For the third year in a row, the Syrian documentary is reserving its place in the short list of nominations for the Academy Award, “The Last Men in Aleppo”, by Firas Fayyad in 2018, and “About Parents and Children” by Talal Derky in 2019, and a film To Sama
For the promise of the preacher and Edward Watts, And “the cave” of Feras Fayad
They entered the shortlist this year pending the results of the Academy Awards ceremony on February 9, 2020.
Three directors, neither method nor style, there is neither method nor support, but rather the death of their successors, so they choose art as the opposite of it. At a time when the governments of great countries support the cinema industry in their countries, and try to get their directors to the reach of the Syrian filmmaker during the past years on the platforms, the Syrian individual case, which has attracted the interest of major production companies, managed to maintain A high level of documentary filmmaking, which embarrasses the entire Syrian state, and embarrasses the media of its friends, the claimants of impedance, preventing them from traditional carefree coverage of the Oscars, because the phone camera that the regime pursued since it fired its first bullet in the chest of the first protester, and tried to kill its holder, refined Lean years and preserve Miracles of the people developed the individual potential despite the sorrow and exile. And between the cinema industry, finding funding, distributing the film in the markets, producing the original idea, working on the document, and high craftsmanship in the absence of an academic basis, escaping the pics and the stereotype of the country devoted to the media, the state of the Syrian documentary cinema has evolved at the level of its makers as well as its audience. Syrian. So the recipient does not care about the awards issue, as much as he cares about the quality of the movie he talks about, which does not put a burden on the director always pushing him forward, because the recipient today knows more than ever that his case that he paid for his soul is not for trading. . The compass is to present ourselves to the world as people who are worthy of life and freedom, and not of compassion and sympathy. Our cause, which does not affect many international production companies, is that we fear it will become a commodity or a political agenda.
In the movie “The Last of Men in Aleppo”, Firas Fayad takes us on a trip to Aleppo with whom we see “White Helmets”, the civil defense that is credited with saving the lives of thousands of Assad’s barbarism, and at the same time, the regime and its allies have intensified against those who fail. His attempts to exterminate civilians. In that year, there were widespread media outlets affiliated with the regime’s axis, intimidation that sought to betray these young civilians, and portray them as Zionists of Israel in the most ridiculous and ridiculous media accounts. What was more beautiful than a documentary that its owner worked to highlight the suffering of these young men who rush towards the most dangerous areas of the city, in order to prepare for the rescue of the bombing victims, while they themselves are the first potential victims, and to drop the vulgar accounts of the media thugs through the Oscar platform.As for Talal Derky’s movie “On Fathers and Sons” in the following year, it is what the Syrian recipient revealed as a critic, and the pride did not take him with the Syrians’ arrival to the Oscars. Rather, the film was rejected on the popular level. Because Dirky did not look into the eyes of his people, but with the eyes of the producers with a priori view and the political agenda, Dirky entered a jihadist life in the countryside of Idlib with the aim of depicting his barbarism, after he broke into his life as a thief, claiming that he was a fan of jihad. The Syrian public, who suffered from these jihadists and knows them more than anyone in the world, saw in the film a western agenda that does not distinguish the Syrian rebel but even the citizen from the jihad that was filmed coldly, after the director provoked him to say all the typical cliches that the West portrays of the jihadists. There did not appear to be any difference between Idlib and Kabul, two cities that Syria cannot bring together, but it is the surface of oriental Orientalist producers. With this movie, the Syrians knew that the Oscars could have other dimensions, and a less professional and less respectful path.
Now, the Syrians are awaiting the movie “The Cave,” which returns Firas Fayyad to nominations after two years. The film, which was filmed in the Eastern Ghouta, on a field hospital, and discusses among its topics the life of a doctor who suffers as the people of Ghouta suffer, in addition to the difficulties of working as a female in this male world, this film is still in festivals and has not been out of the halls yet.
As for a movie To Sama For the promise of Al-Khatib and Edward Watts, who proved the interaction of people with him after the start of his performances in the international halls, it is the jewel of the crown in the Syrian documentary film production, the film that won many international awards, talking about the relationship of love and motherhood between the promise of Al-Khatib and her husband, the field doctor, then their marriage in Aleppo, The child Sama gave birth to them, and finally they all left the city forced. And through the intertwining of feelings that carry the delicate human relations, we see the story of Aleppo, which is portrayed and narrated by the mother to her young child, and we live in the space of the field hospital with the most severe cases that come due to the barbarity of the bombing. Waad Al-Khatib’s first films win a number of awards and nominations, forcing us to wait eagerly for the next ones.
And while the third year in a row comes, to confirm the attendance of the Syrian film as an Oscar candidate, and through two films this year, the regime turns a blind eye to what is going on, while the General Organization for Cinema in Damascus is flooded with corruption and gangs. The regime turns a blind eye, and implores any festival in Egypt, Sisi, or the rest of the counterrevolutionary countries, in order to spread propaganda, the most prominent of which is the lack of professionalism, and the attempt to polish the image of humiliating raggs, coming from the Russian cameras. And whoever closes his eyes to all the world’s festivals and platforms, he will be able to make a movie or take a picture.