Palestinian-European Co-Production ‘Happy Holidays’ Looks to Spark Dialogue About Traditions and Values

As a discerning film enthusiast, I am deeply impressed by Scandar Copti’s life experience and artistic approach showcased in his latest project, “Happy Holidays.” The innovative use of the “singular drama” method to create authentic characters and events, as well as his dedication to addressing societal perceptions and patriarchal values within Palestinian society, are truly commendable.

The movie titled “Happy Holidays” is Scandar Copti’s first solo directorial venture, a Palestinian director who was an Oscar nominee as co-director of “Ajami” (2009). Premiering in prestigious sections like Venice Horizons and TIFF Centrepiece, the film delves into the lives of a Palestinian family residing in Haifa. It offers a unique perspective on how cultural and societal viewpoints are formed. Additionally, it demonstrates the potency of Copti’s unique “dramatic approach”, a technique for working with actors that he refined during the making of “Ajami”

Copti shares that he often initiates his creative work based on a personal irritation or observation. The inspiration behind the piece “Happy Holidays” was ignited from an overheard conversation as a teenager. He reminisces, “One of my female relatives once advised her son, ‘Never let a woman boss you around,’ speaking about his wife. This seemingly contradictory statement made me grasp how deeply entrenched patriarchal beliefs are in our society.”

“In ‘Happy Holidays,’ each of the four chapters centers around a distinct character during approximately the same time frame. As the narrative unfolds, viewers become immersed in their individual stories. However, when a pivotal event occurs or is resolved, the plot suddenly switches focus to another character, initiating a fresh journey. This deliberate emotional transition causes the events we witness to take on new and sometimes disquieting interpretations.” (158 words)

The genuine depth of the characters and situations is achieved via an intricate, laborious technique, even though Copti initially works from a script. “I collaborated with a group of untrained actors using the singular drama approach. This method exploits the paradox of fiction, which is our ability to emotionally connect with fictitious characters and scenarios.”

Copti chose his cast members to match the character traits and occupations he had created in his writing. “These non-professional actors embarked on a deep psychological exploration during intense, single-drama workshops I conducted over the course of a year,” Copti explains. “During these sessions, participants didn’t concentrate on scripts, objectives, stage design, or acting methods. Instead, they delved into their characters’ personal histories through role-playing and discussions, fostering relationships by experiencing the actual filming locations before the cameras started rolling.”

Copti observes that as time passed, the actors grew incredibly connected to their roles, viewing them as reflections of themselves. In the movie, the non-professional actors responded naturally to ongoing events, without ever glancing at the script or knowing the specific plot details. Their words and actions stemmed from within them, rooted in their comprehension of the reality that unfolded around them

Copti filmed scenes sequentially using two handheld cameras that moved closely around the characters, mirroring an observational documentary style. This method allowed for a realistic depiction of events as they occurred and prevented any scripted blocking. It also created a logical flow in the actors’ minds, eliciting genuine emotions from one scene to another, ensuring each take was distinct and irreplaceable

Employing a real-time improvisation technique (referred to as the singular drama method) yielded approximately 200 hours of raw footage that Copti spent painstakingly editing over a period of 15 months. “This task was demanding,” he admits, “as I had to juggle my family responsibilities, full-time job, and editing duties.” Fortunately, his employment includes instructing the singular drama method at NYU Abu Dhabi and conducting extensive workshops globally

Originating from Palestine, Germany, France, Qatar, and Italy, the movie titled “Happy Holidays” gained substantial backing from Arabic financial sources and film festivals. According to Copti, the Doha Film Institute and the Arab Fund for Arts and Culture played a crucial role in fostering and publicizing Arab cinema. Their financial aid and guidance have been instrumental in enabling Arab filmmakers to express their narratives effectively and develop their skills further

He adds, “The Final Cut program in Venice has been a real game-changer for us. It provides post-production grants and opportunities to showcase unfinished films to industry professionals, which helps Arab filmmakers complete our projects and gain international recognition. Our film ‘Happy Holidays’ won two post-production awards in the 2023 edition of Final Cut in Venice, enabling us to finish our movie and share it with audiences. We are extremely thankful for all this assistance.”

In the pipeline for Copti is a project called “A Childhood.” This documentary delves into the lives of Palestinian children who reside under Israeli occupation, with a primary focus on the matter of child imprisonment. He highlights that the movie will employ testimonies gathered by NGOs and mobile phone footage to shed light on human rights violations. Furthermore, animation will be utilized to depict the children’s oral testimonies and emotional states, thereby creating a vivid and moving portrayal of their experiences

2024-09-04 19:07

Palestinian-European Co-Production ‘Happy Holidays’ Looks to Spark Dialogue About Traditions and Values

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