为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，这些访谈将在作品放映后发布在联展各个媒体平台。
صيف، مدينة وكاميرا ｜summer, city and a camera｜夏天，城市和摄影机
Anas Zawahri｜0:22:16｜2022｜Syrian Arab Republic｜No Dialogue｜Asia Premiere
Q & A
Q：It is a creative idea to take filmmakers as the subject shot in a film. How did you come up with it? Is this an experiment to break the fourth wall?
A：In fact, the independent cinema movement in Syria is very stagnant. This is because many routine procedures take a long time to obtain approvals from the security authorities for filming in the city. So in most cases, the filmmakers do not get approval for filming. That is why most film projects die.
In the recent period, after many tiring attempts, I came close to giving up. An independent film production company, Stories Film, obtained approvals for trainees working to develop their skills in a cinematic workshop. This rarely happens! Even the approvals were issued on the pretext that these films were training projects to train filmmakers and develop their skills.
I was one of those trainees in the workshop, and I was developing my short fiction project, and when we learned that approvals had been issued to implement film projects, I gave up the idea of filming my fiction film.
I said to myself, "This is an opportunity to be commended and documented for this event that happens rarely, and also an opportunity to document the city that cannot usually be photographed, through the eyes of a group of filmmakers, by visiting the shooting locations for their films, benefiting from the approvals they have to shoot their films."
This enabled me to document the city and its neighborhoods, streets, and people with a neutral view without interference to give it any political character, unlike most previous films that appeared and spoke about the region here.
So, the film came in its current form to raise a question: who is filming whom? Is it the main director's camera? Or is it the other director's camera? Or is the only girl's camera trying to get a feel for the city again by filming it with a small Handycam?
Q：In your opinion, what’s the relationship between filmmakers shot in the documentary, citizens shot by artists, citizens observing artists and yourself?
A：Syria recently experienced a long war. In the last few years, life has gradually begun to return to normal, but unfortunately, pre-war Syria is not what it is now. The city is now bleak and pale, and despite the regular movement of people in the streets, this does not reflect the reality of their inner feeling, And if you look closely at the film scene, you will see the faces are sullen and tired, as is the case with the city. Nevertheless, the residents of this city, or what was left of them, did not stop following their lives and went out to their daily work and activities despite the harsh conditions left by the war, including extreme poverty, high prices, and the lack of most of their daily basic needs.
As for the filmmakers, they are part of these people, but with different natures of their work, which is cinema. Despite the lack of excellent capabilities and the simplest tools, they continued pursuing their dreams of making films. Instead, they went out to film it despite the harsh living conditions. Because this, in their appearance, is an attempt to survive daily in this country. I am a citizen and a filmmaker at the same time and a part of them despite my absence in front of the camera in my apparent form, as many have appeared.
The relationship between everyone is one! We all live in this city. We share the same concerns and the same attempts to survive daily but with different methods for these attempts.