Nisimazine Abu Dhabi 2011 #6

NisimazineAbu Dhabi

#6, Wednesday 19 October 2011A Magazine by NISI MASA, European Network Of Young Cinema

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مجلة تصدرها نيسي ماساـ الشبكة االوربية للسينما الشابة

العدد 6 - األربعاء 19 أكتوبر 2011

نيسيمازينMay Odeh

Green RealitiesNawaf Al-Janahi

مي عودهواقع أخضرالجناحي نواف

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picture of the day / صورة اليوم

Twelve people killed in Yemen, protesters clash with police in Rome. The citizens of Tokyo, Paris, Athens, Washington, London, Madrid, Berlin, Hong Kong, and New York air their views on financial terrorism; some are arrested... The construction workers outside our windows are always the same, they don’t seem to need rest.

We watch films about the Egyptian revolution, we petition against the imprisonment of Iranian artists, but we don’t seem to connect the dots. In our opinion there are no fundamental differences between these protests and their demands; people are finding each other and finding out that sharing is better than stealing, discussing better than killing. The sparkle that lit this fire significantly came from the Arab world which, for a decade and more has been seen in the West as the site of barbaric rituals, undemocratic practices and bearded bastards, to put it politely.

Pleasantly enough, while we were busy imagining how uncivilized all these Arabs must have been, we too got badly screwed. Our taxes went to Afghanistan to bomb civilians while university fees magically rose and having a regular income for a young man or woman has become the funniest joke in town. Why do the Libyans deserve democracy and the Yemenites do not? What lies behind these different judgments? They stink (of oil), that’s for sure!

We are finally realizing that criminal behavior does not have a color, a religion or a flag. It’s called greed and it’s a degenerating disease from which no one is immune, us included. Even here, where luxury is a basic necessity, the people who drive us back and forth from these opulent and highly guarded refrigerators work 25 hours a day, much to our delight...

It’s nice to see that imagination and desire sometimes escape the silver screen and take possession of the streets.

مع يشتبكون محتجون اليمن، في قتلوا شخصا عشر اثنا الشرطة في روما. ساكنو طوكيو وباريس وأثينا وواشنطن وجهات نشروا ونيويورك كونغ وهونغ وبرلين ومدريد ولندن نظرهم بشأن تمويل االرهاب على الهواء، بعضهم تم القبض انفسهم، هم مازالوا نوافذنا خارج البناء عمال ان بيد عليه،

ويبدون انهم ليسوا في حاجة الى راحة

سجن ضد اعتراضنا ورفعنا المصرية، الثورة عن فيلما تابعنا الفنانين اإليرانيين، ولكن ال يبدو أننا نجحنا في ربط النقاط. في رأينا أنه ال توجد اختالفات جوهرية بين هذه المحتجين ومطالبهم، والناس يجدون بعضهم البعض، ويعرفون أن المشاركات أفضل التي الشرارة ان التصفية. أفضل من والمناقشة السرقة، من الذي العربي العالم النار، جاء بشكل كبير من أشعلت هذه بقي، ولعقد من الزمن، في نظر الغرب، مكانا لطقوس البربرية،

والممارسات غير الديمقراطية.

بمتعة كافية، وفي وقت كنا فيه مشغولون بتخّيل كيف ان هذا بسبب اصبحنا كانوا. وكيف حضاريين، غير العرب هؤالء التفكير متورطين الى اقصى حد. ذهبت ضرائبنا الى افغانستان لقصف المدنيين، في حين ارتفعت الرسوم الجامعية بشكل امرأة أو ما لرجل المنتظم الدخل تحول فيما معقول، غير شابة الى اكثر النكات طرافة في المدينة. سؤال: لماذا يستحق الليبيون الديمقراطية وفيما ال يستحقها اقرانهم اليمنيون؟ ما الذي يكمن وراء هذه األحكام مختلفة؟ انها رائحة كريهة )من

النفط( ، وهذا أمر مؤكد.

نحن نندرك، أن السلوك اإلجرامي ال يكون له لون أو دين أو علم. لقد سمّي بـ«الجشع« وتحول الى المرض ال مأمن ال احد منه. هنا في العالم المتحضر، حيث ان وجود الفخامة هي من الضرورات هذه من وإيابا ذهابا لنا يقودون الذين الناس فان األساسية، الثالجات الفخمة )اي السيارات الفخمة( الخاضعة الى الحراسات نحن كم اليوم. في ساعة 25 مدار على يعملون المشددة

فرحون بهِذا.

من الجميل أن نرى ان الخيال والرغبة هربا الى الشاشة الفضية، ونزال الى الشوارع سعيا لالستبالء عليها

by Filippo Zambon زمبون فيليبو صورة:

NISIMAZINE ABU DHABI

Wednesday 19 October 2011/# 6A magazine published by the NISI MASA in the

framework of a film journalism workshop

for young film journalists from Europe and the Arab

World with the support of

the Abu Dhabi Film Festival

EDITORIAL STAFF هيئة التحرير المدير المسؤول: ماثيو داراس

Director of Publication Matthieu Darras رئيس التحرير/التصميم الفني: مارجه ألدرس

Editor-in-Chief/Layout Maartje Alders المشرفان: جي وايسبيرغ و زياد الخزاعي

TutorS Jay WeissbergZiad Khuzai

المساهمون في العدد

زياد عبد الصمد ,محمد بشير, علي شجاع العفيف

,ماريو كوزينا ,جبهة التحرير الشريط سينمائيفؤاد هندية ,جنكه باركوزي

Contributors to this issueZiad Abdul Samad, Janka Barkoczi, Fuad

Hindieh, Ali Shujaa Al Afeefi, Mario Kozina, Celluloid Liberation Front, Filippo Zambon

NISI MASA 99 rue du Faubourg Saint-Denis75010, Paris, France

Phone: +33 (0)9 60 39 63 38 [email protected]

www.nisimasa.com

// editorial by Celulloid Liberation Frontجبهة التحرير الشريط سينمائي

فتتاحية ا

Troll HunterAndré Øvredal, Norway - New Horizons

Genre filmmaking has thought of many original ways to make the illusion of what we see on screen believable. Certain de-vices, such as the mockumentary style, developed their visual and narrative tropes into a subgenre of their own. Ap-plying various documentary techniques, like shaky, hand-held camera work and characters talking directly into the lens, along with the ‘must have’ disclaimer about the mysterious found footage that is edited into the film we are about to see, also became a gimmick to make movies authentic.

Nordic fantasy Troll Hunter is a school example of the genre. It relies on all be-fore-mentioned formulas to tell the story of a team of students who discover that the mythical creatures from Nordic folk-lore actually exist, and are the best kept national secret. They team up with the character from the title to do an exposé of the government cover-up. Director André Øvredal uses several other tricks to make the events seem more real: the troll hunter is not a superhero, but rather an underpaid and grumpy government employee who has to fill out papers af-ter killing the menacing beasts. Also, the government is fashionably described in a not-so-bright light, both in the under-ap-preciating means with which it treats its employees and in the too-skillful manner

it hides the evidence of the trolls’ exis-tence.The reality-bending quality of the genre opens up the space to transcend its ge-neric formulas. Many filmmakers rely on the narrative twist that sheds a new light on the events, making the viewer ques-tion the ways reality is represented both in film and in other media. Unfortunately, this potential in Troll Hunter is completely under-developed. The plot unfolds from meeting the least dangerous monsters to the really nasty ones, while even some potentially provocative remarks about the relationship between organized reli-gion and the mythical creatures of pagan origin have sadly been left to hang as a one-time joke.

However, this doesn’t necessary have to be considered as a flaw. The filmmakers tried their best to make the troll hunting scenes as eerie, funny and exciting as pos-sible, which is something worth noting. All in all, Troll Hunter is a darkly humoured Nordic fantasy best thought of as an esca-pist adventure for genre aficionados.

by Mario Kozina

Abu Dhabi seems an appropriate place for televised

revolutions; they are innocuous, and easy to forget

if not entertaining enough. Orderly queuing for

the next insurrection you can hardly imagine

audiences looting the Marina Mall, let alone the

overworked waiter turning a bottle of champagne

into a Molotov bomb.

In light of the recent electoral results, which saw

a robust rise of the far right, to witness Sweden’s

critical and open-minded outlook on racial

segregation in the USA delivers a sad insight into

the workings of western tolerance. That said the

material archived in the Swedish national television

vaults is impressive and skilfully edited by Göran

Hugo Olsson. Devoid of any didactic or exhaustive

pretence, the documentary offers a transversal

view on one of the most inspiring revolutionary

movements of the 20th century.

Short-lived and savagely repressed, the Black Power

movement looms on the American consciousness

especially today when the Obamania is fading

to reveal itself as a colossal swindle. The Black

Panthers were the first and last social movement

to implement a welfare system that America can

keep dreaming about, made of free breakfast, free

medical care and prisoners’ assistance; visionary if

fragile. When asked whether he feared the prospect

of ending up in jail upon his return from Europe,

Stokely Carmichael replies: “I was born in prison.”

Celulloid Liberation Front

review / عرض نقديThe Black Power Mixtape 1967-1975

Thursday 20/10 VOX 8 - 4:00 PM

by Filippo Zambon

Göran Hugo Olsson, Sweden, USA - Documentary Competition

Wednesday 19/10 VOX 1 - 2:15 PM

interview / مقابلة

May Odeh

Your film speaks about ‘faces of fear’ in Palestine. What type of layers does fear have?Since I am from Palestine, and I have been living under occupation since I was born, this kind of approach was my only possible choice. My home country is a place where I face the different layers of fear every day, be-cause these layers are everywhere all the time. My first visit to Gaza was to shoot the film, even if it is only one hour away from the West Bank city where I live. When I arrived, I was sur-prised at how people are living there,

and noticed that the situation is much more complicated than at home. You know, you follow the news, read the newspapers, of course, but if all the scary details are around, they do not allow you to move forward.

Can Diaries even be surprising for the Palestinians?When I show my film to Palestinians outside of Gaza, their first reaction is amazement about the beauty of the city. My sister, for example, said to me after the screening that she could ne-ver imagine such a nice place. I think this can happen because they see this

place differently from the pictures of the news for the first time. In Diaries, I emphasize the contrast: we have a wonderful city which could be a ba-sis to live normally, however we live abnormally there. Anyway, I am still curious on the reaction of the Gaza residents, because I am just arranging the screening for them. I hope I can get the permission at the beginning of the next year, because I really need their feedback.

In your opinion, what does their to-morrow look like?

I began to shoot my film two years ago, and the situation hasn’t changed yet. This is a dirty political game in which a lot of people are participa-ting. When you are outside, you can say that one should stop this or that, but when you are inside it is much more complicated. I have also been involved in this topic from the begin-ning, so I decided to help to find the solution through my profession. I am a member of an initiative group on the mission of creating cinema indus-try in Palestine. We need the atmos-phere of cinema, however we only have one theatre in Ramallah, a com-

mercial one in Nablus, and we don’t have theatre in Gaza at all. I try to re-main active, because, in Palestine, we never stop moving; we have Intifadas, movements, marches, asking at least for unity. To be honest, we don’t see the final consequences of the Arab Spring yet, but it gives us some hope.

Besides you are a woman director, what else makes you put women in focus? Palestinian women are very unique, because they suffered a lot in their lives. Everybody in Gaza lives under bad circumstances, but to be a girl there is something hilarious. They are mothers and sisters of prisoners, wi-dows of their husbands at the same time. They learned how to get their ri-ghts with their own hands, and do not fear to say what they want. These wo-men cross the lines without any fear: they make films, write articles, and they go to work crossing the check-point every day which is also a fight that people need to see.The film is divided into three different

parts according to the three main female characters, who are women living in Gaza at different stages of self-definition. The first one, who ac-tually made me come to Gaza, tries to be at peace with the occupation, the second one just started to ques-tion her life, she has a lot of positive energy and is waiting for the next step, which the third one has already done. Although they seem to be very different at first sight, they share the same destiny.

How many men are worth one wo-man - as one of your protagonists asks in the film?[Laughs]... A lot!

Janka Barkoczi

May Odeh started to work in cinema after par-ticipating in a tutorial training session with the renowned Palestinian director Michel Khleifi. She got involved not only in directing, but also in producing and building the industry. She is the media coordinator for Shashat’s Women’s Film Festival in Palestine. Diaries, her new docu-mentary, tells the stories of three women from Gaza on the 1000th day of the siege on the Gaza Strip.

When I show my film to Palestinians outside of Gaza, their first reaction is amazement about the beauty of the city.

Director of Diaries, PalestineDocumentary Competition

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Thursday 20/10 VOX 1 - 4:30 PM

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focus / بقعة ضوء

Green realities

I was pleasantly surprised at the pro-duction values of all the documen-taries. Except for The City Dark, by Ian Cheney, which had an amateur feel to it, these non-fiction features, from their sweeping airborne shots of mountains, jungles and cities to the close-up interviews, plus the slick editing and use of graphics to state the facts, were wonderful. Do-cumentaries don’t generally look good on big screens. But these did. The City Dark was shot by amateur astronomer, which explains his lack of interest in everything that was not the night sky. But the uncom-mon subject of light pollution had its own unique appeal. The story was also enhanced by the lavish use of animation. The narrative felt slow at times and lacked depth at certain points.

If a Tree Falls: a Story of the Earth Li-beration Front (commonly known as ELF) gives an idea behind the wor-kings of an environmental organiza-tion which practices a different kind of non-violent protest. Non-violence is described in the ELF dictionary quite liberally. It simply means that no humans are harmed in the pro-cess. The leader of the group, Da-niel McGowan, decides to hurt the corporations involved in the timber trade by destroying their factories and offices. The story moves better at a personal level, when the narra-tive is treated as a crime film and at the centre is the leader of the move-ment, Daniel, who is the chief perpe-trator and ultimately a victim.

The Last Mountain is a typical envi-ronmental documentary, where a group of little people stand up to the wealth-hungry corporate types at the US mining industry. I liked it for the mountain-shaped narrative. The protest in Coal River Valley is the

apex of the documentary while the global relevance of it is also explai-ned in general terms: how a protest by a handful of land owners in one part of the world has an impact on the other side.

The best of the lot was the last do-cumentary I watched: Project Nim. I felt that fifteen minutes through the opening sequences will tell me enough to write something about the movie. It did but I couldn’t stop watching. The film was much too fascinating. The plot was mesme-rizing and disturbing at the same time. It connects with the viewer at a different level. Even if you are not a hardcore member of RSPCA, the UK animal welfare charity, you cannot help but be moved by antics of the baby chimpanzee, who was brought up by humans and taught sign lan-guage. The liberal use of music in most of these films was unnecessary. It ma-kes the films much more pleasant to watch but the shot of a person crying, when accompanied by a violin quartet, affects the audience differently. Music can bring emo-tions that are not always evident in the narrative and makes it highly unnatural.

The documentaries in Our World question your role as a global citi-zen. Stable and prosperous nations in this part of the world are in a po-sition where they can choose a safer and cleaner future. Development does not have to be about following in the footsteps of the World War winners. If they jump into a pit, ho-pefully there will be a few who stop before it is too late.

Ziad Abdul Samad

‘Our World’ is the non-glamorous section of the film festival, the covering of which is wholly entrusted to me since everyone else got bored with the idea of watching any of it. Any movie that pas-ses through the light of a projector onto a big screen in front of

an audience deserves to be talked about. Or else it is no different than propaganda. This is no less true for docu-mentaries that, by their nature, are often made for non-commercial, humanitarian reasons on which the people in-volved (often the work of one person) spent

years to create. Moreo-ver, earlier documen-tary features in ADFF had a world-will-end-tomorrow appeal to them which gives me a lets-live-for-today fee-ling. So for the sake of ‘Our World’, I mustered enough courage to say “yes” to the assignment. I did not regret it.

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focus / بقعة ضوء

Toward an art house theme park? No, thanks.

Variety Arabia, Financial Times Middle East, CNN and Fox too have headquarters in Abu Dhabi/Dubai; even Ugly Betty speaks Arabic these days.Seen from here the civilization clash we have been worrying so much about seems over; well, perhaps with the exception of the Ira-nian Golem. Multiculturalism is flourishing in the region: the shared commitment toward independent cinema is the next cultural im-perialism uhm…pardon, imperative. In the meantime people in the business are asking themselves how to break the stranglehold of Bo/Hollywood on the regional market. The main issue being the total absence of a local audience willing to swallow subtitled intellectual ruminations. Rupert Murdoch and his provincial epigone, Silvio Berlusconi, have spoiled us all; if no bosomy women are in the package, we won’t buy it. The Middle East seems to be no exception. When asking the owner of a DVD rental outlet in Abu Dhabi which films do customers ask for, we were reassuringly answered: “American ones”.

Producers and distributors are faced with a puzzling challenge, how to persuade Arabic audiences that Rambo and a puny geek are equally attractive. How to convince them romantic values can compete against erotic capital? Tough quest, no doubt. Could it be though that the questions being posed are misconceived?

We would like to briefly digress from the conference reportage in order to humbly plead Hollywood’s cause. Why should Arabic audiences be corrupted by the self-referen-tial conceits of a Godard when Hollywood’s offering is so rich and the Bollywood’s one so mellifluous?The detested Californian suburb has in fact created some of the most enlightening pieces of filmmaking ever produced. Rambo him-

self, the stereotype of testosterone-fuelled blockbusters has been a staunch supporter of Arab independence going as far as endor-sing the jihad. The third instalment of the re-nowned franchise is in fact set in Afghanistan during the Soviet occupation, when the US was merrily training mujahideen providing them with Stinger missiles (the same ones that are now fired against Marines). In one of the most moving sequences of the film the mujahideen (played by underpaid Israeli extras) explain the just necessity of a holy war

against the invaders, thus earning Rambo’s devoted support. “Our children die of diseases, mines and poisonous gas and the women are raped and killed; yet nobody sees anything or reads anything in the papers” says one freedom fighter to Rambo. “We are holy warriors and to us death for our land is an honour!” Even the emotionless facial features of Sylvester Stal-lone cannot resist such injustices and crack under the weight of compassion as he pro-mises the mujahideen to help them in their struggle. Needless to say, no art house movie has ever pushed its radical agenda that far. Supporting the Taliban these days is more likely to be awarded with a lengthy holiday in Guantanamo than with an Oscar…

This is only to say that it is unfair to unde-restimate the capacity that Hollywood bloc-

kbusters have in exposing the hidden stances lurking alongside the McDonald’s culture we all admire. Why instead of longing for boring arty movies don’t we reconsider the truly subversive potential of Hollywood? After all, if Rambo embraced the jihad, maybe one day Ugly Betty would join the Hezbollah.

Celluloid Liberation Front

“All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or Ancient Egypt, is re-assimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we re-colonize past and future” - J.G. Ballard

Last Sunday, experts from sales and distribution companies joined for-ces to shed light on the future of independent cinema in the region. We grabbed the occasion to explore the future possibilities of cinema beyond Hollywood and Bollywood only to realize that perhaps we should all be kinder to them.

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The Thief and The Dogs

meet mahfouz

‘In all my writings, you will find politics. You may find a story which ignores love or any other subject, but not politics; it is the very axis of our thinking’ - Naguib Mahfouz

I totally agree with this quote and I believe that no population can cut their daily life from what’s going on politically. The Thief and the Dogs is one of Mahfouz’s novels that reflects the image of the Egyptian society after the re-volution in 1952. Adapted into a film directed by Kamal El Sheikh in 1962, it shows the inba-lance between the needs of the people at that time and their harsh reality. A lot of promises with no changes towards better life, especially for the lower classes, to which Sa’ed Mahran, the main character, belongs.

Sa’ed Mahran is a thief who spent four years in jail because of a betrayal by his wife Na-bawiah and his best friend Ilesh. When he gets released, he decides to get revenge. Nothing goes as what he was expecting. His daughter Sana rejects him. RaufIlwan, his in-tellectual mentor and a destitute anarchist, becomes rich and famous writing pap for the local newspapers. He finds himself entangled in this new reality.

When a novel is adapted into a film, both have to complete each other. For instance, while reading the novel I started to visualize mo-ments that Sa’ed goes through. The text is rich of these images that make you identify with the character and his feelings. On the other hand, in the film the director attempts to portray the emotions visually. Most notably is when a drunken Sa’ed fanaticizes about being in a court room. The window fence then beco-mes a metaphor of jail bars and then actually becomes jail bars as the scene moves to the court room, where Sa’ed is trying to convince the judge that he is innocent and victim of be-trayal and injustice. “History repeats itself”, says the proverb. Fifty years after Mahfouz wrote this novel, I still see it alive. I am sure nowadays there are a lot of Sa’ed Mahrans in Egypt, waiting for the chan-ges and the promises to come true after the revolution of 2011!

Fuad Hindieh

كل »في محفوظ نجيب المصري األديب يقول تخلو رواية تجد ربما السياسة، تجد كتاباتي من موضوع الحب أو أي موضوع آخر ولكن البد في محورية إنها السياسة من رواية تخلو اال

تفكيرنا«.هذا ما يميز -احيانا - العمل الفني، حيث يحكي لنا قصصا يصعب فصلها عما كان يجري على والكالب« »اللص ورواية السياسية. الساحة التي تعكس صورة روايات محفوظ احدى هي

ثورة1952. بعد المصري المجتمع على 1962 عام سينمائيا الرواية هذه اقتبست التناقض الفلم يصور الشيخ. المخرج كمال يد بعد الصعب والواقع الشعب احتياجات بين الوعود من العديد هنالك كان الثورة. احداث وبالذات افضل، نحو حياة تغيير اي بدون ولكن الشخصية لها تنتمي التي الُدنيا للطبقة

القصة. الرئيسية في هذه السجن في سنوات اربع مهران سعيد يقضي بعد وشاية دبرتها زوجته نبويه وصديقه الحميم ولكن االنتقام قرر سراحه اطالق بعد عليش. ،فحتى يتوقعه كان ما عكس تسير االمور الى يلجأ عندئذ ورفضته. عليه تتعرف لم ابنته وقد يجده الذي علوان رؤوف القديم صديقه وغّير محلية جريدة في مشهورا كاتبا اصبح وتبدأ االنتقام فيقرر وشعاراته. افكاره جميع

العذاب! رحلة تتطلب عملية اقتباس العمل الروائي الى نص بينهما فيما متكامله عالقة ايجاد سينمائي والعاطفي النفسي التجاوب تعزيز الى تؤدي العمل. لفصول المشاهد لشد والعقلي تلك اتصور نفسي وجدت للرواية قراءتي عند فالنص مهران. سعيد بها يمر التي اللحظات مع يتعايش القاريء تجعل التي بالصور غني حاول اخرى، ناحية من ومشاعرها الشخصية المخرج الشيخ من خالل االساليب المرئية اظهار الكلمات استخدام من بدال القصة معاني يقف المميزه؛ المشاهد هذه من المباشرة. وجهه في اغلقت وقد النافذة امام مهران ويسرح الثمالة، حتى فيشرب السبل جميع تتحول محكمة. داخل نفسه متصورا بخياله بينما سجن قضبان الى مجازيا النافذة قضبان نفسه عن للمرافعة القضاة امام سعيد يمثل

ببراءته. واقناعهم نفسه«. يعيد »التاريخ ان الشعبي المثل يقول لهذه محفوظ كتابة على عاما خمسين بعد عليه هذا، يومنا في حيه نجدها نزال ال الرواية يناير2011( 25 ثورة )مصر في االخيرة االحداث فان والكالب اللص رواية فصول في صداها تجد امثال سعيد مهران العديد من ان هنالك حيث

الجديدة. الثورة تحقيق وعود ينتظرون

هندية فؤاد

Kamal El Sheikh (Egypt, 1962)

اللص والكالب

1962 مصر - اخراج كمال الشيخ

You can find all our coverage online on:

www.nisimazine.eu&

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نواف الجناحي

أبوظبي عام الجناحي في ولد نواف التخرج سن الى وصل حينما ،1977والده« سأله العامة. الثانوية من ماذا قررت أن تدرس؟«، فذكره بقراره الذي اقتنع به قبل أعوام عديدة الذي في برغبته والمتعلق للجميع أعلنه وبالطبع السينمائي. اإلخراج دراسة أهله وال أحد، ال من وقتها لم يصدقه أقاربه وال حتى زمالئه في المدرسة وال كونه طلبه، والده فرفض أصدقائه. مؤمنًا بنظرية أن الفن اليأكل عيشًا. جرى هذا الحوار بين عامي 1995-96. »في الحقبة: هذه حول نواف يقول في مليون كالمه كان الوقت، ذلك عيشًا يأكل ال الفن صحيحًا، المئة متواضعة عائلة من فنحن أبدًا، محالت أو أراضي أو أمالك لنا ليست والد فهو القبيل، هذا من شيئًا أو خشى على مصلحة أبنائه، فرغب أن التحق بالجيش أو أن أعمل في حقول

البترول«.

لكنه، بعد بقائه مدة عام كامل في الى والده رضخ عمل دون من البيت طلبه في درسه إنتاج األفالم في سان واليةكاليفورنيا في فرانسيسكو وعاد 1996 عام فيها بدأ األمريكية. انه أحّس عودته، وحال .1999 عام احد وال المجال. هذا في الوحيد سواه. والسبب يرجع إلى أن ال مكان بعد لكن الموهوبين. هؤالء يلم شخص على تعرف الزمن من فترة ذلك لديه الثقافي، المجمع في

كان باإلنتاج. الشبابي الحماس اهلل أمر مسعود هو الشخص هذا لمهرجان الفني المدير حاليًا وهو وجرى الدولي. السينمائي دبي شخص إلى باإلضافة بينهما حوار ممثل الجابري علي وهو ثالث من أفالم مسابقة ومبرمج ومدير أبوظبي مهرجان من قسم اإلمارات هو الحوار هذا وكان السينمائي. أفالم من بداية مسابقة إلعالن البذرة

اإلمارات.

فترة في المثال سبيل فعلى إماراتيون هناك كانوا الثمانينات درسوا اإلخراج السينمائي في الخارج، فقررا لهم صدى ولم يسمع وعادوا وآخرين المهني، يغيروا منحاهم أن برهة وبعد أعماالً ينتجوا أن حاولوا الزمناختفوا، لم يعد لهم وجود من عدم إلى يعود بسبب األيام. هذه مثل الماضي في مادي دعم وجود مؤسسة المثال سبيل اليومعلى المشاريع تمول التي اإلمارات آالف عشرة من والسينمائية، الفنية لكن إماراتي، درهم ألف مئة إلى مشروع يكون أن يجب المشروع

فني.

بعد أن تم عرض فيلمه الطويل األول محمد الكاتب منه أقترب »الدائرة«. حسن أحمد الذي كتب قصة شريطه قرأ أن فبعد البحر«، »ظل الثاني فكرة أعجبته للفيلم، األدبي النص

مرارًا وتصول، تجول وكانت الفيلم الفيلم هذا أخذ عن فكرة وتكرارًا على أستقر أن إلى أخر، ُبعد إلى حكايته ان بفطنة خمن و واحد راي يمكن ان تتحول الى نص سينمائي بقراره، محمد أخطر وعندما طويل، ورد محمد، عيني في البريق رأي

»لنفعلها«. عليه

الفيلم من قصير كان فكرة تطوير من أسبوعين قبل جرت طويل إلى إتمام على فعمال المشروع! بدء »بعد شهر. غضون في المشروع حوالي 4-3 شهور اقتربت منه شركة بإعجابهم وصرحوا »إيمجنيشن مشروعه دعم وأرادوا للفيلم، حظ، ضربة هذا كل »كان الجديد وإذا سيحدث. هذا بأن نفكر لم من مادي دعم على نحصل لم إلنتاج الخاص مالنا الخارجالستثمرنا

الفيلم«.

الخيمة رأس إمارة اختيار سبب كان موطن أنه إلى يعود للتصوير، وسبب أحمد. حسن محمد الكاتب الشعبي الحي وجود هو آخر في »الفريج« التقليدي اإلماراتي

لم ولألسف الشمالية. اإلمارات موجودة القديمة األحياء هذه تعد الزحف بسبب دبي أو أبوظبي في

لها. العمراني

إلنتاجه: عديدة بمراحل الفيلم مر مهرجان في الفيلم عن اإلعالن »تم بدأت ثم ومن السينمائي، كان أغسطس في اإلنتاج قبل ما مرحلة مدة أستمرت اإلنتاج ومرحلة ،2010أكتوبر2010. شهر من أسابيع خمس في فبدأت اإلنتاج بعد ما مرحلة أما أغسطس في 2010وانتهت ديسمبر هذه وإطالة تأخر سبب وكان .2011الفترة األخير يعود إلى سبب التغيرات اإلدارة في شركة »إيمجنيشن« مما

الفيلم مبكرًا. إنتاج أعاق

من عشر التاسع األربعاء اليوم التاسعة الساعة تمام في أكتوبر فيلم عرض سيتم مساًء، والنصف في الجناحي لنواف البحر« »ظل عرضه العالمي في مهرجان أبوظبي السينمائي الذي سيقام في مسرح

أبوظبي على كاسر األمواج.

علي شجاع العفيف

بدأ مسيرته المهنية في التمثيل مع والده الراحل الممثل والمخرج محمد الجناحي وهو ابن السابعة. ازداد المتعاقبة السنوات وخالل الحكايا رواية في أكثر عشقه عود اشتد الكاميرا. باستخدام وتشعب نفسه في الهيام هذا للجميع وأعلن قرر أن إلى فيها، السينمائي اإلخراج سيتخذ أنه مهنة له وهو ابن الرابعة عشرة.

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