Why do you make films?

I do films because I need to. I need to express myself and my emotions. It is a way to turn a frustrating situation into something positive. I draw inspiration from a theme whenever I prepare a film. Usually, it is either a topic I am constantly thinking about or a question I keep asking myself. Slowly, this theme grows into a healthy obsession, which transforms into a script that becomes a film. I also grew to grasp the power of filmmaking and its impact on viewers. Beyond evoking emotion, it can initiate action. Once you realize the true extent of this great power and magnificent tool, you start dealing with filmmaking very responsibly. You mobilize it to challenge the state of things and push for change. You humanize the stories and put them into context. You give viewers a chance to identify with the characters and their struggles. Once I fully understood that I approached my craft from a different lens.

What inspires you the most?

People and the lives they lead. I am intrigued and fascinated with human nature and behavior. I always try to decipher how our brains function and why we act and react in given ways.

How do you define success?

That is a good question. Frankly, my indicators and measurement of success have evolved. Nowadays, I correlate real success with achieving happiness. Some may say that it is impossible to live in a constant state of joy, but they are failing to see the bigger picture. Great happiness often lies
in the smallest moments, simplest places, and most mundane feelings that inspire us and make us feel comfortable.
Also, I would argue that we need to redefine “success”. It isn’t about having power, money, fame, real estate, a high status, and a large financial
portfolio. It is much simpler than that. Success is about living in a place where you feel happy and content. It is about enjoying the fruit of your labor, literally and figuratively.

You are known for showcasing the rawness of reality and its deep stories. How do you end up defining the mission of every film?
It takes me time to determine my mission. It doesn’t come naturally.

What about the message you want to convey then?

As I have mentioned, it is tied to a situation or the moment’s obsession. It depends on what is happening in my life, in my surrounding environment, and my desire to address certain topics.
For instance, I was very interested in the situation of women when I made my first film, “Caramel.” I wanted to uncover why they act like they do and what pushes them to be like that. I wanted to draw attention to how social pressure created a contrast between their aspirations and daily lives. I wanted to underline the contradictions between their dreams and realities. Making this film was a sort of therapy. It allowed me to learn a lot about myself.
“Where Do We Go Now” was influenced by events that took place in 2008. At the time, Lebanon was going through political unrest and experienced what can be described as a mini-civil war. Back then, I wondered, “How can people who lived in a state of apparent peace turn on each other so quickly and in a split second?”. The fact that I was pregnant also played an important role in shaping this film. I didn’t want my newborn to take up arms in the future and kill another man, thus bereaving another mother. While preparing this film, I asked myself what I would do to stop it and how I would react. With my co-writer Jihad Hojeily we drew inspiration from these two events to create the plot. The story was set in a village where men were about to fight each other only for their mothers, sisters, and wives to prevent it. In this film, I stressed the necessity for this situation to end and demonstrated how women can use their power to prevent such scenarios. A parody, a fable mixed with humor and comedy, the film reflected how absurd war and conflicts can be.
“Capernaum” allowed me to understand the lives of marginalized children. It was a gateway to delve into the world they were brought up in, the society that had put them in this situation, and the adults they encountered and ignored. It showed what it feels like to be invisible.
Every story is woven around a social issue that needs to be tackled and a message that needs to be spread. It takes a lot of hard work to make a film in this part of the world, so it might as well tell a worthy story and be as close to reality as possible. Some may argue that cinema is a make-believe world about fantasies and fiction stories. There is merit to that, but it is not the cinema that I identify with. It doesn’t mean that I don’t enjoy that type of film, but I always aim to draw inspiration from daily life.

So, is that the reason why your films often feature non-professional actors?

Acting implies making believe. In other words, it means to impersonate or pretend to be someone that you’re not. And since my films address sensitive topics, I find it quite difficult to ask actors to embody characters this far from them. So, I turn to non-professional actors for truthfulness, accuracy, honesty, and authenticity. Most of the time, I ask the cast individuals to relive their stories rather than act. I see my craft as a platform. This allows me to tackle real, tangible issues while writing fiction.

Acting has been a key part of your career. How is it different from directing?

What I enjoy the most about acting is the adventure of transforming into somebody else. I don’t know if this itch stems from my personality or my monotonous life, but I am fascinated by the possibility of exploring other characters and lives. I see acting as a gateway to explore our “multi-natures.” Mankind is complex, but society frames us in a certain personality because we are expected to be consistent. Acting is the only instance where it is allowed, accepted, and expected from someone to be somebody else. I get to live a completely different life for a few days, weeks, or months. During filming, I become a different person with behavior, psyche, aspects, looks, and style. That is what excites me the most about acting.

Would you describe yourself as a risk taker?

Definitely! Life is not worth living if we don’t take risks. Challenging myself and trying new things drive me forward. I like to be in unfamiliar situations and places. I like the unknown.

Can you tell me about the moment when "Capernaum" won the Jury Prize at the Cannes Film Festival?

It was extraordinary. I was overwhelmed. It was a personal reward, but more importantly, a recognition of all the hard work and efforts deployed and put into making this film. It took us nearly six years to complete it: three years for writing, six months for shooting, and two years for editing.
It was also a tribute to the actors who became known to the public after living anonymously. I was told by many that they weren’t aware of the existence of these hardships. My biggest joy was making the invisible visible.

You have a big role in empowering women. How do you feel about it?

I never actually thought of it. Some may perceive my films as empowering because I only portray women as role models. However, I only depict
women the way I see them. I highlight their strength, will, passion, emotions, craziness and fragility. Women are seen as empowered in my films because they are powerful.

What's your next project?

I can’t share details. I can only say it is about women from different cultures, ages, places, and relationships with their bodies.


Interview - Sleiman Dayaa
Photography: Michel Takla
CD - Styling: Sleiman Dayaa
Glam: Michel Kiwarkis
Jewelry: Cartier