆุญ ู†ุตูˆุต ุงู„ู…ูŠุซุงู‚ ุงู„ุฏูˆู„ูŠ ู„ุญู‚ูˆู‚ ุงู„ุฅู†ุณุงู†ุŒ ุฅู„ุง ุฃู† ูู‡ู…ู‡ ุงู„ุญู‚ูŠู‚ูŠ ูˆู…ู…ุงุฑุณุชู‡ ูŠุชุนุฑุถุงู† ู„ู„ูƒุซูŠุฑ ู…ู† ุณูˆุก ุงู„ุชูุณูŠุฑ ูˆุงู„ุนุฑุงู‚ูŠู„ุŒ ู…ู…ุง ูŠุคุฏูŠ ุฅู„ู‰ ุงู„ุญุฑู…ุงู† ุงู„ุนู…ู„ูŠ ู…ู† ู‡ุฐู‡ ุงู„ุญู‚ูˆู‚

ูŠุญุงูˆู„ ู…ู‡ุฑุฌุงู† ูƒุฑุงู…ุฉ – ุจูŠุฑูˆุช ุชุณู„ูŠุท ุงู„ุถูˆุก ุนู„ู‰ ุงู„ุตูŠุบุฉ ุงู„ุฃุตู„ูŠุฉ ู„ู‡ุฐุง ุงู„ู…ูŠุซุงู‚ุŒ ูˆุงู„ุฏุนูˆุฉ ุฅู„ู‰ ู‚ุฑุงุกุชู‡ ูƒู…ุง ู‡ูˆ ููŠ ุตูˆุฑุชู‡ ุงู„ูˆุงุถุญุฉ. ูˆููŠ ู‡ุฐุง ุงู„ุตุฏุฏุŒ ุฎุตุตุช ุฌู…ุนูŠุฉ ู…ุนู…ู„ ุงู„ูู† 961 ุฏูˆุฑุชู‡ุง ุงู„ุณุงุจุนุฉ ู„ู…ู‡ุฑุฌุงู† ูƒุฑุงู…ุฉ ุจูŠุฑูˆุช ู„ุฃูู„ุงู… ุญู‚ูˆู‚ ุงู„ุฅู†ุณุงู†ุŒ ู„ุฏุนูˆุฉ ุงู„ุฌู…ูŠุนุŒ ู…ู† ุฎู„ุงู„ ุงู„ูู† ูˆุงู„ุณูŠู†ู…ุงุŒ ุฅู„ู‰ ุฅุนุงุฏุฉ ู‚ุฑุงุกุฉ ู‡ุฐู‡ ุงู„ุฃุญูƒุงู… ูƒู…ุง ุงุชูู‚ุช ุนู„ูŠู‡ุง ูˆุฃุนู„ู†ุชู‡ุง ุงู„ุฅู†ุณุงู†ูŠุฉุŒ ู…ู† ุฃุฌู„ ุฅุนุงุฏุฉ ุงู„ู†ุธุฑ ููŠ ุชูุณูŠุฑู‡ุงุŒ ูˆุฅุนุงุฏุฉ ุงู„ุนู…ู„ ุจู‡ุง ูƒู…ุนุงูŠูŠุฑ ู„ู„ุนุฏุงู„ุฉ ูˆุงู„ุฅู†ุตุงู

ุณูŠู‚ุฏู… ุงู„ู…ู‡ุฑุฌุงู† ูˆุนู„ู‰ ู…ุฏุงุฑ ูค ุฃูŠุงู…ุŒ ูกูฃ ููŠู„ู…ุง ู…ู† ุนุฏุฉ ุฏูˆู„ ููŠ ุงู„ุนุงู„ู… ููŠ ู…ุญุงูˆู„ุฉ ู„ุฅุนุงุฏุฉ ุงู„ูˆุถูˆุญ ุฅู„ู‰ ู…ู…ุงุฑุณุฉ ุญู‚ูˆู‚ ุงู„ุฅู†ุณุงู†ุŒ ูˆู‡ูˆ ู…ุง ูŠุนู†ูŠ ุงู„ุญูุงุธ ุนู„ู‰ ูƒุฑุงู…ุฉ ุงู„ุฅู†ุณุงู† ูˆุงู„ุชู†ูˆุน ููŠ ูƒู„ ู…ูƒุงู†ุŒ ูƒู…ุจุฏุฃ ุชุฃุณูŠุณูŠ ู„ุญู‚ูˆู‚ ุงู„ุฅู†ุณุงู† ููŠ ุจู„ุงุฏู†ุง. ุณูŠุชู… ุนุฑุถ ู…ุฌู…ูˆุนุฉ ูˆุงุณุนุฉ ู…ู† ุงู„ุฃูู„ุงู… ุงู„ุฑูˆุงุฆูŠุฉ ูˆุงู„ูˆุซุงุฆู‚ูŠุฉ ู…ุชุฑุฌู…ุฉ ุจุงู„ู„ุบุชูŠู† ุงู„ุฅู†ุฌู„ูŠุฒูŠุฉ ูˆุงู„ุนุฑุจูŠุฉ

ูˆุดู…ู„ุช ุงู„ู…ูˆุงุถูŠุน ู…ู† ุจูŠู† ุฃู…ูˆุฑ ุฃุฎุฑู‰: ุงู„ุชู†ูˆุน ูˆุฅุฏู…ุงุฌ ุงู„ูุฆุงุช ุงู„ู…ู‡ู…ุดุฉุŒ ุญู‚ูˆู‚ ุงู„ุนู…ุงู„ุŒ ุงู„ุญุฑุจุŒ ุญู‚ูˆู‚ ุงู„ู„ุงุฌุฆูŠู†ุŒ ุญู‚ูˆู‚ ุงู„ู…ุฑุฃุฉุŒ ูˆุงู„ู‡ุฌุฑุฉ ูˆุงู„ุนุจูˆุฏูŠุฉ

ูŠู‚ุงู… ุงู„ู…ู‡ุฑุฌุงู† ุนู„ู‰ ู…ุณุฑุญ ุฏูˆุงุฑ ุงู„ุดู…ุณ ููŠ ุงู„ุทูŠูˆู†ุฉ ู…ู† 5 ุฅู„ู‰ 8 ุชุดุฑูŠู† ุงู„ุฃูˆู„ 2023

ูˆูƒู…ุง ู‡ูˆ ุงู„ุญุงู„ ููŠ ูƒู„ ุนุงู…ุŒ ุณูŠุชู… ุชู†ุธูŠู… ู…ู†ุงุธุฑุงุช ูˆุฃุณุฆู„ุฉ ูˆุฃุฌูˆุจุฉ ุจุนุฏ ูƒู„ ููŠู„ู… ุชู‚ุฑูŠุจู‹ุง ุจุญุถูˆุฑ ู…ุฎุฑุฌูŠ ุงู„ุฃูู„ุงู… ู…ู† ุฌู…ูŠุน ุฃู†ุญุงุก ุงู„ุนุงู„ู…. ูƒู…ุง ุณูŠุชู… ุฎู„ุงู„ ุฃูŠุงู… ุงู„ู…ู‡ุฑุฌุงู† ุชู†ููŠุฐ ุตู ุชุฏุฑูŠุจูŠ ุญูˆู„ ุฏุญุถ ุงู„ุฎุฑุงูุงุช ูˆุงู„ู…ุบุงู„ุทุงุช ุงู„ุฅุนู„ุงู…ูŠุฉ ุงู„ุดุงุฆุนุฉ ุชุฌุงู‡ ุงู„ุฃุดุฎุงุต ุฐูˆูŠ ุงู„ุฅุนุงู‚ุฉ. ุณูŠุชู… ุชุณุฌูŠู„ ูˆุนุฑุถ ุงู„ุตู ู„ุงุญู‚ู‹ุง ุนู„ู‰ ุตูุญุงุช ูˆุณุงุฆู„ ุงู„ุชูˆุงุตู„ ุงู„ุงุฌุชู…ุงุนูŠ ุงู„ุฎุงุตุฉ ุจู†ุง. ุณูŠุณุชููŠุฏ ุงู„ุทู„ุงุจ ู…ู† ุฌู…ูŠุน ุฃู†ุญุงุก ู„ุจู†ุงู† ู…ู† ู‡ุฐุง ุงู„ุตู ู…ุฌุงู†ู‹ุง

From 5 to 8 October 

ู…ู† ูฅ ุงู„ู‰ ูจ ุชูก

At Sunflower Theatre, Tayouneh, Beirut

ู…ุณุฑุญ ุฏูˆุงุฑ ุงู„ุดู…ุณุŒ ุงู„ุทูŠูˆู†ุฉุŒ ุจูŠุฑูˆุช

Free Entrance

ุงู„ุฏุฎูˆู„ ู…ุฌุงู†ูŠ

Program

FILMS

Trailer of the 7th edition

Goldfishes 

Abdelslam Kelai, Fic, Morocco, 90mn-2022 *

SYNOPSIS
Hayat is released after serving a long prison sentence. She return to her hometown in northern Morocco, where she finds herself faced with a brother who refuses to welcome her for fear of shame. Hayat merely wishes to see her son so she can explain the truth to him. She meets Amal, who works in a fruit factory and takes care of Houda, her sister who suffers from a severe disability. The courage and strength of these three women drives them forward in the face of exclusion, exploitation and marginalization.


About the Director
Abdelslam Kelai, Born in 1969 in Larache, Morocco, Abdeslam Kelai is a director, screenwriter and producer. He began his career in 2003 with his first short film, Happy Day. He has directed several feature-length films for television for which he won the prize for Best Television Film at the Amman Television Festival. Both Amour et colรจre and Le silence de la mรฉmoire received the Grand Prize at the Meknes Television Festival. He also shot the series Aรฏn Al Haq. For the cinema, Kelai has directed the short films Un formidable voyage, ร€ ton chevet and Le recrutement before shooting his first feature-length film, Malak (2012), which won numerous awards. Goldfishes is his second feature.

* Q&A with the director after the film

ุฃุณู…ุงูƒ ุญู…ุฑุงุก – ู…ู„ุฎุต ุงู„ููŠู„ู…

ุชุบุงุฏุฑ ุญูŠุงุฉ ุงู„ุณุฌู† ุจุนุฏ ุฃู† ุฃู…ุถุช ุนู‚ูˆุจุฉ ุทูˆูŠู„ุฉ ุงู„ู…ุฏุฉ. ุชุนูˆุฏ ุฅู„ู‰ ู…ุณู‚ุท ุฑุฃุณู‡ุง ููŠ ุดู…ุงู„ ุงู„ู…ุบุฑุจ ู„ุชุฌุฏ ู†ูุณู‡ุง ููŠ ู…ูˆุงุฌู‡ุฉ ุฃุฎู ูŠุฑูุถู‡ุง ุฎูˆูุง ู…ู† ุงู„ุนุงุฑ. ุฑุบุจุชู‡ุง ุงู„ูˆุญูŠุฏุฉ ู‡ูŠ ุฃู† ุชู„ุชู‚ูŠ ุงุจู†ู‡ุง ูˆุชุญูƒูŠ ู„ู‡ ุญู‚ูŠู‚ุฉ ู…ุง ุญุตู„. ุชู„ุชู‚ูŠ ุญูŠุงุฉ ุจุฃู…ู„ ุงู„ุชูŠ ุชุนู…ู„ ููŠ ู…ุตู†ุน ู„ู„ููˆุงูƒู‡ ูˆุชุชูˆู„ู‰ ุฑุนุงูŠุฉ ุดู‚ูŠู‚ุชู‡ุง ู‡ุฏู‰ ุงู„ุชูŠ ุชุตุบุฑู‡ุง ุณู†ุง ุจุนุงู…ูŠู† ูˆุงู„ุชูŠ ุชุนุงู†ูŠ ู…ู† ุฅุนุงู‚ุฉ ุดุฏูŠุฏุฉ. ุดุฌุงุนุฉ ูˆุฅุตุฑุงุฑ ู‡ุคู„ุงุก ุงู„ู†ุณูˆุฉ ุงู„ุซู„ุงุซ ู‡ู…ุง ู…ุตุฏุฑ ู‚ูˆุชู‡ู† ููŠ ู…ูˆุงุฌู‡ุฉ ุงู„ุฅู‚ุตุงุก ูˆุงู„ุงุณุชุบู„ุงู„ ูˆุงู„ุชู‡ู…ูŠุด

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุนุจุฏ ุงู„ุณู„ุงู… ุงู„ูƒู„ุงุนูŠ ู…ุฎุฑุฌ ูˆูƒุงุชุจ ุณูŠู†ุงุฑูŠูˆ ูˆู…ู†ุชุฌ ู…ุบุฑุจูŠ ูˆู„ุฏ ุณู†ุฉ 1969 ุจู…ุฏูŠู†ุฉ ุงู„ุนุฑุงุฆุด. ุจุฏุฃุช ู…ุณูŠุฑุชู‡ ุงู„ู…ู‡ู†ูŠุฉ ููŠ ุงู„ุนุงู… 2003 ุนู†ุฏู…ุง ุฃุฎุฑุฌ ุฃูˆู„ ููŠู„ู… ู‚ุตูŠุฑ ู„ู‡ ูˆู‡ูˆ “ูŠูˆู… ุณุนูŠุฏ”. ุจุนุฏู‡ุง ุฃุฎุฑุฌ ุงู„ุนุฏูŠุฏ ู…ู† ุงู„ุฃูู„ุงู… ุงู„ุทูˆูŠู„ุฉ ู„ู„ุชู„ูุฒูŠูˆู†ุŒ ุซู… “ุญุจ ูˆุบุถุจ” ูˆ “ุตู…ุช ุงู„ุฐุงูƒุฑุฉ” ุงู„ู„ุฐูŠู† ู†ุงู„ ุนู†ู‡ู…ุง ุงู„ุฌุงุฆุฒุฉ ุงู„ูƒุจุฑู‰ ููŠ ู…ู‡ุฑุฌุงู† ู…ูƒู†ุงุณ ู„ู„ุฏุฑุงู…ุง ุงู„ุชู„ูุฒูŠูˆู†ูŠุฉ ุฅู„ู‰ ุฌุงู†ุจ ุฌูˆุงุฆุฒ ููŠ ุงู„ุชู…ุซูŠู„ ูˆุงู„ุณูŠู†ุงุฑูŠูˆ. ุฃุฎุฑุฌ ุงู„ูƒู„ุงุนูŠ ุฃูู„ุงู…ู‡ ุงู„ู‚ุตูŠุฑุฉ “ุณูุฑ ุฑุงุฆุน” ูˆ”ู‚ุฑุจ ูุฑุงุดูƒ” ูˆ”ุงู„ุชูˆุธูŠู”ุŒ ู‚ุจู„ ุฃู† ูŠุฎุฑุฌ ุณู†ุฉ 2012 “ู…ู„ุงูƒ” ุฃูˆู„ ููŠู„ู… ุฑูˆุงุฆูŠ ุทูˆูŠู„ ู„ู‡ุŒ ูˆุงู„ุฐูŠ ูุงุฒ ุจุงู„ุนุฏูŠุฏ ู…ู† ุงู„ุฌูˆุงุฆุฒ ููŠ ุงู„ู…ุบุฑุจ ูˆุนู„ู‰ ุงู„ุตุนูŠุฏ ุงู„ุฏูˆู„ูŠ ุซู… “ุฃุณู…ุงูƒ ุญู…ุฑุงุก” ููŠู„ู…ู‡ ุงู„ุณูŠู†ู…ุงุฆูŠ ุงู„ุทูˆูŠู„ ุงู„ุซุงู†ูŠุŒ ุงู„ุฐูŠ ุณูŠุชู… ุนุฑุถู‡ ููŠ ุตุงู„ุงุช ุงู„ุณูŠู†ู…ุง ู…ุทู„ุน ุณู†ุฉ 2023

ุญูˆุงุฑ ู…ุน ุงู„ู…ุฎุฑุฌ ุจุนุฏ ุงู„ููŠู„ู… *


Borderline

Antoine Bonzon, Benoit Bizard, Doc, France, Palestine, 52mn-2022 *

Synopsis
Borderline takes us on to meet Ivan, Ranim, Taleen, Sari and Abu Sofiane through an immersion in the various places they live in, under occupation. From various musical influences โ€“ rap, punk-rock, classical or traditional music โ€“ and different generations, the musicians all share a passion for music, a common sense of vital craving for freedom, of sharing their voices and being heard.


About the Directors
Antoine Bonzon, worked in Paris as an editor, after which he moved to Besanรงon and co-founded the film production company, Kamรฉlรฉon Production. In 2015, he directed the feature documentary Feet on the Ground. Borderline is his second co-directed feature documentary.

Benoรฎt Bizard, worked for five years at JLO Productions as assistant director. His desire for a more ethnological cinema led him to direct self-produced documentaries such as Pelengana Bina, but also Nege Bo and Monstres de femmes. In 2016, he was assistant director to Marc Perroud on the film As Long as the Walls will Stand. He co-wrote and co-directed Borderline.

* Q&A with Salwa Jaradat – researcher and musician from Palestine

Palestinian music, between political message and artistic concern

An event In collaboration with ANHAR

ู…ู„ุฎุต ุงู„ููŠู„ู…

ูŠุฃุฎุฐู†ุง ููŠู„ู… “ุจูˆุฑุฏุฑ ู„ุงูŠู†” ู„ู„ู‚ุงุก ุฅูŠูุงู† ูˆุฑุงู†ูŠู… ูˆุชุงู„ูŠู† ูˆุณุงุฑูŠ ูˆุฃุจูˆ ุณููŠุงู† ู…ู† ุฎู„ุงู„ ุงู„ุงู†ุบู…ุงุณ ููŠ ุงู„ุฃู…ุงูƒู† ุงู„ู…ุฎุชู„ูุฉ ุงู„ุชูŠ ูŠุนูŠุดูˆู† ููŠู‡ุง ุชุญุช ุงู„ุงุญุชู„ุงู„ ุงู„ุฅุณุฑุงุฆูŠู„ูŠ. ู…ู† ุงู„ุชุฃุซูŠุฑุงุช ุงู„ู…ูˆุณูŠู‚ูŠุฉ ุงู„ู…ุฎุชู„ูุฉ: ุงู„ุฑุงุจุŒ ุงู„ุจุงู†ูƒ ุฑูˆูƒุŒ ุงู„ู…ูˆุณูŠู‚ู‰ ุงู„ูƒู„ุงุณูŠูƒูŠุฉ ุฃูˆ ุงู„ุชู‚ู„ูŠุฏูŠุฉ ู…ู† ุฃุฌูŠุงู„ ู…ุฎุชู„ูุฉุŒ ูŠุดุชุฑูƒูˆู† ุฌู…ูŠุนู‹ุง ููŠ ุดุบู ุงู„ู…ูˆุณูŠู‚ู‰ุŒ ูˆุงู„ุดุนูˆุฑ ุงู„ุนุงู… ุจุงู„ุฑุบุจุฉ ุงู„ุญูŠูˆูŠุฉ ููŠ ุงู„ุญุฑูŠุฉุŒ ูˆู…ุดุงุฑูƒุฉ ุฃุตูˆุงุชู‡ู… ูˆุงู„ุงุณุชู…ุงุน ุฅู„ูŠู‡ู…

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

Kamรฉlรฉon Productionุฃู†ุทูˆุงู† ุจูˆู†ุฒูˆู†: ุนู…ู„ ู…ุญุฑุฑู‹ุง ููŠ ุจุงุฑูŠุณุŒ ุซู… ุงู†ุชู‚ู„ ุจุนุฏ ุฐู„ูƒ ุฅู„ู‰ ู…ุฏูŠู†ุฉ ุจูŠุฒุงู†ุณูˆู† ูˆุดุงุฑูƒ ููŠ ุชุฃุณูŠุณ ุดุฑูƒุฉ ู„ุฅู†ุชุงุฌ ุงู„ุฃูู„ุงู…

 ููŠ ุนุงู… 2015ุŒ ุฃุฎุฑุฌ ุงู„ููŠู„ู… ุงู„ูˆุซุงุฆู‚ูŠ ุงู„ุทูˆูŠู„ “ุฃู‚ุฏุงู… ุนู„ู‰ ุงู„ุฃุฑุถ”. “ุงู„ุฎุท ุงู„ุญุฏูˆุฏูŠ” ู‡ูˆ ููŠู„ู…ู‡ ุงู„ูˆุซุงุฆู‚ูŠ ุงู„ุทูˆูŠู„ ุงู„ุซุงู†ูŠ ู…ู† ุฅุฎุฑุงุฌ ู…ุดุชุฑูƒ

ุนู…ู„ ุจูˆู†ูˆุง ุจูŠุฒุงุฑุฏ ู„ู…ุฏุฉ ุฎู…ุณ ุณู†ูˆุงุช ูƒู…ุณุงุนุฏ ู…ุฎุฑุฌ. ุฏูุนุชู‡ ุฑุบุจุชู‡ ููŠ ุงู„ุณูŠู†ู…ุง ุงู„ุฅุซู†ูˆู„ูˆุฌูŠุฉ ุฅู„ู‰ ุฅุฎุฑุงุฌ ุฃูู„ุงู… ูˆุซุงุฆู‚ูŠุฉ ู…ู†ุชุฌุฉ ุฐุงุชูŠู‹ุง. ููŠ ุนุงู… 2016ุŒ ูƒุงู† ู…ุณุงุนุฏ ู…ุฎุฑุฌ ู„ู…ุงุฑูƒ ุจูŠุฑูˆุฏ ููŠ ููŠู„ู… “ู…ุง ุฏุงู…ุช ุงู„ุฌุฏุฑุงู† ูˆุงู‚ูุฉ”. ุดุงุฑูƒ ููŠ ูƒุชุงุจุฉ ูˆุงุฎุฑุงุฌ “ุงู„ุฎุท ุงู„ุญุฏูˆุฏูŠ”

ุญูˆุงุฑ ู…ุน ุณู„ูˆู‰ ุฌุฑุงุฏุงุช – ุจุงุญุซุฉ ูˆู…ูˆุณูŠู‚ูŠุฉ ู…ู† ูู„ุณุทูŠู† *
ุงู„ู…ูˆุณูŠู‚ู‰ ุงู„ูู„ุณุทูŠู†ูŠุฉ ุจูŠู† ุงู„ุฑุณุงู„ุฉ ุงู„ุณูŠุงุณูŠุฉ ูˆุงู„ู‡ู… ุงู„ูู†ูŠ
ุงู„ุดุจูƒุฉ ุงู„ุนุฑุจูŠุฉ ู„ุงูู„ุงู… ุญู‚ูˆู‚ ุงู„ุงู†ุณุงู† – ุงู†ู‡ุงุฑ ANHAR – ูุนุงู„ูŠุฉ ุจุงู„ุชุนุงูˆู† ู…ุน


Anxious in Beirut

Zakariya Jaber, Doc, Jordan, Lebanon, Qatar, Spain, 93mn-2022 *

Synopsis
In the ever-present desire to capture, record, and understand Beirut, and by extension himself, Zakaria has been trying to give a coherent story to his city. It is through the intersectionality between the general & the personal, the public & private, the old & young that we are able to answer: why are we anxious in Beirut?

About the Director

Zakaria Jaber, is a multi-talented director with a diverse range of skills and experiences that he himself developed and has shaped his career. Zakaria is a photographer and videographer with a commitment to master visual storytelling, editing, and writing. On the 17th of October 2019, as Zakaria was covering the first protests that led to the recent Lebanese revolution he captured one of the most famous photographs that was spread nation-wide and internationally over social media platforms and online and print publications

โ€œAnxious in Beirutโ€ is his first documentary where he establishes himself as an accomplished director capable of delivering compelling and impactful visual narratives. The film won the best documentary award in Shanghai Film festival.

* Q&A with the director after the film

ู…ู„ุฎุต ุงู„ููŠู„ู…

ููŠ ุธู„ ุงู„ุฑุบุจุฉ ุงู„ุฏุงุฆู…ุฉ ููŠ ุงู„ุชู‚ุงุท ูˆุชุณุฌูŠู„ ูˆูู‡ู… ุจูŠุฑูˆุชุŒ ูˆุจุงู„ุชุงู„ูŠ ู†ูุณู‡ุŒ ูŠุญุงูˆู„ ุฒูƒุฑูŠุง ุชู‚ุฏูŠู… ู‚ุตุฉ ู…ุชู…ุงุณูƒุฉ ู„ู…ุฏูŠู†ุชู‡. ู…ู† ุฎู„ุงู„ ุงู„ุชู‚ุงุทุน ุจูŠู† ุงู„ุดุงู…ู„ ูˆุงู„ุดุฎุตูŠุŒ ุจูŠู† ุงู„ุนุงู… ูˆุงู„ุฎุงุตุŒ ูˆุจูŠู† ุงู„ูƒุจุงุฑ ูˆุงู„ุตุบุงุฑุŒ ุนู„ู‘ู†ุง ู†ุณุชุทูŠุน ุงู„ุฅุฌุงุจุฉ: ู„ู…ุงุฐุง ู†ุญู† ู‚ู„ู‚ูˆู† ููŠ ุจูŠุฑูˆุชุŸ

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุฒูƒุฑูŠุง ุฌุงุจุฑ ู‡ูˆ ู…ุฎุฑุฌ ู…ุชุนุฏุฏ ุงู„ู…ูˆุงู‡ุจ ูŠุชู…ุชุน ุจู…ู‡ุงุฑุงุช ูˆุฎุจุฑุงุช ู…ุชุนุฏุฏุฉ ุทูˆุฑู‡ุง ุจู†ูุณู‡ ูˆุดูƒู„ ุญูŠุงุชู‡ ุงู„ู…ู‡ู†ูŠุฉ. ุฒูƒุฑูŠุง ู‡ูˆ ู…ุตูˆุฑ ููˆุชูˆุบุฑุงููŠ ูˆููŠุฏูŠูˆ ู…ู„ุชุฒู… ุจุฅุชู‚ุงู† ุณุฑุฏ ุงู„ู‚ุตุต ุงู„ู…ุฑุฆูŠุฉ ูˆุงู„ุชุญุฑูŠุฑ ูˆุงู„ูƒุชุงุจุฉ. ููŠ 17 ุฃูƒุชูˆุจุฑ 2019ุŒ ุจูŠู†ู…ุง ูƒุงู† ุฒูƒุฑูŠุง ูŠุบุทูŠ ุงู„ุงุญุชุฌุงุฌุงุช ุงู„ุฃูˆู„ู‰ ุงู„ุชูŠ ุฃุฏุช ุฅู„ู‰ ุงู„ุซูˆุฑุฉ ุงู„ู„ุจู†ุงู†ูŠุฉ ุงู„ุฃุฎูŠุฑุฉุŒ ุงู„ุชู‚ุท ุฅุญุฏู‰ ุฃุดู‡ุฑ ุงู„ุตูˆุฑ ุงู„ุชูŠ ุงู†ุชุดุฑุช ุนู„ู‰ ุงู„ู…ุณุชูˆู‰ ุงู„ูˆุทู†ูŠ ูˆุงู„ุฏูˆู„ูŠ ุนุจุฑ ู…ู†ุตุงุช ุงู„ุชูˆุงุตู„ ุงู„ุงุฌุชู…ุงุนูŠ ูˆุงู„ู…ู†ุดูˆุฑุงุช ุงู„ุฅู„ูƒุชุฑูˆู†ูŠุฉ ูˆุงู„ู…ุทุจูˆุนุฉ

ู‚ู„ู‚ ููŠ ุจูŠุฑูˆุช” ู‡ูˆ ุฃูˆู„ ููŠู„ู… ูˆุซุงุฆู‚ูŠ ู„ู‡ ุญูŠุซ ุฃุซุจุช ู†ูุณู‡ ูƒู…ุฎุฑุฌ ุจุงุฑุน ู‚ุงุฏุฑ ุนู„ู‰ ุชู‚ุฏูŠู… ุฑูˆุงูŠุงุช ุจุตุฑูŠุฉ ู…ู‚ู†ุนุฉ ูˆู…ุคุซุฑุฉ. ุญุตู„ ุงู„ููŠู„ู… ุนู„ู‰ ุฌุงุฆุฒุฉ ุฃูุถู„ ููŠู„ู… ูˆุซุงุฆู‚ูŠ ููŠ ู…ู‡ุฑุฌุงู† ุดู†ุบู‡ุงูŠ ุงู„ุณูŠู†ู…ุงุฆูŠ

ุญูˆุงุฑ ู…ุน ุงู„ู…ุฎุฑุฌ ุจุนุฏ ุงู„ููŠู„ู… *


Heroic Bodies

Sara Suleiman, Doc, Sudan, 95mn-2022 *

Synopsis
Sudanese women were robbed of the rights to their own bodies throughout the modern ages enduring brutal and unfathomable forms of oppression, abuse, and violations from โ€œFace Scarificationโ€, โ€œGenital Body Mutilation, โ€œThe Leather Strips Ripping – Cutting Al Rahat – (a Wedding Custom)โ€, to โ€œFistulaโ€ from the Rope Birthing Process, as well as denial of their basic civil rights. โ€œHeroic Bodiesโ€ explore the various forms of the Sudanese Womenโ€™s struggle and resistance to take back their God-given rights to their bodies as well as establish their rights of existence in their Societies and Communities. Utilizing, Body Politics techniques in Political Resistance, through demonstrations, civil disobedience, and hunger strikes, exposing themselves to imprisonment and torture; their persistent pursuit of the right to Education, enrolment in scientific training in Public Health and Midwifery, breaking the social norms by becoming artists and Entertainers, as well as embracing a Matriarchal Religion of women worship like โ€œZarโ€, where women are allowed to let their bodies run wild.

About the Director

Sara Suliman, is a UK-based Sudanese Filmmaker; a Chevening scholar, researcher, activist, Producer, and Director; and founder of โ€œFenti (Dates in Nubian Dialect) Productionsโ€ an Independent Film Production House. Her first feature film โ€œHeroic Bodiesโ€ had its world premiere in IDFA (2022) and was selected in โ€œFrontlightโ€ section. Itโ€™s the first Sudanese feature film to be selected in a section in the history of IDFA.
Sara is a dedicated feminist and youth advocate, believing that Women and Sudanese Youth have a story yearning to be told and yet to be heard. She has a bachelorโ€™s degree in Business Administration from Ahfad University for Women in Sudan (2010) and in 2017, was awarded MA in Gender Studies from SOAS, University of London.

* Q&A with the director after the film

ุฃุฌุณุงุฏ ุจุทูˆู„ูŠุฉ – ู…ู„ุฎุต ุงู„ููŠู„ู…

ู„ู‚ุฏ ุณูู„ุจุช ุญู‚ูˆู‚ ุงู„ู…ุฑุฃุฉ ุงู„ุณูˆุฏุงู†ูŠุฉ ููŠ ุฌุณุฏู‡ุง ุนู„ู‰ ู…ุฑ ุงู„ุนุตูˆุฑ ุงู„ุญุฏูŠุซุฉุŒ ุญูŠุซ ุชุนุฑุถุช ู„ุฃุดูƒุงู„ ูˆุญุดูŠุฉ ู„ุง ูŠู…ูƒู† ุชุตูˆุฑู‡ุง ู…ู† ุงู„ู‚ู…ุน ูˆุงู„ุฅุณุงุกุฉ ูˆุงู„ุงู†ุชู‡ุงูƒุงุช ู…ู† “ุฎุฏุด ุงู„ูˆุฌู‡”ุŒ ูˆ”ุชุดูˆูŠู‡ ุงู„ุฃุนุถุงุก ุงู„ุชู†ุงุณู„ูŠุฉ”ุŒ ูˆ”ุชู…ุฒูŠู‚ ุงู„ุดุฑุงุฆุท ุงู„ุฌู„ุฏูŠุฉ – ู‚ุทุน ุงู„ุฑู‡ุท -” (ุนุฑู ุงู„ุฒูุงู)ุŒ ุฅู„ู‰ โ€œุงู„ู†ุงุณูˆุฑโ€ ู…ู† ุนู…ู„ูŠุฉ ุงู„ูˆู„ุงุฏุฉ ุจุงู„ุญุจู„ุŒ ูุถู„ุงู‹ ุนู† ุญุฑู…ุงู†ู‡ู… ู…ู† ุญู‚ูˆู‚ู‡ู… ุงู„ู…ุฏู†ูŠุฉ ุงู„ุฃุณุงุณูŠุฉ. ุชุณุชูƒุดู “ุงู„ุฃุฌุณุงู… ุงู„ุจุทูˆู„ูŠุฉ” ุงู„ุฃุดูƒุงู„ ุงู„ู…ุฎุชู„ูุฉ ู„ู†ุถุงู„ ุงู„ู…ุฑุฃุฉ ุงู„ุณูˆุฏุงู†ูŠุฉ ูˆู…ู‚ุงูˆู…ุชู‡ุง ู„ุงุณุชุนุงุฏุฉ ุญู‚ูˆู‚ู‡ุง ุงู„ุชูŠ ูˆู‡ุจู‡ุง ุงู„ู„ู‡ ู„ู‡ุง ููŠ ุฃุฌุณุงุฏู‡ุง ูˆูƒุฐู„ูƒ ุชุซุจูŠุช ุญู‚ูˆู‚ู‡ุง ููŠ ุงู„ูˆุฌูˆุฏ ููŠ ู…ุฌุชู…ุนุงุชู‡ุง ูˆู…ุฌุชู…ุนุงุชู‡ุง. ุงุณุชุฎุฏุงู… ุชู‚ู†ูŠุงุช ุงู„ุฌุณุฏ ุงู„ุณูŠุงุณูŠ ููŠ ุงู„ู…ู‚ุงูˆู…ุฉ ุงู„ุณูŠุงุณูŠุฉุŒ ู…ู† ุฎู„ุงู„ ุงู„ุชุธุงู‡ุฑุงุช ูˆุงู„ุนุตูŠุงู† ุงู„ู…ุฏู†ูŠ ูˆุงู„ุฅุถุฑุงุจ ุนู† ุงู„ุทุนุงู…ุŒ ูˆุชุนุฑูŠุถ ุฃู†ูุณู‡ู… ู„ู„ุณุฌู† ูˆุงู„ุชุนุฐูŠุจุŒ ูˆุณุนูŠู‡ู† ุงู„ู…ุณุชู…ุฑ ู„ู„ุญุตูˆู„ ุนู„ู‰ ุงู„ุญู‚ ููŠ ุงู„ุชุนู„ูŠู…ุŒ ูˆุงู„ุชุณุฌูŠู„ ููŠ ุงู„ุชุฏุฑูŠุจ ุงู„ุนู„ู…ูŠ ููŠ ู…ุฌุงู„ ุงู„ุตุญุฉ ุงู„ุนุงู…ุฉ ูˆุงู„ู‚ุจุงู„ุฉุŒ ูˆูƒุณุฑ ุงู„ุฃุนุฑุงู ุงู„ุงุฌุชู…ุงุนูŠุฉ ู…ู† ุฎู„ุงู„ ุฃู† ูŠุตุจุญู† ูู†ุงู†ุงุช ูˆู…ุคุฏูŠุงุชุŒ ุจุงู„ุฅุถุงูุฉ ุฅู„ู‰ ุงุนุชู†ุงู‚ ุฏูŠู† ุฃู…ูˆู…ูŠ ูŠุนุจุฏ ุงู„ู†ุณุงุก ู…ุซู„ “ุงู„ุฒุงุฑ”ุŒ ุญูŠุซ ูŠูุณู…ุญ ู„ุฃุฌุณุงุฏู‡ู† ุจุงู„ู‡ุฑูˆุจ

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌุฉ

ุณุงุฑุฉ ุณู„ูŠู…ุงู† ู…ุฎุฑุฌุฉ ุฃูู„ุงู… ุณูˆุฏุงู†ูŠุฉ ู…ู‚ูŠู…ุฉ ููŠ ุงู„ู…ู…ู„ูƒุฉ ุงู„ู…ุชุญุฏุฉ. ุจุงุญุซุฉ ูˆู†ุงุดุทุฉ ูˆู…ู†ุชุฌุฉ ูˆู…ุฎุฑุฌุฉุŒ ูˆู…ุคุณุณุฉ ุดุฑูƒุฉ ูู†ุชูŠ ู„ู„ุฅู†ุชุงุฌ ุงู„ุณูŠู†ู…ุงุฆูŠ ุงู„ู…ุณุชู‚ู„ุฉ. ุชู… ุนุฑุถ ููŠู„ู…ู‡ุง ุงู„ุทูˆูŠู„ ุงู„ุฃูˆู„ “ุฃุฌุณุงุฏ ุจุทูˆู„ูŠุฉ” ู„ุฃูˆู„ ู…ุฑุฉ ุนุงู„ู…ูŠุงู‹ ููŠ IDFAุŒ 2022 ูˆุชู… ุงุฎุชูŠุงุฑู‡ ุถู…ู† “Frontlight” ู„ูŠูƒูˆู† ุฃูˆู„ ููŠู„ู… ุฑูˆุงุฆูŠ ุณูˆุฏุงู†ูŠ ูŠุชู… ุงุฎุชูŠุงุฑู‡ ููŠ ุชุงุฑูŠุฎ IDFA. ุณุงุฑุฉ ู‡ูŠ ู†ุงุดุทุฉ ู†ุณูˆูŠุฉ ูˆู…ุฏุงูุนุฉ ุนู† ุงู„ุดุจุงุจุŒ ูˆุชุคู…ู† ุจุฃู† ุงู„ู†ุณุงุก ูˆุงู„ุดุจุงุจ ุงู„ุณูˆุฏุงู†ูŠ ู„ุฏูŠู‡ู… ู‚ุตุฉ ุชุชูˆู‚ ุฅู„ู‰ ุฃู† ุชูุญูƒู‰ ูˆู„ู… ุชูุณู…ุน ุจุนุฏ. ุญุตู„ุช ุนู„ู‰ ุฏุฑุฌุฉ ุงู„ุจูƒุงู„ูˆุฑูŠูˆุณ ููŠ ุฅุฏุงุฑุฉ ุงู„ุฃุนู…ุงู„ ู…ู† ุฌุงู…ุนุฉ ุงู„ุฃุญูุงุฏ ู„ู„ุจู†ุงุช ููŠ ุงู„ุณูˆุฏุงู† (2010) ูˆููŠ ุนุงู… 2017ุŒ ุญุตู„ุช ุนู„ู‰ ุฏุฑุฌุฉ ุงู„ู…ุงุฌุณุชูŠุฑ ููŠ ุฏุฑุงุณุงุช ุงู„ู†ูˆุน ุงู„ุงุฌุชู…ุงุนูŠ ู…ู† SOASุŒ ุฌุงู…ุนุฉ ู„ู†ุฏู†

ุญูˆุงุฑ ู…ุน ุงู„ู…ุฎุฑุฌุฉ ุจุนุฏ ุงู„ููŠู„ู… *


Under the Fig Trees

Erige Sehiri, Tunisia, France, Switzerland, Germany, Qatar, 92mn-2022 *

Synopsis

Taking place over the course of a day, UNDER THE FIG TREES presents an intergenerational dialogue between a group of teens and older folk as they work the summer harvest catch feelings, attempt to understand each other, and navigate the complicated terrain of building deeper ties.


About the Director

Erige Sehiri, is a Tunisian French director and producer. A former journalist, she started her career as a documentary filmmaker.

Her breakout feature documentary, RAILWAY MEN, which presented the daily struggle of railway workers against the failures of the national railways, remained for six weeks in Tunisian theaters.

In 2022, she wrote, directed, and produced her first fiction feature, UNDER THE FIG TREES, which won several awards at the Venice International Film Festival’s Final Cut and joined the selection of the 54th Director’s Fortnight at the Cannes Film Festival. It was also selected to be Tunisia’s official submission in the 2023 Oscars for Best International Feature Film.

* Discussion with an ILO (International Labour Organisation) representative about the situation of female workers in the agricultural sector who work in the informal economy.

An event in collaboration with ILO

ุชุญุช ุงู„ุดุฌุฑุฉ – ู…ู„ุฎุต ุงู„ููŠู„ู…

ุชุฌุฑูŠ ุฃุญุฏุงุซ ุงู„ููŠู„ู… ุนู„ู‰ ู…ุฏุงุฑ ูŠูˆู… ูƒุงู…ู„ุŒ ูˆูŠู‚ุฏู… ุญูˆุงุฑุงู‹ ุจูŠู† ุงู„ุฃุฌูŠุงู„ ู„ู…ุฌู…ูˆุนุฉ ู…ู† ุงู„ู…ุฑุงู‡ู‚ูŠู† ูˆูƒุจุงุฑ ุงู„ุณู† ุฃุซู†ุงุก ุนู…ู„ู‡ู… ููŠ ุญุตุงุฏ ุงู„ุตูŠู ู„ุงู„ุชู‚ุงุท ุงู„ู…ุดุงุนุฑุŒ ูˆู…ุญุงูˆู„ุฉ ูู‡ู… ุจุนุถู‡ู… ุงู„ุจุนุถุŒ ูˆุงู„ุชู†ู‚ู„ ููŠ ุงู„ุชุถุงุฑูŠุณ ุงู„ู…ุนู‚ุฏุฉ ู„ุจู†ุงุก ุนู„ุงู‚ุงุช ุฃุนู…ู‚

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌุฉ

.ุฃุฑูŠุฌ ุงู„ุณุญูŠุฑูŠ  ู…ุฎุฑุฌุฉ ูˆู…ู†ุชุฌุฉ ุชูˆู†ุณูŠุฉ ูุฑู†ุณูŠุฉ. ุตุญููŠุฉ ุณุงุจู‚ุฉุŒ ุจุฏุฃุช ุญูŠุงุชู‡ุง ุงู„ู…ู‡ู†ูŠุฉ ูƒู…ุฎุฑุฌุฉ ุฃูู„ุงู… ูˆุซุงุฆู‚ูŠุฉ

ููŠู„ู…ู‡ุง ุงู„ูˆุซุงุฆู‚ูŠ ุงู„ู…ุชู…ูŠุฒุŒ “ุฑุฌุงู„ ุงู„ุณูƒูƒ ุงู„ุญุฏูŠุฏูŠุฉ”ุŒ ุงู„ุฐูŠ ุนุฑุถ ุงู„ู†ุถุงู„ ุงู„ูŠูˆู…ูŠ ู„ุนู…ุงู„ ุงู„ุณูƒูƒ ุงู„ุญุฏูŠุฏูŠุฉ ุถุฏ ุฅุฎูุงู‚ุงุช ุงู„ุณูƒูƒ ุงู„ุญุฏูŠุฏูŠุฉ ุงู„ูˆุทู†ูŠุฉุŒ ุนูุฑุถ ู„ู…ุฏุฉ ุณุชุฉ ุฃุณุงุจูŠุน ููŠ ุงู„ุตุงู„ุงุช ุงู„ุชูˆู†ุณูŠุฉ

“ุชุญุช ุฃุดุฌุงุฑ ุงู„ุชูŠู†”ุŒ ุฃูˆู„ ููŠู„ู… ุฑูˆุงุฆูŠ ุทูˆูŠู„ ู„ู‡ุงุŒ ูƒุชุงุจุฉ ูˆุฅุฎุฑุงุฌุงู‹ ูˆุฅู†ุชุงุฌุงู‹ุŒ ูˆุงู„ุฐูŠ ูุงุฒ ุจุงู„ุนุฏูŠุฏ ู…ู† ุงู„ุฌูˆุงุฆุฒ ููŠ ู…ู‡ุฑุฌุงู† ุงู„ุจู†ุฏู‚ูŠุฉ ุงู„ุณูŠู†ู…ุงุฆูŠ ุงู„ุฏูˆู„ูŠ ูˆุงู†ุถู… ุฅู„ู‰ ุงุฎุชูŠุงุฑ ู„ูŠู„ุฉ ุงู„ู…ุฎุฑุฌูŠู† 54 ููŠ ู…ู‡ุฑุฌุงู† ูƒุงู† ุงู„ุณูŠู†ู…ุงุฆูŠ. ูƒู…ุง ุชู… ุงุฎุชูŠุงุฑู‡ ู„ูŠูƒูˆู† ุงู„ู…ู…ุซู„ ุงู„ุฑุณู…ูŠ ู„ุชูˆู†ุณ ู„ุชุฑุดูŠุญู‡ ู„ุฃูุถู„ ููŠู„ู… ุฑูˆุงุฆูŠ ุนุงู„ู…ูŠ ููŠ ุฌูˆุงุฆุฒ ุงู„ุฃูˆุณูƒุงุฑ ู„ุนุงู… 2023

.ู†ู‚ุงุด ู…ุน ู…ู…ุซู„ ู…ู† ู…ู†ุธู…ุฉ ุงู„ุนู…ู„ ุงู„ุฏูˆู„ูŠุฉ ุญูˆู„ ูˆุถุน ุงู„ุนุงู…ู„ุงุช ููŠ ู‚ุทุงุน ุงู„ุฒุฑุงุนุฉ ุงู„ู„ูˆุงุชูŠ ูŠุนู…ู„ู† ููŠ ุงู„ุงู‚ุชุตุงุฏ ุบูŠุฑ ุงู„ู…ู†ุธู…

ILO – ูุนุงู„ูŠุฉ ุจุงู„ุชุนุงูˆู† ู…ุน ู…ู†ุธู…ุฉ ุงู„ุนู…ู„ ุงู„ุฏูˆู„ูŠุฉ


Citizen Miko

Robin Kvapil, Doc, Czech Republic, 75mn-2022 *

Synopsis
Miko is a truck driver, his father is Romani, and above all he is a man who wanted to help those in need. When the Czech government was looking for reasons not to take in a few dozen children from Greek refugee camps after the chemical attacks on Syrian civilians in 2018, Miko took justice into his own hands and, together with the Czechs Helping initiative, prepared facilities for child refugees. However, government officials gave priority to political interests. Will parliamentary elections and a change of ministries save the situation? An unflattering but accurately portrayal of the Czech Republic as a country that will only offer a helping hand when it is worthwhile.

โ€œThe country today doesnโ€™t actually allow you to act according to your conscience.โ€

About the Director
Robin Kvapil, (1982) is a graduate of theatre directing at JAMU and the Department of Documentary Film at FAMU. His feature debut was a comedy about Brnoโ€™s genius loci, Everything Will Be Fine (2017), and his documentary debut was film reportage from Michal Horรกฤekโ€™s presidential campaign, We Can Do Better (co-directed by Radim Prochรกzka, 2018)

* Q&A with the protagonist (Miko) after the film

ุงู„ู…ูˆุงุทู† ู…ูŠูƒูˆ – ู…ู„ุฎุต ุงู„ููŠู„ู…

ู…ูŠูƒูˆ ุณุงุฆู‚ ุดุงุญู†ุฉุŒ ูˆุงู„ุฏู‡ ู…ู† ุงู„ุฑูˆู…ุงุŒ ูˆู„ูƒู† ู‡ูˆ ูˆู‚ุจู„ ูƒู„ ุดูŠุก ุฅู†ุณุงู† ูŠุฑูŠุฏ ู…ุณุงุนุฏุฉ ุงู„ู…ุญุชุงุฌูŠู†. ุนู†ุฏู…ุง ูƒุงู†ุช ุงู„ุญูƒูˆู…ุฉ ุงู„ุชุดูŠูƒูŠุฉ ุชุจุญุซ ุนู† ุฃุณุจุงุจ ู„ุนุฏู… ุงุณุชู‚ุจุงู„ ุนุดุฑุงุช ุงู„ุฃุทูุงู„ ู…ู† ู…ุฎูŠู…ุงุช ุงู„ู„ุงุฌุฆูŠู† ุงู„ูŠูˆู†ุงู†ูŠุฉ ุจุนุฏ ุงู„ู‡ุฌู…ุงุช ุงู„ูƒูŠู…ูŠุงุฆูŠุฉ ุนู„ู‰ ุงู„ู…ุฏู†ูŠูŠู† ุงู„ุณูˆุฑูŠูŠู† ููŠ ุนุงู… 2018ุŒ ุชูˆู„ู‰ ู…ูŠูƒูˆ ุชุญู‚ูŠู‚ ุงู„ุนุฏุงู„ุฉ ุจู†ูุณู‡ุŒ ูˆู‚ุงู… ุจุงู„ุชุนุงูˆู† ู…ุน “ู…ุจุงุฏุฑุฉ ุงู„ู…ุณุงุนุฏุฉ ุงู„ุชุดูŠูƒูŠุฉ”ุŒ ุจุฅุนุฏุงุฏ ู…ุฑุงูู‚ ู„ู„ุฃุทูุงู„ ุงู„ู„ุงุฌุฆูŠู†. ูˆู…ุน ุฐู„ูƒุŒ ุฃุนุทู‰ ุงู„ู…ุณุคูˆู„ูˆู† ุงู„ุญูƒูˆู…ูŠูˆู† ุงู„ุฃูˆู„ูˆูŠุฉ ู„ู„ู…ุตุงู„ุญ ุงู„ุณูŠุงุณูŠุฉ. ูู‡ู„ ุชู†ู‚ุฐ ุงู„ุงู†ุชุฎุงุจุงุช ุงู„ู†ูŠุงุจูŠุฉ ูˆุชุบูŠูŠุฑ ุงู„ูˆุฒุงุฑุงุช ุงู„ูˆุถุนุŸ ุชุตูˆูŠุฑ ุบูŠุฑ ู…ุจู‡ุฌ ูˆู„ูƒู† ุฏู‚ูŠู‚ ู„ุฌู…ู‡ูˆุฑูŠุฉ ุงู„ุชุดูŠูƒ ูƒุฏูˆู„ุฉ ู„ู† ุชู‚ุฏู… ูŠุฏ ุงู„ู…ุณุงุนุฏุฉ ุฅู„ุง ุนู†ุฏู…ุง ูŠูƒูˆู† ุงู„ุฃู…ุฑ ูŠุณุชุญู‚ ุงู„ุนู†ุงุก

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุฑูˆุจู† ูƒูุงุจูŠู„ุŒ ุฏุฑุณ ูˆุชุฎุฑู‘ุฌ ู…ู† ูƒู„ูŠุฉ ุงู„ุฅุฎุฑุงุฌ ุงู„ู…ุณุฑุญูŠ ูˆู‚ุณู… ุงู„ุฃูู„ุงู… ุงู„ูˆุซุงุฆู‚ูŠุฉ ููŠ ุฌุงู…ุนุฉ ูุงู…ูˆ

ูƒุงู† ุฃูˆู„ ุนู…ู„ ู„ู‡ ููŠู„ู… ูƒูˆู…ูŠุฏูŠ ุนู† ุนุจู‚ุฑูŠุฉ ุจุฑู†ูˆุŒ “ูƒู„ ุดูŠุก ุณูŠูƒูˆู† ุนู„ู‰ ู…ุง ูŠุฑุงู…” 2017ุŒ ูˆุฃูˆู„ ููŠู„ู… ูˆุซุงุฆู‚ูŠ ูƒุงู† ุนุจุงุฑุฉ ุนู† ุฑูŠุจูˆุฑุชุงุฌ ุญูˆู„ ุญู…ู„ุฉ ู…ูŠุดุงู„ ู‡ูˆุฑุงุชุดูŠูƒ ุงู„ุฑุฆุงุณูŠุฉุŒ “ูŠู…ูƒู†ู†ุง ุฃู† ู†ูุนู„ ู…ุง ู‡ูˆ ุฃูุถู„” ุŒ ูˆู‡ูŠ ู…ุดุงุฑูƒุฉ ุฅุฎุฑุงุฌูŠุฉ ู…ุน ุฑุงุฏูŠู… ุจุฑูˆุชุดุงุฒูƒุงุŒ 2018

ุญูˆุงุฑ ู…ุน ุงู„ุดุฎุตูŠุฉ ุงู„ุฑุฆูŠุณูŠุฉ (ู…ูŠูƒูˆ) ุจุนุฏ ุงู„ููŠู„ู… *


The Birds Have Left Beirut 

Khalil Dreyfus Zaarour, Doc, Lebanon, 15mn-2022

Synopsis
August 4, 2020. A date that shook a country, changed a city and destroyed lives… Zeina was one of them.

โ€œThe country today doesnโ€™t actually allow you to act according to your conscience.โ€

About the Director
Khalil Dreyfus Zaarour, is an award-winning independent filmmaker. His career debuted in 2006 with his award-winning short film “THE WINDOW”. He started teaching in universities at the age of 28, in 2010 he pursued his career with the award-winning docu-fiction “MALAKI – SCENT OF AN ANGEL” about the missing persons during the civil war. In 2019 he made his first fiction feature NOUR which was highly acclaimed and released in cinemas in France, winning more than 45 awards and nominations worldwide.

ู…ู„ุฎุต ุงู„ููŠู„ู…

4 ุฃุบุณุทุณ 2020. ุชุงุฑูŠุฎ ู‡ุฒ ุฏูˆู„ุฉ ูˆุบูŠู‘ุฑ ู…ุฏูŠู†ุฉ ูˆุฏู…ู‘ุฑ ุญูŠุงุฉ ุงู„ู†ุงุณ.. ุฒูŠู†ุฉ ูˆุงุญุฏุฉ ู…ู†ู‡ู…

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุฎู„ูŠู„ ุฏุฑูŠูุณ ุฒุนุฑูˆุฑ ู‡ูˆ ู…ุฎุฑุฌ ุฃูู„ุงู… ู…ุณุชู‚ู„ ูˆุงู„ุญุงุฆุฒ ุนู„ู‰ ุนุฏุฉ ุฌูˆุงุฆุฒ. ุจุฏุฃุช ู…ุณูŠุฑุชู‡ ุงู„ู…ู‡ู†ูŠุฉ ููŠ ุนุงู… 2006 ู…ุน ููŠู„ู…ู‡ ุงู„ู‚ุตูŠุฑ “ุงู„ู†ุงูุฐุฉ”. ุจุฏุฃ ุงู„ุชุฏุฑูŠุณ ููŠ ุงู„ุฌุงู…ุนุงุช ููŠ ุณู† 28 ุนุงู…ู‹ุงุŒ ูˆููŠ ุนุงู… 2010 ูˆุงุตู„ ู…ุณูŠุฑุชู‡ ุงู„ู…ู‡ู†ูŠุฉ ู…ู† ุฎู„ุงู„ ุงู„ููŠู„ู… ุงู„ูˆุซุงุฆู‚ูŠ “ู…ู„ูƒูŠ – ุฑุงุฆุญุฉ ู…ู„ุงูƒ” ุญูˆู„ ุงู„ุฃุดุฎุงุต ุงู„ู…ูู‚ูˆุฏูŠู† ุฎู„ุงู„ ุงู„ุญุฑุจ ุงู„ุฃู‡ู„ูŠุฉ. ููŠ ุนุงู… 2019ุŒ ุฃุฎุฑุฌ ููŠู„ู…ู‡ ุงู„ุฑูˆุงุฆูŠ ุงู„ุทูˆูŠู„ ุงู„ุฃูˆู„ “ู†ูˆุฑ” ูˆุงู„ุฐูŠ ู„ุงู‚ู‰ ุงุณุชุญุณุงู†ุงู‹ ูƒุจูŠุฑุงู‹ ูˆุชู… ุนุฑุถู‡ ููŠ ุฏูˆุฑ ุงู„ุณูŠู†ู…ุง ููŠ ูุฑู†ุณุงุŒ ูˆูุงุฒ ุจุฃูƒุซุฑ ู…ู† 45 ุฌุงุฆุฒุฉ ูˆุชุฑุดูŠุญุงู‘ ุญูˆู„ ุงู„ุนุงู„ู…


I Am a Tree

Racha Faraj, Doc, Lebanon, 9mn-2023

Synopsis
After longing to escape Beirut, I then realized that leaving was a sin. It took me years to integrate and heal from traumas Iโ€™ve experienced abroad. In retrospect, I often think that if I were still in Beirut, these experiences would never have occurred. This led me to call myself a tree, as we all have roots. However, whether we become accustomed to alienation or remain eternally tethered to our homeland is a matter of perspective.

About the Director
Racha Faraj: After studying Cinema at the Lebanese Institute of Fine Arts, she moved from Beirut to Germany in 2016. In addition to working as a freelance filmmaker and editor, sheโ€™s currently working with people diagnosed with intellectual and developmental disabilities. This work has been incredibly fulfilling for her, as she believes that art combined with therapy can be transformative.

In 2014, her first film “Yalda” was selected for the Beirut International Film Festival. Her second film, “Just like Salma” (2022), was selected for the Faludi Film Festival in Budapest.

Now, “I Am a Tree” marks her third short film. This project holds great significance for her as it encapsulates the personal journey over a four-year period that she refers to as her “stagnation” phase.

ุฃู†ุง ุดุฌุฑุฉ – ู…ู„ุฎุต ุงู„ููŠู„ู…

ูˆุจุนุฏ ุงู„ุชุทู„ุน ู„ู„ู‡ุฑูˆุจ ู…ู† ุจูŠุฑูˆุชุŒ ุฃุฏุฑูƒุช ุฃู† ุงู„ุฑุญูŠู„ ูƒุงู† ุฎุทูŠุฆุฉ. ู„ู‚ุฏ ุงุณุชุบุฑู‚ ุงู„ุฃู…ุฑ ู…ู†ูŠ ุณู†ูˆุงุช ู„ู„ุงู†ุฏู…ุงุฌ ูˆุงู„ุดูุงุก ู…ู† ุงู„ุตุฏู…ุงุช ุงู„ุชูŠ ู…ุฑุฑุช ุจู‡ุง ููŠ ุงู„ุฎุงุฑุฌ. ุนู†ุฏู…ุง ุฃุนูˆุฏ ุจุฐุงูƒุฑุชูŠ ุฅู„ู‰ ุงู„ู…ุงุถูŠุŒ ูƒุซูŠุฑุงู‹ ู…ุง ุฃุนุชู‚ุฏ ุฃู†ู†ูŠ ู„ูˆ ูƒู†ุช ู„ุง ุฃุฒุงู„ ููŠ ุจูŠุฑูˆุชุŒ ู„ู…ุง ุญุฏุซุช ู‡ุฐู‡ ุงู„ุชุฌุงุฑุจ ุฃุจุฏุงู‹. ูˆู‡ุฐุง ู…ุง ุฏูุนู†ูŠ ุฅู„ู‰ ุฃู† ุฃุทู„ู‚ ุนู„ู‰ ู†ูุณูŠ ุงุณู… ุงู„ุดุฌุฑุฉุŒ ุฅุฐ ุฅู†ู†ุง ุฌู…ูŠุนุงู‹ ู„ุฏูŠู†ุง ุฌุฐูˆุฑ. ูˆู…ุน ุฐู„ูƒุŒ ุณูˆุงุก ุงุนุชุฏู†ุง ุนู„ู‰ ุงู„ุงุบุชุฑุงุจ ุฃูˆ ุจู‚ูŠู†ุง ู…ุฑุชุจุทูŠู† ุจูˆุทู†ู†ุง ุฅู„ู‰ ุงู„ุฃุจุฏุŒ ูู‡ูŠ ู…ุณุฃู„ุฉ ู…ู†ุธูˆุฑ

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌุฉ

ุฑุดุง ูุฑุฌ: ุจุนุฏ ุฏุฑุงุณุฉ ุงู„ุณูŠู†ู…ุง ููŠ ุงู„ู…ุนู‡ุฏ ุงู„ู„ุจู†ุงู†ูŠ ู„ู„ูู†ูˆู† ุงู„ุฌู…ูŠู„ุฉุŒ ุงู†ุชู‚ู„ุช ู…ู† ุจูŠุฑูˆุช ุฅู„ู‰ ุฃู„ู…ุงู†ูŠุง ููŠ ุนุงู… 2016. ุจุงู„ุฅุถุงูุฉ ุฅู„ู‰ ุงู„ุนู…ู„ ูƒู…ุฎุฑุฌุฉ ูˆู…ุญุฑุฑุฉ ุฃูู„ุงู… ู…ุณุชู‚ู„ุฉุŒ ุชุนู…ู„ ุญุงู„ูŠุงู‹ ู…ุน ุฃุดุฎุงุต ู…ุตุงุจูŠู† ุจุฅุนุงู‚ุงุช ููƒุฑูŠุฉ ูˆุชู†ู…ูˆูŠุฉ. ููŠ ุนุงู… 2014ุŒ ุชู… ุงุฎุชูŠุงุฑ ููŠู„ู…ู‡ุง ุงู„ุฃูˆู„ “ูŠู„ุฏุง” ู„ู…ู‡ุฑุฌุงู† ุจูŠุฑูˆุช ุงู„ุณูŠู†ู…ุงุฆูŠ ุงู„ุฏูˆู„ูŠ. ุชู… ุงุฎุชูŠุงุฑ ุงู„ููŠู„ู… ุงู„ุซุงู†ูŠ “ุชู…ุงู…ู‹ุง ู…ุซู„ ุณู„ู…ู‰” (2022) ู„ู…ู‡ุฑุฌุงู† ูุงู„ูˆุฏูŠ ุงู„ุณูŠู†ู…ุงุฆูŠ ููŠ ุจูˆุฏุงุจุณุช


Digging For Life

Joao Queiroga, Doc, Cameron, USA, Qtr, Port, 14mn-2021

Synopsis
When a young Cameroonian man attempts to pursue the dream of a better life in post-apartheid South Africa, he instead finds himself trapped as a slave in Angola.

โ€œThe country today doesnโ€™t actually allow you to act according to your conscience.โ€

About the Director
Joรฃo Queiroga, is a Portuguese director, performer and educator. He holds a Master of Fine Arts in documentary media from Northwestern University’s School of Communication. He is a Calouste Gulbenkian scholar, a Hoffman grantee, a Davis UWC scholar, and a Fulbright recipient. Additional experience includes assignments with Cinema/Chicago WGN-TV Chicago and Cannes Intโ€™l Film Festival. As a filmmaker his work has screen internationally at Hot Docs, IDFA, BFI:Flare, DocLisboa and many others. His hybrid documentary film โ€œOur Skinโ€ was nominated for an Iris Award and won a Lili Award. Joรฃo has served as Chair of the Post-Production Department at New York Film Academy, and is currently an Assistant Professor at Northwestern University in Doha, Qatar.

ู…ู„ุฎุต ุงู„ููŠู„ู…

ุนู†ุฏู…ุง ูŠุญุงูˆู„ ุดุงุจ ูƒุงู…ูŠุฑูˆู†ูŠ ุงู„ุณุนูŠ ู„ุชุญู‚ูŠู‚ ุญู„ู… ุญูŠุงุฉ ุฃูุถู„ ููŠ ุฌู†ูˆุจ ุฅูุฑูŠู‚ูŠุง ู…ุง ุจุนุฏ ุงู„ูุตู„ ุงู„ุนู†ุตุฑูŠุŒ ูˆุฌุฏ ู†ูุณู‡ ุจุฏู„ุงู‹ ู…ู† ุฐู„ูƒ ู…ุญุงุตุฑู‹ุง ูƒุนุจุฏ ููŠ ุฃู†ุบูˆู„ุง

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุฌูˆุงูˆ ูƒูˆูŠุฑูˆุฌุง ู‡ูˆ ู…ุฎุฑุฌ ูˆูู†ุงู† ูˆู…ุนู„ู… ุจุฑุชุบุงู„ูŠ. ูˆู‡ูˆ ุญุงุตู„ ุนู„ู‰ ุฏุฑุฌุฉ ุงู„ู…ุงุฌุณุชูŠุฑ ููŠ ุงู„ูู†ูˆู† ุงู„ุฌู…ูŠู„ุฉ ููŠ ุงู„ุฅุนู„ุงู… ุงู„ูˆุซุงุฆู‚ูŠ ู…ู† ูƒู„ูŠุฉ ุงู„ุงุชุตุงู„ุงุช ุจุฌุงู…ุนุฉ ู†ูˆุฑุซ ูˆุณุชุฑู†. ุจุตูุชู‡ ุตุงู†ุน ุฃูู„ุงู…ุŒ ุชู… ุนุฑุถ ุฃุนู…ุงู„ู‡ ุฏูˆู„ูŠุงู‹ ููŠ ุงู„ุนุฏูŠุฏ ู…ู† ุงู„ู…ู‡ุฑุฌุงู†ุงุช ุงู„ุฏูˆู„ูŠุฉ ูˆุฑุดุญ ููŠู„ู…ู‡ ุงู„ูˆุซุงุฆู‚ูŠ โ€œOur Skinโ€ ู„ุฌุงุฆุฒุฉ Iris ูˆูุงุฒ ุจุฌุงุฆุฒุฉ ู„ูŠู„ูŠ. ุดุบู„ ุฌูˆุงูˆ ู…ู†ุตุจ ุฑุฆูŠุณ ู‚ุณู… ู…ุง ุจุนุฏ ุงู„ุฅู†ุชุงุฌ ููŠ ุฃูƒุงุฏูŠู…ูŠุฉ ู†ูŠูˆูŠูˆุฑูƒ ู„ู„ุฃูู„ุงู…ุŒ ูˆูŠุดุบู„ ุญุงู„ูŠู‹ุง ู…ู†ุตุจ ุฃุณุชุงุฐ ู…ุณุงุนุฏ ููŠ ุฌุงู…ุนุฉ ู†ูˆุฑุซ ูˆุณุชุฑู† ููŠ ุงู„ุฏูˆุญุฉุŒ ู‚ุทุฑ


Where Have All The Smiles Gone

Anja Strelec, Doc, Nepal, India, 30mn-2023

Synopsis
Thousands of people are leaving their homes in Nepal each year to pursue their dreams and happiness abroad. Hoping for a better life and economic prosperity, Nepali workers move to foreign countries to earn money and help their families. However, in the destination countries they are often mistreated and deprived of their human rights. And while the immigration wave is increasing each year and Nepali economy heavily depends on remittance, the immigrants are often, instead with greater economic prosperity, coming back to Nepal in very bad health or dead in coffins due to the bad working conditions.
Pursuit of a better life often ends tragically for entire families. 

About the Director
For the past fifteen years, Anja Strelec has worked as an independent documentary filmmaker, TV journalist and mentor. Her portfolio includes award-winning documentaries and promotional films screened at global festivals and broadcasted on Croatian and Belgian TV networks. Currently based in Brussels, Anja works on diverse film projects for Belgian TV, and works as a mentor for film and video schools and institutions. Her work focuses on social, environmental, and development topics, as well as audio-visual portrait storytelling. Additionally, Anja has served as a film selector at FIFB and guest lecturer at universities, conferences, and festivals. She holds master’s degrees in audio-visual and film production and directing from French university Paul Valery in Montpellier and ESAV in Toulouse, France.

ู…ู„ุฎุต ุงู„ููŠู„ู…

ูŠุบุงุฏุฑ ุขู„ุงู ุงู„ุฃุดุฎุงุต ู…ู†ุงุฒู„ู‡ู… ููŠ ู†ูŠุจุงู„ ูƒู„ ุนุงู… ู„ุชุญู‚ูŠู‚ ุฃุญู„ุงู…ู‡ู… ูˆุณุนุงุฏุชู‡ู… ููŠ ุงู„ุฎุงุฑุฌ. ุนู„ู‰ ุฃู…ู„ ุญูŠุงุฉ ุฃูุถู„ ูˆุงุฒุฏู‡ุงุฑ ุงู‚ุชุตุงุฏูŠุŒ ูŠู†ุชู‚ู„ ุงู„ุนู…ุงู„ ุงู„ู†ูŠุจุงู„ูŠูˆู† ุฅู„ู‰ ุงู„ุฏูˆู„ ุงู„ุฃุฌู†ุจูŠุฉ ู„ูƒุณุจ ุงู„ู…ุงู„ ูˆู…ุณุงุนุฏุฉ ุฃุณุฑู‡ู…. ูˆู…ุน ุฐู„ูƒุŒ ูููŠ ุจู„ุฏุงู† ุงู„ู…ู‚ุตุฏ ุบุงู„ุจุงู‹ ู…ุง ูŠุชุนุฑุถูˆู† ู„ุณูˆุก ุงู„ู…ุนุงู…ู„ุฉ ูˆูŠูุญุฑู…ูˆู† ู…ู† ุญู‚ูˆู‚ู‡ู… ุงู„ุฅู†ุณุงู†ูŠุฉ. ูˆุจูŠู†ู…ุง ุชุชุฒุงูŠุฏ ู…ูˆุฌุฉ ุงู„ู‡ุฌุฑุฉ ูƒู„ ุนุงู… ูˆูŠุนุชู…ุฏ ุงู„ุงู‚ุชุตุงุฏ ุงู„ู†ูŠุจุงู„ูŠ ุจุดูƒู„ ูƒุจูŠุฑ ุนู„ู‰ ุงู„ุชุญูˆูŠู„ุงุช ุงู„ู…ุงู„ูŠุฉุŒ ูุฅู† ุงู„ู…ู‡ุงุฌุฑูŠู† ุบุงู„ุจุงู‹ ู…ุง ูŠุนูˆุฏูˆู† ุฅู„ู‰ ู†ูŠุจุงู„ ูˆู‡ู… ููŠ ุญุงู„ุฉ ุตุญูŠุฉ ุณูŠุฆุฉ ู„ู„ุบุงูŠุฉ ุฃูˆ ููŠ ุชูˆุงุจูŠุชุŒ ุญูŠุซ ูŠู…ูˆุชูˆู† ุจุณุจุจ ุธุฑูˆู ุงู„ุนู…ู„ ุงู„ุณูŠุฆุฉุŒ ุฑุบู… ุชู†ุงู…ูŠ ุงู„ุงุฒุฏู‡ุงุฑ ุงู„ุงู‚ุชุตุงุฏูŠ. ุบุงู„ุจุงู‹ ู…ุง ูŠู†ุชู‡ูŠ ุงู„ุณุนูŠ ูˆุฑุงุก ุญูŠุงุฉ ุฃูุถู„ ุจุดูƒู„ ู…ุฃุณุงูˆูŠ ู„ุนุงุฆู„ุงุช ุจุฃูƒู…ู„ู‡ุง

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌุฉ

ุนู„ู‰ ู…ุฏุงุฑ ุงู„ุฎู…ุณุฉ ุนุดุฑ ุนุงู…ู‹ุง ุงู„ู…ุงุถูŠุฉุŒ ุนู…ู„ุช ุฃู†ุฌุง ุณุชุฑูŠู„ูŠุชุด ูƒู…ุฎุฑุฌุฉ ุฃูู„ุงู… ูˆุซุงุฆู‚ูŠุฉ ู…ุณุชู‚ู„ุฉ ูˆุตุญููŠุฉ ุชู„ูุฒูŠูˆู†ูŠุฉ ูˆู…ุฑุดุฏุฉ. ุชุดุชู…ู„ ู…ุญูุธุชู‡ุง ุนู„ู‰ ุฃูู„ุงู… ูˆุซุงุฆู‚ูŠุฉ ูˆุฃูู„ุงู… ุชุฑูˆูŠุฌูŠุฉ ุญุงุฆุฒุฉ ุนู„ู‰ ุฌูˆุงุฆุฒ ุชู… ุนุฑุถู‡ุง ููŠ ู…ู‡ุฑุฌุงู†ุงุช ุนุงู„ู…ูŠุฉ ูˆุชู… ุจุซู‡ุง ุนู„ู‰ ุดุจูƒุงุช ุงู„ุชู„ูุฒูŠูˆู† ุงู„ูƒุฑูˆุงุชูŠุฉ ูˆุงู„ุจู„ุฌูŠูƒูŠุฉ. ุชู‚ูŠู… ุฃู†ุฌุง ุญุงู„ูŠุงู‹ ููŠ ุจุฑูˆูƒุณู„ุŒ ูˆุชุนู…ู„ ููŠ ู…ุดุงุฑูŠุน ุณูŠู†ู…ุงุฆูŠุฉ ู…ุชู†ูˆุนุฉ ู„ู„ุชู„ูุฒูŠูˆู† ุงู„ุจู„ุฌูŠูƒูŠุŒ ูˆุชุนู…ู„ ูƒู…ุฑุดุฏุฉ ู„ู…ุฏุงุฑุณ ูˆู…ุคุณุณุงุช ุงู„ุณูŠู†ู…ุง ูˆุงู„ููŠุฏูŠูˆ. ูŠุฑูƒุฒ ุนู…ู„ู‡ุง ุนู„ู‰ ุงู„ู…ูˆุถูˆุนุงุช ุงู„ุงุฌุชู…ุงุนูŠุฉ ูˆุงู„ุจูŠุฆูŠุฉ ูˆุงู„ุชู†ู…ูˆูŠุฉุŒ ุจุงู„ุฅุถุงูุฉ ุฅู„ู‰ ุณุฑุฏ ุงู„ู‚ุตุต ุงู„ุตูˆุชูŠุฉ ูˆุงู„ู…ุฑุฆูŠุฉ. ุจุงู„ุฅุถุงูุฉ ุฅู„ู‰ ุฐู„ูƒุŒ ุนู…ู„ุช ุฃู†ุฌุง ูƒู…ุณุชุดุงุฑุฉ ู„ู„ุฃูู„ุงู… ููŠ ุงู„ุงุชุญุงุฏ ุงู„ุฏูˆู„ูŠ ู„ูƒุฑุฉ ุงู„ู‚ุฏู… ูˆู…ุญุงุถุฑ ุถูŠู ููŠ ุงู„ุฌุงู…ุนุงุช ูˆุงู„ู…ุคุชู…ุฑุงุช ูˆุงู„ู…ู‡ุฑุฌุงู†ุงุช. ุญุตู„ุช ุนู„ู‰ ุฏุฑุฌุฉ ุงู„ู…ุงุฌุณุชูŠุฑ ููŠ ุงู„ุฅู†ุชุงุฌ ูˆุงู„ุฅุฎุฑุงุฌ ุงู„ุณู…ุนูŠ ุงู„ุจุตุฑูŠ ูˆุงู„ุณูŠู†ู…ุงุฆูŠ ู…ู† ุฌุงู…ุนุฉ ุจูˆู„ ูุงู„ูŠุฑูŠ ุงู„ูุฑู†ุณูŠุฉ ููŠ ู…ูˆู†ุจู„ูŠูŠู‡ ESAV ููŠ ุชูˆู„ูˆุฒุŒ ูุฑู†ุณุง


Palestine 87

Bilal Al Khatib, Fic, Palestine, 13Min- 2022

Synopsis
A man fleeing the Israeli army during the First Palestinian Intifada is sheltered by two strangers who prevent his capture.

About the Director
Bilal Alkhatib, is a filmmaker from Palestine, based in Ramallah. He started working in the film industry as a cameraman, before he realized his passion for filmmaking. His previous works are two short films “Billiard” 2016 and “Another point of view” 2018. Palestine 87 is the third short film.

ู…ู„ุฎุต ุงู„ููŠู„ู…

ุฎู„ุงู„ ุงู„ุงู†ุชูุงุถุฉ ุงู„ุฃูˆู„ู‰ ูŠุชูˆุฑุท ุนุงุทู ููŠ ู…ุทุงุฑุฏุฉ ุฌูŠุด ุงู„ุงุญุชู„ุงู„ ุงู„ุงุณุฑุงุฆูŠู„ูŠ ู„ู‡ุŒ ูˆูŠุฌุฏ ู†ูุณู‡ ู…ุญุงุตุฑุง ููŠ ุณุงุญุฉ ุจูŠุช ู„ุง ูŠุนุฑู ุงุตุญุงุจู‡. ุชุฎุจุฆู‡ ุตุงุญุจุฉ ุงู„ุจูŠุช ููŠ ุงู„ุญู…ุงู…ุŒ ู„ูƒู†ู‡ ูŠุชูุงุฌุฆ ูŠูˆุฌูˆุฏ ุดุฎุต ุฃุฎุฑ ุฏุงุฎู„ู‡ุŒ ูŠุณุงุนุฏู‡ ููŠ ุงู„ู„ุญุธุฉ ุงู„ู…ู†ุงุณุจุฉ ุจุงู„ุฅูู„ุงุช ู…ู† ุงู„ุงุนุชู‚ุงู„

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุจู„ุงู„ ุงู„ุฎุทูŠุจ ู…ุฎุฑุฌ ูˆู…ุตูˆุฑ ุณูŠู†ู…ุงุฆูŠ ู…ู† ูู„ุณุทูŠู†ุŒ ุจุฏุฃ ุงู„ุนู…ู„ ููŠ ู…ุฌุงู„ ุงู„ุฃูู„ุงู… ูƒู…ุตูˆุฑ ูˆู…ุฏูŠุฑ ุฅุถุงุกุฉ ู‚ุจู„ ุฃู† ูŠุฏุฑูƒ ุดุบูู‡ ุจุตู†ุงุนุฉ ุงู„ุฃูู„ุงู…. ุฃุนู…ุงู„ู‡ ุงู„ุณุงุจู‚ุฉ ููŠู„ู…ุงู† ู‚ุตูŠุฑุงู† “ุจู„ูŠุงุฑุฏูˆ” ูขู ูกูฆ  ูˆ”ููƒุฑุฉ ุซุงู†ูŠุฉ” ูขู ูกูจ. ูู„ุณุทูŠู† ูจูง ู‡ูˆ ููŠู„ู…ู‡ ุงู„ู‚ุตูŠุฑ ุงู„ุซุงู„ุซ


Marko

(Marko Santic, Fic, Croatia, 17mn-2021)

Synopsis
Marko and Ankica never got over the death of their only child Ante in the war. When their neighbor Stipe suggests renting sonโ€™s room to tourists, Marko sees that as an insult but Ankica manages to talk him into it. Renting rooms is easy money, especially for retired people, but having an unknown man sleeping in his son’s bed troubles Marko a lot.

About the Director
Marko ล antiฤ‡โ€™s, short films Good luck Nedim, The Hole and Blue Peter were screened at many film festivals and won numerous awards. His feature films Seduce Me and Lada Kamenski were premiered at the Warsaw and Montreal Film Festival and awarded widely.

ู…ู„ุฎุต ุงู„ููŠู„ู…

ู„ู… ูŠุชุบู„ุจ ู…ุงุฑูƒูˆ ูˆุฃู†ูƒูŠูƒุง ุนู„ู‰ ูˆุฌุนู‡ู…ุง ุจุนุฏ ูˆูุงุฉ ุงุจู†ู‡ู…ุง ุงู„ูˆุญูŠุฏ ุฃู†ุชูŠ ููŠ ุงู„ุญุฑุจ. ุนู†ุฏู…ุง ูŠู‚ุชุฑุญ ุฌุงุฑู‡ู…ุง ุณุชูŠุจ ุชุฃุฌูŠุฑ ุบุฑูุฉ ุงู„ุงุจู† ุงู„ุฑุงุญู„ ู„ู„ุณูŠุงุญุŒ ูŠุฑู‰ ู…ุงุฑูƒูˆ ุฃู† ุฐู„ูƒ ุฅู‡ุงู†ุฉุŒ ู„ูƒู† ุฃู†ูƒูŠูƒุง ุชุชู…ูƒู† ู…ู† ุฅู‚ู†ุงุนู‡ ุจุฐู„ูƒ. ูŠู…ู†ุญ ุชุฃุฌูŠุฑ ุงู„ุบุฑู ู…ุงู„ุงู‹ ู„ุงุฒู…ุงู‹ุŒ ุฎุงุตุฉ ู„ู…ุชู‚ุงุนุฏูŠู† ู…ุณู†ู‘ูŠู†ุŒ ุจูŠุฏ ุฃู† ูˆุฌูˆุฏ ุฑุฌู„ ู…ุฌู‡ูˆู„ ูŠู†ุงู… ููŠ ุณุฑูŠุฑ ุงู„ุงุจู† ูŠุฒุนุฌ ู…ุงุฑูƒูˆ ูƒุซูŠุฑู‹ุง

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌ

ุชู… ุนุฑุถ ุฃูู„ุงู… ู…ุงุฑูƒูˆ ุดุงู†ุชูŠุชุด ุงู„ู‚ุตูŠุฑุฉ ููŠ ุงู„ุนุฏูŠุฏ ู…ู† ุงู„ู…ู‡ุฑุฌุงู†ุงุช ุงู„ุณูŠู†ู…ุงุฆูŠุฉ ูˆูุงุฒุช ุจุงู„ุนุฏูŠุฏ ู…ู† ุงู„ุฌูˆุงุฆุฒ. ุนูุฑุถ ููŠู„ู…ุงู‡ ุงู„ุทูˆูŠู„ุงู† Seduce Me ูˆ Lada Kamenski ู„ุฃูˆู„ ู…ุฑุฉ ููŠ ู…ู‡ุฑุฌุงู† ูˆุงุฑุณูˆ ูˆู…ูˆู†ุชุฑูŠุงู„ ุงู„ุณูŠู†ู…ุงุฆูŠ ูˆู†ุงู„ุง ุฌูˆุงุฆุฒ ุนู„ู‰ ู†ุทุงู‚ ูˆุงุณุน


Almaz

Mia Bittar, Fic, Sudan, 30mn-2022

Synopsis
Annually millions of people leave their homes searching for a new life โ€“ 24-year old Almaz is one of them. A key stop on one of the most well used migration paths in Africa, thousands cross Sudan each year. No official status or money Almaz battles isolation and discrimination while finding support and acceptance in unexpected ways.

About the Director
Mia Bittar, born in Khartoum, Mia Bittar is a Lebanese/ Sudanese independent filmmaker. After working in New York and London as an editor, turned producer – director she returned to Sudan in 2008 and started traveling the country shooting documentaries. Al-Jazeera Witness commissioned her first film โ€˜Darfur Playsโ€™. Since then Mia has sought to tell stories about Sudan that present a different narrative to that in the mainstream media, with a strong focus on womenโ€™s voices- both on and offscreen. 

ู…ู„ุฎุต ุงู„ููŠู„ู…

ูŠุบุงุฏุฑ ู…ู„ุงูŠูŠู† ุงู„ุฃุดุฎุงุต ู…ู†ุงุฒู„ู‡ู… ุณู†ูˆูŠุงู‹ ุจุญุซู‹ุง ุนู† ุญูŠุงุฉ ุฌุฏูŠุฏุฉ. ูˆุงู„ู…ุงุธ ุงู„ุจุงู„ุบุฉ ู…ู† ุงู„ุนู…ุฑ 24 ุนุงู…ู‹ุง ูˆุงุญุฏุฉ ู…ู†ู‡ู…. ู…ุญุทุฉ ุฑุฆูŠุณูŠุฉ ููŠ ุฃุญุฏ ุฃูƒุซุฑ ู…ุณุงุฑุงุช ุงู„ู‡ุฌุฑุฉ ุงุณุชุฎุฏุงู…ู‹ุง ููŠ ุฅูุฑูŠู‚ูŠุงุŒ ุญูŠุซ ูŠุนุจุฑ ุงู„ุขู„ุงู ุงู„ุณูˆุฏุงู† ูƒู„ ุนุงู…. ู„ุง ุตูุฉ ุฑุณู…ูŠุฉ ุฃูˆ ู…ุงู„ ู„ุฏู‰ ุฃู„ู…ุงุฒ ุงู„ุชูŠ ุชุญุงุฑุจ ุงู„ุนุฒู„ุฉ ูˆุงู„ุชู…ูŠูŠุฒ ุจูŠู†ู…ุง ุชุฌุฏ ุงู„ุฏุนู… ูˆุงู„ู‚ุจูˆู„ ุจุทุฑู‚ ุบูŠุฑ ู…ุชูˆู‚ุนุฉ

ู†ุจุฐุฉ ุนู† ุงู„ู…ุฎุฑุฌุฉ

ูˆู„ุฏุช ู…ูŠุง ุจูŠุทุงุฑ ููŠ ุงู„ุฎุฑุทูˆู…ุŒ ูˆู‡ูŠ ู…ุฎุฑุฌุฉ ู„ุจู†ุงู†ูŠุฉ / ุณูˆุฏุงู†ูŠุฉ ู…ุณุชู‚ู„ุฉ. ุจุนุฏ ุฃู† ุนู…ู„ุช ููŠ ู†ูŠูˆูŠูˆุฑูƒ ูˆู„ู†ุฏู† ู…ุญุฑุฑุฉุŒ ุซู… ุฃุตุจุญุช ู…ู†ุชุฌุฉ ูˆู…ุฎุฑุฌุฉุŒ ุนุงุฏุช ุฅู„ู‰ ุงู„ุณูˆุฏุงู† ููŠ ุนุงู… 2008 ูˆุจุฏุฃุช ููŠ ุงู„ุณูุฑ ุนุจุฑ ุงู„ุจู„ุงุฏ ู„ุชุตูˆูŠุฑ ุฃูู„ุงู… ูˆุซุงุฆู‚ูŠุฉุŒ ุซู… ุฃู†ุฌุฒุช ููŠู„ู…ู‡ุง ุงู„ุฃูˆู„ “ู…ุณุฑุญูŠุงุช ุฏุงุฑููˆุฑ”. ู…ู†ุฐ ุฐู„ูƒ ุงู„ุญูŠู†ุŒ ุณุนุช ุจูŠุทุงุฑ ุฅู„ู‰ ุณุฑุฏ ู‚ุตุต ุนู† ุงู„ุณูˆุฏุงู† ู…ุฎุชู„ูุฉ ุนู† ุชู„ูƒ ุงู„ุชูŠ ููŠ ูˆุณุงุฆู„ ุงู„ุฅุนู„ุงู… ุงู„ุฑุฆูŠุณูŠุฉุŒ ู…ุน ุชุฑูƒูŠุฒ ู‚ูˆูŠ ุนู„ู‰ ุฃุตูˆุงุช ุงู„ู†ุณุงุกุŒ ุณูˆุงุก ุนู„ู‰ ุงู„ุดุงุดุฉ ุฃูˆ ุฎุงุฑุฌู‡ุง. ุฏุฑุจุช ุจูŠุทุงุฑ ุตุงู†ุนูŠ ุงู„ุฃูู„ุงู… ูˆุณู‡ู„ุช ุนู…ู„ูŠุงุช ุตู†ุน ุงู„ุฃูู„ุงู… ุงู„ุชุดุงุฑูƒูŠุฉ ููŠ ุฌู†ูˆุจ ุงู„ุณูˆุฏุงู† ูˆุงู„ุตูˆู…ุงู„. ุชุนูŠุด ุญุงู„ูŠู‹ุง ุจูŠู† ุงู„ุฎุฑุทูˆู… ูˆุฃุซูŠู†ุง

Parallel Activities

Master Class

Villains, Victims, Heroes?
A masterclass to refute common myths and fallacies in media toward persons with disabilities.

Given by Amal Charif, founder and manager director of HalTek Association

ุงู„ุฃู†ุดุทุฉ ุงู„ู…ูˆุงุฒูŠุฉ

ุตู ุชุฏุฑูŠุจูŠ

ุฃุดุฑุงุฑุŒ ุถุญุงูŠุงุŒ ุฃุจุทุงู„ุŸ

.ู…ุงุณุชุฑูƒู„ุงุณ ู„ุฏุญุถ ุงู„ุฎุฑุงูุงุช ูˆุงู„ู…ุบุงู„ุทุงุช ุงู„ุดุงุฆุนุฉ ููŠ ุงู„ู…ูŠุฏูŠุง ุชุฌุงู‡ ุงู„ุฃุดุฎุงุต ุฐูˆูŠ ุงู„ุฅุนุงู‚ุฉ

ุชู‚ุฏู…ู‡ ุฃู…ุงู„ ุงู„ุดุฑูŠูุŒ ุงู„ู…ุคุณุณ ูˆุงู„ู…ุฏูŠุฑ ุงู„ุชู†ููŠุฐูŠ ู„ุฌู…ุนูŠุฉ ุญู„.ุชูƒ


Festival Team

Haytham Chamass – Festival Director

Najwa Kondakji – Program Manager

Nourhan Hussein – Coordinator

Claude Younan – Coordinator

Zeinab Rahal – Financial Officer

Karine Saadeh – Graphic Designer

Rami Kassabieh – Videographer/Promo

Bassel Saade – Web Developer


Festival Guests

Abdeslam Kelai: Director – Goldfishes – Morocco

Zakariya Jaber: Director – Anxious in Beirut – Lebanon

Sara Suleiman: Directorโ€“ Heroic Bodies – Sudan

Miko Jaroslav: Protagonist – Citizen Miko – Czech Republic

Sawsan Darwaza: Festival Director – Karama Human Rights Film Festival, Jordan

Ehab Khatib: Artistic Director – Karama Human Rights Film Festival, Jordan

Racha Faraj: Director – I Am a Tree – Lebanon

Special thanks to:

Najib Nseir

Houmam Al Sayed

Nadim Jarjoura

Chantal Fadel

Mazen Hachem – Solo Films