A director at the “Cairo Film Festival” makes fun of Syrian films a candidate for “A.

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Ahmed Shawky accused the Syrian directors who managed to reach the international level by exploiting the Syrian tragedy to market their films and reach them for “Oscar” nominations. He posted on his Facebook account what he claimed were the “4 Oscar nomination steps.”

Shawky ridiculed the suffering of the Syrians, portraying them as “just a charade”: “Show your Syrian passport and political asylum certificate, together with pictures of war and destroyed homes. No one would try to save the victims. Would you like, if one of the heroes during the filming dies and does not turn him on, he curses your soul, O Hafiz curses Your Lord, Bashar, congratulations on running for the Oscars. “

Shawky’s work as a film critic requires analyzing artistic works and their components, tasting them and evaluating them in an academic manner away from political bias, personalization and accusations, and his position as art director of one of the most important film festivals in the Arab world requires not to underestimate the populist way of evaluations of international art organizations, such as “the Academy of Arts and Image Sciences” The Motion “which he implicitly accused of” non-craftsmanship “, without relying on proofs.

but why?
Although Shawqi’s moral stance to ridicule the tragedy of an entire people is incomprehensible from a human point of view, his position on the Syrian films that have reached “Oscar” nominations will not be strange if he deals with them as “films opposing the Syrian regime” and strips them of their artistic and human value , Due to his apparent relationship and wife with institutions, events and personalities supported by the Syrian regime.

Shawky had announced on December 1 that his book “Post-Mobility Cinema”, which includes 61 articles he wrote on Egyptian films that were shown between the beginning of 2012 and the beginning of 2018, was published “after a period of rejecting the idea”, from “The Seventh Art Series” Affiliated with the “Syrian General Cinema Establishment”, which is famous for its control over the Syrian art scene, imposing restrictions on artists in favor of the regime, and working to obliterate its crimes.

The clear working relationship between the Syrian director Joud Saeed, who is known for his pro-Syrian stance, and the well-known for his films that whit his page, and Samar Yassin, Shawky’s wife who worked in the field of distribution and media in several companies, including “Mad Solutions”, which participated in many publications, are also not hidden. That promotes the movie “The Morning Star” for Saeed, explaining the dates of his performance and the festivals he is participating in

The matter did not stop at the unprofessional and unethical mockery and the naive speech that does not respect the recipient’s mind in a longing publication, but the comments extended to the scope of knowledge ignorance as well, as Amir Ramsis, the artistic director of the El Gouna Film Festival, accused Waed Al-Khatib, the director of the movie “To Sama”, And Firas Fayyad, the director of the film “The Cave,” misleading the viewer and referring to “ISIS” in the name of “religious extremists,” knowing that the two films were filmed in the cities of Aleppo and Ghouta (in order), where ISIS never entered, but rather “religious extremist” groups who owned Areas of influence are already there.

Responses to the fierce campaign:
And about the fierce campaign launched by some of the Syrian films that reach “Oscar”, the journalist Ola Al-Sheikh wrote: “All that delivers a (specifically Syrian) movie to the Oscar, by blurring gossip, gossip, skepticism, and mockery, and the questions are that how did the film come to there, especially as it is films by opposition directors?” For the Assad regime, on the other hand, the questions are not welcome. Why are Arab film festivals inserting films that are technically bad in their official competitions, directed by the Assad regime, and their films are produced by the General Organization for Cinema, which only supports her beloved ones, and she added: “At least Syrian films that Arrived for the Oscars of the Year are films on Very hard boiled movies.

In turn, Palestinian film director Nasri Hajjaj described Shawky’s speech as “a jealousy that uses cinematic criticism that has turned into a tool of disgrace to serve an authoritarian regime,” and he cited in a post on his Facebook page, the personal goals that motivated Shawki to ridicule Syrian films.

About the two Syrian films
“To Sama”, directed by the Syrian director Waad Al-Khatib and British director Edward Watts, has won several awards, including the “Golden Eye” award at the Cannes Film Festival, the “Jury Prize”, and the “Audience Award” in SXSW International Festival, deals with the suffering of Al-Khatib and the experience of her motherhood during her years in Aleppo, during the siege of the city by the regime forces and his Russian allies, through the story she tells her daughter Sama.

The movie “The Cave” by its director Firas Fayyad won several awards, including the “Audience Award” for the best documentary at the Toronto International Film Festival, and it transmits the tragic details that were happening in the Secret Cave Hospital in Eastern Ghouta during the siege between 2012 and 2018, through Monitor the daily life of 3 Syrian male and female doctors helping victims of the regime’s bombing.

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