By Fatima Layeek

Bahiya and Mahmoud Directed by Zaid Abu Hamdan, Bahiya

and Mahmoud is a fifteen minute romantic comedy that captures the real life essence of an ageing couple’s never ending squabble. As peskiness comes with age, Bahiya and Mahmoud make it a customary practise to bicker and argue with each other every day. The routine is on when one day, Mahmoud wakes up only to find Bahiya is not at home.Alarmed with Bahiya’s absence, Mahmoud goes out looking for her and discovers how miserable life would be without his soul mate. He eventually finds her and the movie ends on a happy note.

A Crossover Loneliness, innocence and curiosity, the

three components that make Mohammad Hushki and Thouraya Hamda’s film A Crossover. The story is of an eight year old Laith, who is too young and immature to understand the existential reality of death.

Not having seen his father since he was imprisoned during war, Laith lives with his mother. Without many friends little Laith is left alone only in the company of a chick who he befriends. Naive little Laith discovers a shorter route to his school which falls through a graveyard. Passing the graves every day, Laith realizes there is something more to life than just living, Death.

Akram-the Desert BoyDirected by Anas Balawi, Akram-the Desert

Boy is the story of Akram, his life, his dreams, his ordeals, and his adorable personality. Big on dreams, eleven year old Akram wants to be the most famous racing camel trainer. Living happily with what God has provided, Akram trains camels, drives a truck, goes to a military school forcefully, but has no complaints, no regrets, and no worries at all. Content with his life, Akram’s carefree nature attracts the audience and we find ourselves attached to the little desert boy.

In conversation with Sarah KaskasBy Fatima Layeek

With psychogenic tragedy making a niche in the cinematic world, budding director Sarah Kaskas spoke about her movie Fugue, a

psychological drama where mundane thoughts and psychic perception ends up in creating a mentally unhinged personality.

Elucidating the very concept of her film, Sarah described her movie as a tragic saga in which the protagonist, Fadi suffers from a rare mental disorder of dissociative amnesia called Fugue, due to trauma of killing his own father in the act of anger and constant disapproval.

“Fugue is a state of complete mental wipeout, where you literally, physically walk away from the truth, and that is what Fadi does.” Sarah claimed.

“I have a very strong interest in abnormal psychology, I have done a lot of research on rare mental disorders and through my research I came across Fugue. I found it a very interesting and a very fluid subject, and I hope it interests my audience as much as it interested me,”

Moreover inspired to make a psychological drama, Sarah exclaimed “The idea seemed very intriguing, it seemed very dramatic and I felt it would make a very attention seeking character which led to making my movie.”

Talking about production, Sarah said the process took four days in south of Jordon, starting in 2011. With strong interest in the concept, Sarah hopes her film will gain a good response from the viewers.

Day 06 - April 15, 2012

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Gulf Nights: A first time success

GFF DAILYBy Zainab Akbarali

In the true spirit of the festival being held in the Gulf, known as ‘Khaleej’ in Arabic, the festival hosts the ‘Khaleeji’ nights or Gulf Nights forum which consists of a

midnight session of debate and discussion where the delegates and filmmakers got an opportunity to gather in an informal environment and engage in dialogue about recent cinema trends.

The moderated forum took place at the filmmakers lounge, Intercontinental Hotel, from midnight till 2am. The first of the five sessions kicked off on 11 April with ‘Meet the Mentors of the Gulf Script Market’ moderated by Antoine Khalife that was all about introducing the delegates and filmmakers to the mentors Mohammed Khan, Michel Kammoun and Fareed Ramadan, who shared their knowledge about the significance of a good script for filmmaking.

The second session titled ‘Silent Light’ moderated by Ahmed Salmeen had the award-winning scriptwriter Mohammed Hassan Ahmed on 12 April. Ahmed introduced his recently launched book and DVD ‘Silent Night’ and spoke about his career in the regional film industry.

‘Behind the scenes’ was the third session moderated by filmmaker, Masoud Amralla al Ali who discussed the variety of people who work behind making one film, bringing the director’s vision into reality.

‘Jordan: A Case Study’ moderated by Antoine Khalife looked at current trends and development in the Jordanian film industry, allowing filmmakers to gain international recognition and expand its boundaries in the cinematic arts in the kingdom.

‘GFF on GFF’ presented by Delphine Garde-Mroueh went through script development and also explored the regional support given to filmmakers.

Gulf Nights: ‘Jordan: A Case Study’By Fatema Khokha

In conversation with Aseel Mansour (director), Sharif Majali (production

services supervisor at the Royal Film Commission of Jordan), Najah Hassan (Jordan newspaper, Al Rai, film critic), Sarah (Jordanian Producer) on “Jordan Film Industry” on how Jordan has become a part of the film industry, with moderator Antoine Khalife.

Royal Film Commission - Jordan (RFC), has been a great support in the upbringing of the Jordan film industry, establishing a vision to develop an internationally competitive Jordanian film industry.

The discussion continued on how this industry needs to keep on continuing with its great work of production, by showing its work at DIFF (Dubai International Film Festival) and GFF (Gulf Film Festival).

Sharif Majali said, “In my 9 years in Dubai, there has been no continuity in the film industry besides DIFF and GFF.”

Jordanian films were also compared with the Palestinian films, where the talk progressed on how Jordanian films have more freedom, whereas Palestinian films are always very political.

Palestinian cinema has always been known to focus on political matters compared to cultural issues. Topics in Jordanian films can be varied as they have freedom to choose their theme.

“When we produce a film, any experience of life can be incorporated in it to give an impact on the audience. Politics can be talked about, but there are emotional stories I want to tell through filmmaking.” says Sarah.

She also mentioned, “There has been a lot of support and benefit from GFF.”

Aseel Mansour, in the end of the panel discussion, talked about feature- fiction film. He said, “Feature- fiction film is a category to be explored, though it cannot be political in nature.”

In Focus: Jordanian Cinema

Always a full house at the Gulf Nights ForumWatch Behind the scenes and a summary of the Gulf Nights sessions

Saudi filmmakers outshine in this year’s festival

Publication by the Media and Communcations Department, Manipal University Dubai Executive Editors: Joseph John, Sabir Haque Managing Editor: Megna Kalvani Technical In-Charge: Sambhram Pattanayak

Production Designers: Khadija Shabbir, Sakina UmmeAbiha Proofreader: Rabab Kazi, Qudsiya Siddiqui, Maria Hussain

With Emirati roots and Lebanese upbringing, Khalil Nabelsi has lived most of his life under the cocoon of

strong belief systems and deep-rooted cultural philosophies. Currently residing in Saudi Arabia, he has moved on from being on camera to behind it with his movie KSA In Their Eyes premiered at GFF this year.

A concept that wasn’t his own was treated with utmost respect and enthusiasm.

“KSA In Their Eyes was not my idea. It was a colleague’s idea. We sent it to Al Jazeera documentary and they liked the idea. They wanted us to focus particularly on the culture and its influence on the expats. This is when my colleague left and I was left with the script and I began working on the idea more,” said Khalil.

A Lebanese by nationality but born in the UAE, Khalil did his high schooling from UAE and Masters in Saudi Arabia. Residing just a year and a half before making a movie on Saudi Arabia, the decision was unsound.

“I chose Saudi because I am living there now. And I know of many filmmakers who try very hard to make their stories in Saudi Arabia, but because of shooting permissions it is not that easy.”

Upon asking why did he chose these particular people that spoke about Saudi, he replied, “I initially started with 10 people. But then I realized talking to few people about more subjects is better than talking to more people for numbers. With more searches and meeting with these expats, my perception was moulded for the better. My goal was to look for people who decided to stay in Saudi Arabia, because I Behind the scenes - KSA In Their Eyes

By Christine Cherian

Ra’ehat Al Jannah (Smell of Heaven) is a 5 minute UAE based short film directed by Mohammed Swaidan.

The story revolves around a local jeweler who is in his 50s and is working at the Dubai Gold Souk. The story unfolds as he meets a strange young man who asks him to clean his ring. As customers enter, the jeweler requests them to wait as he is working on the man’s ring, only to find out that he is been ridiculed by them as the customers walk out on him. What happens next, as the mystery unfolds, is truly remarkable.

Mohammed Swaidan, the director who is also the producer, scriptwriter, cinematographer and editor has definitely done justice to the film keeping the audience gripped until the very end.

1) A very tricky title. How did you come about it?Well the name of the title came about mainly because of

how the smell is continuously emphasized in the film. I used the word heaven, to indicate the other man, who says he is from heaven. So I tried to get the connection between the two and I felt that the title was apt for the film.

2) Were there any difficulties you faced during the shooting?

Yes, there were a lot of difficulties which we faced during the shooting, due to which it got delayed. It was difficult for us to get a store and the actors who were supposed to act didn’t turn up. The actors seen in the film were last minute. Another obstacle which we faced was, before the shooting started, we had plugged in our equipment, which led to the entire power going off.

3) How long did it take you to complete this film?It took a long time to complete, mainly due to the obstacles

which we faced during the shooting. I managed to finish it just in time for the submission.

4) Do you have any future projects planned?Yes, I do have a few projects planned.

5) Do you plan on becoming a full time filmmaker?I haven’t planned on anything yet. This was part of the

project and filmmaking involves a lot of money. So as of now, nothing has been planned.

6) What inspired you to do this movie?I wanted to do something different unlike the usual films

which are seen every day.

7) Doesn’t the ending of the film portray Dubai in a negative manner?

No, I feel it doesn’t portray Dubai in a negative manner. Im sure this is bound not to happen on a normal day–to-day basis,and also the security here is tight.

Movies like KSA In Their Eyes, Bicycle, Carrom, and The Dead Man’s

Sandal have given a new dimension to the Saudi cinematic scene and the burgeoning filmmakers in a country that believes in high standards of media content gatekeeping.

Amidst these rigid confines, directors, filmmakers, producers, scriptwriters are making films that represent this place at its best. These challenges in content and production of films have made a pedestal for filmmakers to crossover and attain the label of making a difference.

Mohammed Salman, director of Bicycle, says, “In Saudi Arabia, they do not believe in cinema. I have an artistic

and theatrical background and enjoy music. But in Saudi, usage of music is very much censored.”

While Hamza Tarzan, filmmaker, Carrom, says “There is a taboo as filmmakers, we cannot touch the topics of sex, religion and politics. Carrom is my fifth short film, and every time I start to think of a new concept, there are these restrictions hindering my creativity. So I am going to say what I have to say and not restrict my ideas and I will deal with the problems smartly, I have had enough with being restricted.”

There is a wide gap, some filmmakers are looking for a more exposed environment to espress their creative passions, while others are accepting

these restrictions to show the brighter side of the situation.

Khalil Nabelsi, Director of KSA In Their Eyes, showcased the side of Saudi Arabia that actually connects with expats living in the country.

Filmmakers in Saudi Arabia find it very hard to make their stories in the region, as getting the permissions to shoot is not that simple.

With an eye set to showcase this country at it’s best by keeping the culture and religious perceptions intact, the Gulf Film Festival proves time and time again to be an excellent platform to showcase these parallels of storylines that define the new-age film producers in Saudi Arabia.

One on one with Khalil Nabelsi on his movie ‘KSA In Their Eyes’

By Heena Makhijani

Smell of Heaven with Mohammed Swaidan

wanted to know why they made that decision. I realized some people just come for money. But then I found an American woman who married a Saudi man and another American couple who decided to stay in Saudi Arabia and they intend to live here with their entire family.”

Chasing his dream as a filmmaker was an incongruous call when he could have pursued acting, “I decided to become a director because I knew there are a lot of stories I wanted to put on the screen and not be in front of the camera myself. I am a nervous of the camera and I like being behind it.”

By Heena Makhijani

By Syeda Nawab Fathima \ Gurjeet Kaur Marvaha

Filmmaking is the art of sharing ideas and stories. At the 5th edition

of Gulf Film Festival, the filmmakers have not only showcased the talent for artistic story-telling but have made sure that we, the viewers, have something to think about after watching the movie. They have defined cinema beyond glamour and entertainment. Film is an effective medium of communication and this year at GFF, our minds have been opened to fresh perspectives.

Living in UAE, the Emirati filmmakers have helped break many stereotypes we had about the Emirati society.

They have addressed issues based on the social reality of the region. They aim to question rather than please the audience.

Mariam Al Sarkal’s London in a Headscarf questions the rules of society where women are encouraged to go study abroad but once they do it, they are not accepted as good candidates for marriage. Emirati men who are open-minded about many issues also seem to be hesitant to accept a woman who travels without a male chaperone.

Tarek Yousuf’s Snap Shot: A Trekking Man questions the direction that the Emirati youth is headed towards. He emphasizes on the importance of time and the need for purpose in life. Through his movie he prompts the

youth of UAE to take action beyond the social networking websites.

The Forbidden Fruit by Sarah Alagroobi talks about identity confusion. Emiratis, today, face the dilemma of balancing their own local cultural identity with the desire to enjoy the popular westernized culture developed in Dubai.

Living in any society is complex. It has its own norms and accepted behaviors but this doesn’t imply that we stop questioning what seems to be wrong. GFF has provided an open platform for the youth to voice out opinions and attempt to break stereotypes cultivated in the minds of people. They have pushed boundaries and as viewers we appreciate this new dimension of thought.

Pushing boundries and breaking stereotypes

Still from “Smell of Heavan’’

By Samiha S Naaz

An interactive session in association with the New York Film Academy (NYFA) took place on the 6th day of the

Gulf Film Festival. The industry event called “Sound Design & Color Grading”

was hosted by industry professionals, Norman Schwartz who is known for his works in the field of sound for movies such as Die Hard, E.T and many more well known films; Dan Mitre, a well known colorist and John Kochanczyk , a sound designer with his own studio in Dubai. Schwartz began the session by informing the audiences

about how easy it was in today’s time and with the technology available to make films. Further he elaborated on how sound, music and design plays a very important role in adding to the life of a film.

A film is very realistic, adding these elements makes a film complete. A film doesn’t necessarily require any generation

or sponsorship. What is important according to Schwartz is turning a film into real life.

Since sound and color were important aspects of the session, Schwartz, Kochanczyk and Mitre explained to the audiences about sound designing and editing in film as well as incorporating color editing in the films,. He used the short film “The Picnic” by Jacob Trevaskis, a student of NYFA as an example to explain the elements of sound and design.

By using the short film as an example, it showed audiences about adding sound, deleting unwanted noise and adding music to a scene.

Schwartz believes that the sound of the location is always present but as a filmmaker, one can create their own too.

The session ended with a question and answer round, with audiences getting all the possible knowledge that they could. Schwartz added, “Your film does not end after you go out and shoot it. It can be manipulated in many ways. That is reality.”

Workshop teaches to create reality with sound design & color grading

Dan Mitre at the “Sound Design & Color Grad-ing” workshop.

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ORGANIZER:

By Rabab Kazi and Maria Hussain

The Gulf Script Market met with the press on day 6 of the Gulf Film Festival. The market is a platform for scriptwriters from the region to develop their stories through the help

of mentors. A total of 14 scripts were selected by Enjaaz, a production company that will ultimately select three scripts to be produced into films.

“Any script, whether from a beginner or professional, has the potential to be developed into a better one.” said Fareed Ramadan, a mentor at the Gulf Script Market. The selected scripts were examined by the three mentors, who initially dedicated their time reading the overall submissions. The mentors, then, discussed the scripts in general and later sat down with each participant to converse about their stories.

After the stories were developed, each partaker pitched their ideas to various German producers, who played a crucial role in seeing whether the script had the potential to be translated on the big screen.

According to mentor Mohamed Khan, “The scripts focused on subjects like politics, such as the situation in Iraq, and issues related to women empowerment.”

Commenting on the conservative nature of the films made in the gulf, Khan stated that freedom is debatable; even political stories are told in a fictitious way. Stressing on the importance of treatment of the scripts, the mentors discussed the projects with the participants pointing out

the strengths and weaknesses in each story. This would help the script capture the audience’s attention.

Out of the 14 scriptwriters, five were women, who actively seek to send out a positive social message through their work. According to Amal Al Dowaila, a scriptwriter from the UAE, “This is the 2nd time I have participated in Gulf Film Festival, which has provided me the exposure to present my ideas to the producers.”

Her script, titled Matar (Rain) revolves around an Arab girl, whose culture restricts her from playing in the rain. The story culminates in the girl, heading out to enjoy the rain when her family is asleep.

With so many inspiring stories, the Gulf Script Market, along with Enjaaz, has to take a tough decision to choose three from the 14 submissions this year.

WHAT’S ON

Enjaaz provides scriptwriters a chance to pitch their ideas

Mohamed Khan & Fareed Ramadan at the Gulf Script Market

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Cow That Endeavored to Look for her Spots Director Tristan Francia

1. What drove you towards filmmaking?I made my first animated film at the age of 10 years with the

old camera from my father. The desire to make films came naturally. I started with music and contemporary circus, then I traveled and filmed my travels. I think the combination of all helped me get into the movie business. I love mixes!

2. As animation is your favourite genre, are you interested in other genres as well?

I am interested in all genres, which affects the image. I make animated movies but also documentaries, short films, and I also play my videos on stage in live performances. I love creating images, ideas, stories.

3. How did you come around with the idea of “V” the cow?

The idea of the cow did not come from me, but my father! One day I asked him to find me an idea for a comic scenario. And soon, he tells me a story he had during a train travel. And then came the fundamental question: What happens to the cows after the passing by of a train? The cow is then born...

4. What are your future projects? I have a new animated film project, but for now, I’m looking

for a new producer. If someone wants to help me to fund my new film , call me!

5. Any message for aspiring filmmakers who wish to create animated films?

It’s a long process, but it’s good. Stay crazy, remember that the animation is magic! For children and adults! By Samiha S Shaikh

An interview with Tristan Francia Tête-à-tête with producer of Dhabi Gulf Films: Ali Al MarzouqiBy Qudsiya Siddiqui

In this year’s Gulf Film Festival ,out of the 155 films chosen, five short films selected for the Gulf-shorts competition are

produced by the UAE based production company, Dhabi Gulf Films. Converting ideas into visuals is what every filmmaker aims to achieve, but the producer and founder of Dhabi Gulf Films, Ali Al Marzouqi believes creativity in a script is important for making a good film.

“Through films, we discuss real issues with the community and use advance techniques in technology to make nice pictures with those nice ideas,” said Ali Al Marzouqi.

He is the producer of 5-short films which have been selected and were screened in the 5th edition of the Gulf Film Festival; which are Maktoob by Rawia Abdullah, Untruths by Ibrahim Al Marzouqi, Ice cream by Khalid Al Abdulla, Beginning. End by Aisha Abdulla and Frozen Yogurt by Ahmed Zain.

With five of his films being chosen for the Gulf Film Festival, Ali Al Marzouqi says, “It’s a different experience at every film festival. Through the festivals, I get to meet different directors and learn more while developing those skills, ideas and dreams into a film.”

The Gulf Film Festival 2012 has proven to be an effective platform for not just promoting Emirati talent in filmmaking but also for regional films who have gained recognition and honor for their films.

INTERVIEWS