Narrative Filmmaker Ziad Hamzeh

1. I understand you were just in Tunisia. What took you there?
Every year, the Tunisian Spring Film and Arts festival chooses distinguished artists to recognize their contribution to the worlds of cinema and art.

This year, I got the spotlight. It’s not for one specific work, but in recognition of the collective works of my whole career.

2. That’s quite an accomplishment. I also understand that the Atrash family sold you the rights to tell the story of  singer and actress Asmahan. How did that feel?
In 2001, I returned to my homeland for the first time since leaving in the early seventies to attend the Damascus International Film Festival as an honoree. While I was there, Mamdoh Al Atrash and his brother approached me and asked me to help the production of the series Asmahan. I was not available, and also had some reservations about doing Asmahan as a TV series — she has such an overwhelming personality that I wasn’t sure the small screen could really hold her powerful presence. But when I was in Damascus filming Women, Mamdoh approached me again, giving me nearly 80 signatures from the Al Atrash family asking me to create a work that would do justice to this great woman.

The need to find the balance in this story while not defeating the very essence of being asked to direct this film presented me with one of the most challenging feats I have faced. The script is finally finished and I feel very good about the outcome. Now, the next task of development seems even more challenging as I try to assemble an international cast and crew who will be as dedicated to this story as I am!

3. How do you think a Western audience will react to an English movie about Asmahan?

The prevailing idea of Arab women ignores that we have our own share of brilliant, history-making women. Asmahan can rattle those old ideas and help shape new ones. Presenting a dynamic Arab woman character in a dazzling cinematic production could be the perfect way to take ownership of our own image.

4. What made her such a legend, particularly considering how young she was when she died?
Asmahan possessed a courage that other women were afraid to seek but were desperate to know. She rebelled against anyone who attempted to dominate her. By being a real woman — of substance, of nobility, of character — Asmahan paved a path of promise for the generations of women who came after her.

5. What is different about your version of the Asmahan story than others that have been told before?
I was given more private information than any story could hold. More importantly, I wanted to be as courageous as Asmahan herself and not shy away from events that might be deemed controversial. Yet I am not giving her entire biography, after all

I have 90 minutes to tell her life, so my choice of the events will focus the story on the extraordinary rather than a comprehensive play-by-play of her life.

6. You founded the Open Fist Theatre Company in LA. It’s been very successful — what do you think has made it so?
I created the company with a group of artists shortly after finishing my MFA in 1989. I made the decision to build the company in the midst of Hollywood despite the outcries that we would not survive for one month in that environment. I took a closed building that used to belong to Bob Hope and Houdini and renovated the entire Quonset hut, and we worked 18-hour days as we prepared for our first production, Sam Shepard’s True West. Now, the company is celebrating its 20th anniversary — it’s a visionary organization.

For more on Hamzeh, visit hamzehmystiquefilms.com >>

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About the Author: Ahmad Khodr Minkara is a U.S.-based writer and physician. This piece was originally published on Dia Magazine.

STATS
Mild, Spicy or Very Spicy: Very Spicy
Favorite Muppet: Kermit
London vs. NYC: NYC

1. How did your upbringing influence your work?
I grew up in Norfolk, Virgina and I watched a lot of TV when I was a kid. That was okay with my parents — there were some attempts to get me outside, but I mostly liked watching Cable television. I remember dancing around my living room to the opening sequence of “Teenage Mutant Ninja Turtles,” dancing around, doing karate moves so that was one of my favorites but there are so many. It wasn’t even about good or bad, I just watched everything.

I had a fairly strict family, they pushed me to work really hard at school and that kind of work ethic extends to the art making. I think you have to be very focused when you’re working on a play, or an acting role, or anything artistic.

And I believe in doing a lot of background work and giving things attention, it’s work — not an excuse to have fun. The fun is the work, one friend describes it as “serious play.”

2. What are the challenges of your field and how do you overcome them?
There are a lot of challenges and I’m always negotiating them. One challenge is economic. I don’t make my living making my art and that’s something I’m trying to move toward through a combination of things; through teaching and performing. Another challenge is creative — what I do primarily is create original work, that’s removing myself from the auditioning — so the problem isn’t in finding a part or finding a play that I want to do. The difficulty is in that I have to do it all myself; I have to raise the money for the play, find the rehearsal space, perform it and create it, too. And that’s a huge burden to create something from scratch.

3. You have many talents; acting, writing, producing, puppetry, etc, — is there one aspect that you like more than the others?
I’m definitely a performer. I’m working on a solo show now and I have the story and the character, and the way I’ve dressed him is really important to me, so in a way that’s costume design. I also have to make decisions about the lighting, etc, — all of these specific choices come out of the same root thing, out of the same creative spark. All of the different aspects of creating a play are all coming from the same source so there really isn’t one aspect that’s more enjoyable than the others.

4. Where do you get inspiration for an original work?
Creating something new is a journey into the unknown, so it’s always different and it’s a process of continual frustration. It’s like being in foreign territory and not knowing where you are or where you’re going. For example, I was working on this solo show and I knew I wanted to tell a love story,  I wanted to tell something about the universe and how the universe exists, so I was was wondering how am I going to do this. I was in the subway one day and the whole story came to me in one moment, this whole intricate thing developed and I don’t know where it came from…

5. Your bio claims that you create absurd work out of the realities around [you] — tell us about that.
I  like to create theater that is something more akin to fairytale or fantasy. What I think I’m good at is putting things through a kind of filter –

some people want to create things in the here and now, but I’m more interested in putting things through an alternate-reality filter.

6. Do you have a favorite role or stage moment?
All roles are learning experiences, they can’t be compared. But my favorite moment was when I was in this beautiful play, Empire of Feathers and at the end, this guy who had been searching for this magical, mystical bird discovers that this bird is just an old war plane and he’s spent the entire length of play trying to get away from war machines, which he’s been making his whole life — so he gives this speech to the audience, while he’s under the spotlight about when he was young he was so proud of his family and proud of the world they had built and he’s so sad because he’s clearly not happy about it anymore and at the saddest moment I’m up on this ladder, and I start throwing these red feathers down and he discovers there really is a bird after all and it’s such a beautiful moment. The audience reaction was great, it was a really successful play.

For more on Karim’s work, visit his site >>

“Not only is it a festival that has lasted long, but whose standard continues to improve as evidenced by the quality of films included in this selection — these films were selected for their artistic merit,” Ghawanmeh adds. Among the festival’s heavy hitters were Mai Iskander’s Garbage Dreams, Rashid Masharawi’s Laila’s Birthday and Najwa Najjar’s Pomegranates and Myrrh.

The festival’s diverse programming also included new thematic segments, including two segments showcasing works by budding filmmakers from Jordan and the Persian Gulf; a new work by Hisham Bizri, a Minneapolis-based Arab-American filmmaker; and a segment of films for children. “We are offering the highest standard of Arab films,” says Ghawanmeh. “They give a fresh outlook on life via windows most people have not looked through.” Check out some of the festival highlights in the gallery below.

Photos courtesy K. Flo Razowsky

Mizna Board Chair Rabi’h Nahas on Opening Night

Festival Curator Mohannad Ghawanmeh on Opening Night

Mai Iskander introduces Garbage Dreams on Opening Night

Between screenings

STATS
Favorite Scent: Sea Water
Best Breakfast: Bacon, Eggs, Baked Beans, Orange Juice & Coffee
First Movie: Peter Pan

1. What makes a film worth making?
Film-making is essentially storytelling. Generally speaking, a film is worth making when you find a compelling story to tell, whether it be character-based or plot-driven.

As a director who interprets another writer’s script, I find it essential to be able to connect with the story on some level. This connection could be with something as broad as the underlying theme of the story itself, or with something as specific as a character or even a moment.

2. What is the funniest thing that has happened to you while making a film?
While shooting Alla Fein, my thesis film at the New York Film Academy, the camera operator accidentally broke wind right in the middle of a take. It was towards the end of a relatively tense and dialogue-heavy scene. We had already shot quite a few takes and the actors were getting tired. As soon as they heard the sound, the actors actually paused for a split second and then tried to carry on with the scene. Everyone in the room heard it and tried to pretend that nothing had happened while holding their laughter back, but I couldn’t resist.

The cast and crew then went on a laughing spree and although it took another couple of takes before they managed to regain composure, it definitely helped relieve some of the day’s stress.

3. How did the story for Clean Hands, Dirty Soap come to you? Did you approach Adam or did he find you?
Adam and I are childhood friends. We’d already worked on a couple of projects together before and were searching for a new concept for a short film. We were at his place re-watching True Romance and when it ended, we both commented on how much we loved the mood of the film, particularly the chemistry between Christian Slater and Patricia Arquette. Adam suggested a story that is based around the day-to-day life of a bathroom attendant, which I instantly found interesting. We proceeded to shoot ideas back and forth until we came up with a treatment.

4. How long have you been making films and how did you get into it?
I have been in the field for over eight years now. While pursuing my Bachelors degree at the American University in Cairo in Economics, I happened to take an elective course in Film History. Throughout the course, I was exposed to a lot of different films that I never had the opportunity to see prior to that. Some of them were brilliant. It was very refreshing to watch films that were not contemporary, mainstream Hollywood blockbusters. The one that absolutely stood out for me was Francois Truffaut’s Les 400 Coups. After watching it, I decided to minor in Film. I graduated from AUC in 2002 and got a job at a local production company — Misr International Films. I worked there for a couple of years, mainly as an editor, then traveled to New York to attend the Film Directing course at NYFA. The whole experience there was incredibly rewarding, and I came out of it with my first short film — Alla Fein. Fortunately, the film had a good run on the festival circuit, which gave me the required momentum to pursue further independent projects such as Clean Hands, Dirty Soap.

5. What can we look forward to next? Where can we see your film(s) next?
Adam and I are currently developing a feature-length script, which we hope to finish throughout 2010. Clean Hands, Dirty Soap is still showing at various international film festivals, and should be available for viewing online by the end of the year.

6. If you could work with any actor, who would it be and why?
I can’t say that there is one particular actor I would like to work with over all others. I think it would have to depend on the script and the nature of the role. Although, after recently watching Inglourious Basterds, I believe Christoph Waltz could probably interpret any role thrown at him — in any language.

The film becomes vivid and stunning in its simplicity — Fanous makes each shot count (see gallery) in this 25 minute reel. And Mourad’s story about Hadi is refreshing — his inner monologues verge on poetry, giving dimension to the often overlooked, avoided bathroom attendant who becomes self-actualized after an unlikely visit one night to a seedy cabaret finds him cast under the spell of a superstitious belly dancer Nour, played by Farah Youssef. The center of many a lewd reproach, she too longs for more than her bleak future can promise. But you’ll have to watch for yourself to see what happens when Hadi and Nour meet.

Clean Hands, Dirty Soap has claimed the Jury Prize in the Egyptian National Film Festival and Best Short Film Award in the San Francisco Arab Film Festival, among others. The film will be available online soon and fans can look forward to Fanous and Mourad teaming up again for an upcoming feature.

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I walked up the short set of stairs of The Complex in Hollywood’s Theater District, into the narrow hallways lined with people leaning against walls as they waited for their casting call. It is a small building containing several theatres and studios under one roof. I opened the door to my destination, where a set of bleachers were filled with serious, but welcoming students with their eyes set on the stage, ready to absorb some comic knowledge.

During a break, Khalil and Shrime exchanged a witty repartee as they discussed the premise of the workshop.  Their collaborative spirit, intent to create, and an apparent interest in paying their experience forward leave me inclined to coin them the Arab Ben Affleck and Matt Damon.

Did this develop out of a lack of opportunity?
Ryan: It developed because of the process of getting good roles.  We want to have at our hands a plethora of material, and in order for that to happen we have to be the ones to produce it.
Ronnie: We have to create for ourselves if we’re going to move into the position we want.
Ryan: [Middle Easterners] complain about stereotyping, but we can’t expect someone who grew up in Middle America to understand our experience.  We have to start doing our part.

What kind of advice do you have for people trying to get their foot in the door, either on or off stage?
Ryan: Keep moving,
Ronnie: If you’re a writer, keep writing. If you’re an actor, keep acting.
Ryan: Get a job that barely pays the bills so that you can stay hungry. Yea, stay thirsty.
Ronnie: Stay hungry, but not literally. (chuckling)
Ronnie: This business is not, and never will be easy.
Ryan: Don’t ever give yourself a time limit, which is actually something comedian, David Zucker, said that stays with me.
Ronnie (bantering): I’ve got an idea, but I’ll just wait a year to write it down.
Ryan: Also, everyone should be on actorsaccess.com. Networks do something called Diversity Showcase for their own casting, to promote a commitment to diversity.

Can people use their own material to audition?
Ryan: Some networks, like CBS for example, will allow your own material. But most give you the material for an audition. We actually had some people get representation after the ME Comedy Festival through this showcase, and one girl ended up testing for a pilot.

Ronnie and Ryan invited two sketch comedy pros, Jodi Miller and Kimberly Lewis, to lead the workshops — they were high energy, and hilarious to watch. Their crash course crammed all the comedic formulas and set-ups, providing insight into the genius behind the laughs. I had the opportunity to pick the two comic brains…

What do you consider the most challenging part of writing comedy?
Kim: The tendency to get in your own way by over-thinking things, getting stuck in your head, and critiquing or blocking yourself and your creativity as you go. I encourage my students to cultivate a sense of playfulness when they are going to write and perform comedy. One of my favorite quotes is, “Genius is the ability to call up childhood at will.” We all spend years putting on all kinds of armor to protect ourselves in the world, and then we have to try to strip that away as performers and writers to get back to that childlike sense of play. If you think about it, the comedians we love and admire the most are the ones having the most fun.
Jodi: Focusing on one main thing in the sketch. Many times people try to fit too many elements into a scene, which makes it somewhat confusing for the audience.  Sometimes the simplest ideas are the best.

You crammed a lot into two days! Was it fun giving a crash course?
Kim: Yes, it was very fun. Learning comedy is really in the doing, not in the talking about it– writing, performing, and throwing material against the wall to see what sticks.
Jodi: It was a lot of fun teaching this class…I wish we had more time.  Still, I was very impressed with the work everyone did.  Some really funny sketches came out of this and I really hope they all continue to write more material.

They have undoubtedly been inspired to do exactly that.

The sketch workshop attracted, as the title suggests, “Middle Eastern” applicants. For all intents and purposes, the term here is applied culturally as opposed to geographically. About twenty participants made the cut, including Rachid Sabitri, an English actor of Morroccan origin who has done theatre, television, and film work for high-ranking networks such as HBO and the BBC. He is interested in pursuing Arab-Israeli relations in his writing — this workshop serves as a step forward in his work.

The first day wraps up with some reminders. Students are expected to write their own sketches by the next session. In an effort to quell their nerves, Khalil heeds a reminder that the goal of the experience is “to get to know each other, and be able to bounce ideas off one another. You are going to attract your kind of funny, so just write what you want.” Shrime emphasizes, “even if it sucks.”

If you’re in NYC, the New York Arab-American Comedy Festival is sponsoring a similar workshop this Sunday, March 14. Details here>>

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About the Author: Born and raised in Southern CA, Lana Daoud can find herself at home just about anywhere. She has a degree in History with a minor in Middle East Studies, and is currently a fellow of NewGround: A Muslim-Jewish Partnership For Change based in Los Angeles. Home is where the next great experience lies, heart belongs to her nieces, roots are in Palestine.

OK. There’s really only one word I can use to describe this: Bonkers. If you haven’t heard of Nabil Elderkin, you’ve certainly seen his work (BEP’s “Mas Que Nada”, Mos Def’s “Supermagic” and more). And if you weren’t a fan of this song in it’s original form, my guess is you will be now — because Kanye went back in and took the music to a whole new level for this version. Sleepy Hollow meets the darker, colder sister of Sade’s “By Your Side” video set meets Nabil’s brilliant direction. In my dictionary, bonkers is beautiful.

The brilliance of this film is captured in its perfect juxtaposition of a world empowered by dreams to the harsh realities of life’s everyday struggles. Director Amin Matalqa carefully illuminates some of society’s greatest challenges.  He brings thoughtful attention to the heart-wrenching pain of domestic violence as well as to poverty’s disenfranchisement of a child’s right to education through forced labor. Additionally, he explores the intersections of different socioeconomic classes via the mediums of friendship and trust. Through the story of a pilot named Nour, the film relates the experience of enduring the cruel void of yearning for companionship without finding an individual with whom to share life’s joys. With an incredible level of sophistication and wisdom, the movie reflects on society’s misgivings and its effects on the inner depths of human emotion.

The film is elegant in every possible aspect—from the cinematography to the acting to the musical score—and its beautiful images will linger pleasantly in your mind long after it has stopped rolling. Matalqa captures the most precious of moments with his lens, those such as Captain Abu Raed sharing tea with the remembrance of his late wife on their rooftop terrace overlooking the cityscape of Amman cast in the tranquil light of dusk, or the nostalgic image of boys hanging liberated arms outside of a moving car window marveling as the forces of wind simulate the sensation of airplane wings taking flight, or the joyful laughter of children reveling in stories of adventure under a sun-splashed crystal blue sky backdrop amidst the stone facades of the old city, their eyes lighting up with visions that assuredly transcend the narrow horizons imposed upon them by the imbalances of society.

Ultimately, Captain Abu Raed is a film that reminds us of the true meaning of heroism. It lies not in the hollow glamour of modern day sensationalism, but rather in the often unheard footsteps of everyday people standing up for the integrity of what is right. Although the Abu Raeds of this world rarely bask in the glory of their greatness, this film may serve as a tribute to all of the incredible, yet humble people that enrich humanity with every day of their lives.

Captain Abu Raed is now available on DVD >>

In the meantime, check out the trailer…

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About the Author: Half-Korean, Half-Egyptian, and having lived and worked with inspiring children in Southeastern Africa and throughout Central and South America, Nader Kim El-Mallawany revels in the diverse richness of the human spirit that shines brightly throughout all reaches of our world.  With love for his family and brethren … and in hopes that justice, tranquility, and human kinship will prevail within our lifetimes … he is ever grateful for the celebration of life that art graciously enlightens upon us all.

Mai Iskander’s Garbage Dreams

Garbage Dreams follows three teenage boys born into the trash trade who are growing up on the outskirts of Cairo in the world’s largest garbage village, Zaballeen — Arabic for “garbage people.” Home to 60,000 and far ahead of any modern “green” initiatives, the zaballeen survive by recycling 80 percent of the garbage they collect. When their community is suddenly faced with the globalization of its trade, each of the teenage boys is forced to make choices that will impact his future and the survival of his community.

Iskander captures the extraordinary world they live in. She has found compelling characters going through major rites of passage, while shedding light on an important international and environmental issue. This film also recently received a serious nod for an Academy Award in the category of best documentary.

Check the trailer out below and let us know what you think. For more on Mai Iskander and Garbage Dreams, read our exclusive interview with her here >>

STATS:
Paper or plastic: Paper
Favorite movie of all time: The Last of The Mohicans
Now playing: Al Green

1. How did you get into film?
I always knew I wanted to be in film, so I went to Tisch School of the Arts at NYU. I started working as a camera assistant in college with Miroslav Ondricek (Amadeus, Ragtime), which was a great opportunity.

Making a movie is so hard that in order for me feel motivated to do it over the long haul I feel like there needs to be a real humanitarian aspect to it because thats what motivates me.

2. Why Garbage Dreams?
I got to know the garbage village when I was 12 years old, when a family friend took me there to attend a wedding. It was such a contrast, because the wedding was full of celebration and happiness, yet the environment was chaotic and very impoverished, with garbage everywhere. That just really piqued my curiosity, and I kept thinking about it. When I went back in 2005, I wanted to do some sort of community service, so I worked at the recycling school that had just opened — I was painting murals with the kids and helping out. One day I brought in a video camera to cut a little video of them making the school pretty, and they just got so excited about the camera coming out. What was so neat about these kids was that I thought they would be so weighed down by the poverty that they live in and in fact it was quite the opposite. It was neat to be around that kind of youthful energy.

3. You followed the characters in Garbage Dreams around for four years. Do you think there is potential for a sequel?
I don’t think we could stand each other (laughs). Being filmed is really exhausting, and it was hard for them because they were either working or going to school, so to do interviews they had to take time off.

4.  You directed, produced and filmed Garbage Dreams – which role was the hardest to play?
Producing. Things that worked in Egypt don’t work here so well. For example, being dramatic and very pushy works really well over there, but here people get really annoyed with that.

I love shooting ’cause I feel like you can just sit back and observe people. And I like just spending time with the characters.

5. What’s next?
With Garbage Dreams short-listed for the Academy Award, we’re still working on a whole publicity campaign. I’m really interested in continuing to work with issues that deal with poverty alleviation and sustainable environment.

6. If you could create a role for any actor in the world, who would it be and why?
Honestly, I’d love to create a role for Ossama (from Garbage Dreams) where he would be like a Clark Gable. Just because when we did the publicity thing, he was the only one that did his hair up…he had a whole Clark Gable thing going.

For more on Garbage Dreams, check out the trailer and our review >>

Director Eyad Zahra’s The Taqwacores is ready to hit the big screen and even MTV is abuzz about it. The Official 2010 Selection of the Sundance Film Festival is based on Michael Muhammad Knight’s book by the same name.  Check the trailer out and let us know what you think below…

Director Ali Mustafa’s City of Life appropriately debuted at the 6th Annual Dubai International Film Festival. Shot entirely in the fledgling city of Dubai, with its culturally schizophrenic growth at the very heart of the film, the city itself becomes a sprawling post-modern character, and first time director Mustafa doesn’t shy away from showing us the grimy as well as the glitzy elements of this character. City of Life is ambitious and looks really really slick, thanks to the spectacular cinematography of Michael Brierly.

Best described as a Middle Eastern version of Crash, where the lives of three castes of characters intersect wildly with one another to lead us to seemingly fated consequences, the film sets a strong standard as the pioneer feature of the region. Strong performances from Sonu Sood, Natalie Dormer and Yassin ‘the Narcicyst’ Al-Salman keep a relatively linear storyline fresh and compelling.

Enjoy these shots from the festival and check out FEN’s favorite films below…

Madinat Jumeirah Cinema

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12 ANGRY LEBANESE
12 Angry Lebanese by Zeina Daccache was a strong contender on the documentary front. The film examines the penitentiary system in Lebanon with 12 inmates of a Beirut prison performing the play “12 Angry Men,” translated into Arabic, as a vehicle for the expression — and confession — of their stories and crimes.

ZINDEEQ
Zindeeq also proved that there is such a thing as an Arab dream team, at least when it comes to film.  From the same team that put Arab film on the map 22 years ago with Urs Jalilee, the story of a filmmaker’s return to his native Palestine after having fled in 1948 showcases the startling reality of the present day conflict that rarely gets brought to light. Here, expressed in light through cinema, the film has already garnered rave reviews as well as an award for the best feature at the festival.

AMREEKA
Cherien Dabis’s Amreeka, the heart-warming story of a Palestinian single mother who moves with her teenage son to America’s heartland immediately following the events of 9/11.  It chronicles the alienation and xenophobia of the times while poignantly capturing the tandem struggle for acceptance and survival that so many first or second-generation Arab families experience first-hand. A truly genuine, funny, and moving film that is at its core an immigrant’s tale.

CITY OF LIFE
And rounding out the festival was Dubai’s own gem, City of Life. Shot entirely in the fledgling city, with its culturally schizophrenic growth at the very heart of the film, the city itself becomes a sprawling post-modern character, and first time director Ali Mustafa doesn’t shy away from showing us the grimy as well as the glitzy elements of this character. Read more about City of Life here >>

CEDAR BOYS
A  gritty look at the disenfranchised youth of a major urban center, marginalized by their ethnicity and forced into a life of hard choices, harder drugs and back alley crime deals. Serhat Caradee’s gem from Australia, the poignant look at the growing Lebanese-Australian immigrant culture, Cedar Boys.

MY FATHER. MY UNCLE.
My Father. My Uncle. by Christoph Heller was another strong contender on the documentary front. The film follows the story of German-raised Sinan and his reunion with his long-lost Iraqi family, with Dubai making an interesting backdrop both visually and culturally.

The parties were no slouch either. The galas were a veritable mash up of the who’s who of the region. Celebrities like Gerard Butler and Mandy Moore were spotted on the red carpet alongside international stars like Omar Sharif and Christophe Lambert. And of course, in true Dubai fashion, champagne flowed endlessly in defiance of the economic crisis and foie gras was served right next to the hummus and tabouli. Recession? What recession? This humble reporter wonders if the sheikh ponders these same questions as the sun finally dips into  the ocean and away from sight. Dubai is far from perfect, but it can add a growing film culture and fledgling superstar status to its long list of real estate and financial laurels.

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About the Author: Fajer Al-Kaisi is Iraqi born, and French Canadian raised, but otherwise he’s your everyday average American. He lives in Washington Heights, NYC, the last affordable refuge in Manhattan. He enjoys cooking, sketching people on the subway, and DVD marathons. He freelances as an actor, writer, web designer, illustrator and graphic artist, and though he loves the hours, the benefits are crap. (Don’t do it kids. Stay in school…) He has appeared on the hit shows “Nurse Jackie” and “30 Rock,” as well as “Delocated” and “Law and Order,” and could most recently be seen on NYTW’s stage as Shahid, the translator for NY times critics pick Aftermath.

Zakia Tahiri’s

Tahiri presents this social change through the lives of Aziz and Soraya (acted by the lovely Nezha Rahile). Aziz orders their world with his machismo attitude, and it becomes apparent that despite the progressive law, dark spaces continue to exist between the law and reality, husband and wife, employer and employee. Desperate to change her circumstances, Soraya employs a little magic, transforming Aziz and the community through a series of events bordering on the absurd. Best of all, Aziz’s new antics influence his nargile-smoking buddies and shows everyone just how unfulfilling life as Number One really is.

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About the Author: Lori Goode keeps the dream alive moonlighting as a reviewer, while passing her days (and nights) near the nation’s halls of power in Washington, D.C. Her experiences ranges from research to education but she’s always had a keen eye for the arts, particularly film.

STATS
Must have album or artist: Rolling Stones, anything blues
Extreme hobby: Deciding to be an actor/storyteller at 49
Hamburger or Kifta: Kifta. I love kifta.

1. How did you get into acting?I’ve been surrounded by creative people my whole life…I tried writing as a kid. Then later on, I wrote something with friend of mine.  We were told it was pretty good, then

it was recommended to take an acting class if I wanted to be a better writer, and I just fell in love with it–it’s all part of being a storyteller.

2. How did you hear about or get involved with the fest?
When the festival organizers got into town, they contacted the city of Los Angeles–a part that my niece works for. That’s how I originally heard about it. I submitted, but they did not respond. Didn’t think much of it, but then I saw a Facebook posting of an Israeli friend of mine. She had two auditions, and one was for the Middle East festival. That’s when I thought, “Alright I gotta be a part of this.” I didn’t want to play the nepotism card, but that’s how I got my foot in the door. They said, “fine, but you gotta audition and go through the motions, and be chosen like everyone else.” So I did, and I guess they something they liked.

3. What was the experience like to work with a diverse Middle Eastern cast?
They are some really dedicated people who are very into what they do. I’m really proud to be part of the cast.

4. You’re a pretty big guy, what was your first thought when you found out you’d have to wear very form fitting neon green unitard for one of the sketches?
I bought it! I asked my daughter, Kira, and she made the recommendation for where to get one. I had four different women tell me how brave I was to even be wearing it.  When I came out on the 7:30 show, I got laughs just by standing there. It’s embarrassing, weird, creepy, and it was fun.

5. What significance do you think a festival like this will have on Hollywood and the entertainment  business?
By virtue of the fact that the festival sold out all four performances, and it had such a great response at the Brown Carpet Gala opening–this is what the business looks for. They don’t care about s*%$ in this business except what succeeds.

When something like this succeeds and gets a lot of buzz, that’s when they take notice because they see there’s a market there.

6. Who are some actors and comedians you look up to?
Actors: Daniel Day Lewis, Robert De Niro, Chazz Palminteri, Danny Aiello, Gabriel Byrne. They’re truthful actors who have all succeeded, but started later in life. And comedians: Chris rock, Richard Pryor, Sam Kinison. They all tell stories that comes from a place of pain.

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About the Author: Born and raised in Southern CA, boarding airplanes since the womb–Lana Daoud can find herself at home just about anywhere. After earning her degree in History with a minor in Middle East Studies, she entered the world of nonprofits via grant writing and research. Lana is a Muslim-Jewish Text Study alumna, launched by the Center for Muslim-Jewish Engagement (CMJE) with NewGround in Los Angeles. She remains active with the project, and firmly believes in dialogue, education, and the arts as the key to progress. Home is where the next great experience lies, heart belongs to her nieces, roots will always be in Palestine.

Director Eyad Zahra

STATS:
Now playing: “Kuj” by Noble Drew
Favorite dessert: PPP’s Apple Pie
Superman or Batman: Batman (from the animated series)

1. What inspired you to become a filmmaker?
I wanted to tell motion pictures stories that I felt were missing from the world.  Being an Arab-American kid in suburbia Cleveland felt very weird to me. I never felt comfortable in my own shoes. Outside or inside my home. I felt compelled to tell stories that would ground myself better in this world, and hopefully help others like me. As far as working with the medium of film itself, that is unexplainable. There has always been something that has drawn me into the craft of filmmaking.

2. What excited you the most about filming Taqwacores?
We made an unapologetic film about being an American Muslim in today’s world. We did not allow anybody to censor us, nor did we censor ourselves. Working with that kind of freedom makes things as exciting as they can get.

3. Of all the projects you’ve done, what’s your favorite?
The Taqwacores for sure. I grew a lot by making this movie. I am forever indebted to the cast and crew who helped in the making of this picture.

4. We know you’re busy with Taqwacores in post-production–anything new in the works?
Always a few things in the works, but nothing seriously in motion as of yet.

5. Based on your personal experience, what message would you give to aspiring Arab-American artists?

Don’t put off your art. Do it right now. And keep doing it.

6. How’d you get involved with Salaam MTV?
Distance from the Sun won a student award in Dubai and my prize was a month long internship at Showtime Arabia. When I got to Showtime Arabia they were starting up Salaam MTV, and I worked on their pilot episode.  When I moved back to LA, they had me produce segments for them from the States. It was a blast. I met a lot of great up and coming Arab-American artists through the show.
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About the Author: From the Midwest to the Middle East and back, Rami Mikati spends much of his time advocating for a more just world, often using art – hip hop, comedy, spoken word poetry, and film – as a medium to raise awareness. Rami believes the best way to generate compassion for a people is to humanize a people, and the best way to humanize a people is through art. He is a graduate student studying biological sciences at Kent State University, in his hometown of Kent, Ohio.

Captain Abu Raed Director Amin Matalqa

STATS:
favorite film? Lawrence Of Arabia,
Cinema Paradiso, The Iron Giant
best time to shoot? Magic Hour (Sunset)
5am – start or finish? Start

1. If you could recreate any cartoon character in a real film character who would it be and why?
The Iron Giant – because it’s a fantasy that I would love to use. Although ‘I wouldn’t redo it because its perfect as it is. But if you told me I get to adapt one, that’d be the one.

2. What inspires you?
My dogs (Cello and Oboe), the little things in life human behavior. I really love the quirkiness of human behavior, and I love to just observe people while they’re not watching. So in other words I’m a psychopath. [best place to people watch: the airport. and the bathroom - public toilets]

3. Do you prefer writing or directing?
Directing first, writing second. I mean both, but yeah – when I’m writing I prefer directing. When I’m directing, I’m rewriting.

4. What are the challenges that come with directing a movie you wrote?
Keeping a balance of objectivity to something you’ve already seen in your head. And keeping the balance between executing that vision and allowing for opportunities for new things to happen.

5. When will Cello and Oboe hit the big screen?
They have already in my short film. No features, though, they like to keep a low profile. And they’re too expensive – their price has risen so high they’re out of my budget!

6. If you could have any other talent, what would it be and why?
I’d have two. One: I would be a painter, because that’s what I always thought I would become as a kid. I still draw and dabble with it but I’d like to pursue that more seriously one day. Two:  I’d be a film composer, because film music is my obsession. And it would give me an excuse to fire my composer.

If you missed Captain Abu Raed when it made its initial theatre run – make sure you catch it on DVD when it comes out in February 23, 2010. In the meantime, check out the trailer…

I just can’t see Palestinian brothers and sisters immune to the power of choosing rhyme over rocks. And that point is obvious when Tamer Nafar recalls seeing a music video of Tupac’s “Holler if Ya Hear Me.” To Tamer, his hometown of Lyd and South Central L.A. were mirror images.

Salloum introduces DAM through use of a rock bottom, low-budget version of MTV’s Cribs. Using this format pinpoints two important elements to the film’s accessibility: the universality of hip hop, and a view of young, politically active, Palestinians as anything other than militants or fanatics. And now for the understatement of the year: the soundtrack helps too. You can’t help but enjoy it.

The movement’s members alternately charm the camera over some sheesha, and break hearts with their struggle to maintain communication and inspire school children amidst military and cultural occupation. These young men and women defy Western stereotypes of Arab men as misogynists, anger management-deficient, religious hypocrites, and of Arab women as voiceless wall-flowers swathed in hijab. The obvious support these artists provide one another provides evidence that the women are not the only ones confounding preconceived notions of Arab culture.

Salloum’s editing choices appear to favor chronology over story arc, making the artists’ efforts appear more nascent and unfocused. So the film jumbles segments focusing on everything from community reactions to checkpoint fatigue in Gaza. Restructuring the film around a series of longer vignettes would give the film a stronger sense of cohesion. But given the momentum DAM, PR, Arapeyat and Mohammad Shalabi are building, Salloum’s next report might look like 2007’s Democracy in Dakar. Such an achievement would be well worth the effort.

Visit the film’s official website and lookout for a FEN exclusive interview with Director Jackie Salloum soon…

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About the Author: Lori Goode keeps the dream alive moonlighting as a reviewer, while passing her days (and nights) near the nation’s halls of power in Washington, D.C.. Her experiences ranges from research to education but she’s always had a keen eye for the arts, particularly film.

Lyes Salem’s Masquerades won this year’s audience award after having already won Best Film at the Dubai International Film Festival. But the buzz generated during the screenings FEN attended skewed towards the Festival’s comedies. The viewers we spoke with highlighted the absurdity of Laila’s Birthday and gushed over Sanaa Alaoui’s performance in A Fiancée for Yasmina. Personal favorites included Rachid Bouchareb’s sobering London River, as well as the documentary A Road to Mecca: The Journey of Muhammad Asad which chronicled the fascinating life of one of the 20th century’s most influential Muslims.

For more on Arabian Sights, check out the Festival’s website.