Lebanese Director Karim Kassem Had Two Weeks to Improvise a New Film on the Fly

As a seasoned movie critic with a penchant for the unconventional and resilient, I find Karim Kassem‘s journey to be nothing short of inspiring. His latest film, “Moondove,” is a testament to his adaptability, creativity, and unwavering commitment to his craft.

Two weeks before the cameras were set to roll, everything fell apart.

At that juncture, Karim Kassem, the director of “Moondove”, had devoted two years into crafting his fourth feature film. Subsequently, he diligently worked on launching this project. The documentary was intended to portray a young woman’s journey back to a quaint village nestled in Mount Lebanon after a long spell living overseas. The central character would serve as a bridge connecting the diverse residents of the town she would encounter.

Lebanese Director Karim Kassem Had Two Weeks to Improvise a New Film on the Fly

The tale was prepared, scenes were sketched out, and the locals were all set to film – but then, just 14 days before the major event, both the main actor and the director of photography decided to withdraw.

At the Cairo Film Festival, where “Moondove” was competing, Kassem stated, “I was forced to destroy the script. I found myself facing two options: Either spend the entire month of August weeping or swiftly come up with an alternative movie.

Instead of choosing the first option, Kassem decided on the second one, hastily drafting a fresh screenplay within the two-week timeframe leading up to filming, and simultaneously devising a novel shot list while taking on the role of Director of Photography.

He explains that he had all the essential topics laid out. The components, characters – everything was already set up. Over time, they began to stand out more prominently, as if they were stepping onto a stage. Remarkably, they felt like familiar faces because they had been part of his life for the past two years, getting acquainted with them.

In this updated version, we’ll incorporate a theatrical element by organizing community rehearsals for a yet-to-be-performed play. This will serve as a storytelling mechanism to intertwine different plotlines.

During pre-production, I’d wander around and come across flyers for the real play that one of the film’s characters was part of. It struck me that each story had a strong theme of departure. This inspired me to create my own script titled ‘Departures.’ I then envisioned the subjects as actors, enacting scenes from their own lives within this film, which I saw as the play itself.

The approach can also provide the movie director with opportunities to explore private moments of intimacy and profound psychological exposure, which may not be typical in non-fiction productions. A significant aspect of this film revolves around mortality, as it delicately unfolds at a slow pace, capturing characters reflecting, waiting for, or even initiating their own demise.

In a poignant moment, Kassem describes an elderly individual confined to their bed, as both spouses carefully check on each other to ensure that the other is still alive.

Kassem explains, “Spending a lot of time with them makes people trust your actions.” He continues, “Setting up such a scene isn’t simple, but some will still agree, particularly if there’s genuine and clear discussion about the film’s content. I aimed to remain truthful. Everything shown on screen genuinely reflects their emotions and experiences at that moment.

Indeed, the filmmaker possesses an aptitude for uncovering tranquility amidst turmoil. Having spent a decade in New York – where he achieved both fame as a DJ and commercial DP – Kassem returned to his hometown of Beirut mere hours before the 2020 port explosion, which devastated much of the city and came close to claiming his life. As he recovered and grieved, he chose to express himself through a film that mirrored his serene disposition.

Kassem chose to create a peaceful, non-political film without loud or intense elements,” he explained. “It’s simply my style – I move at a leisurely pace, much like nature, and I’ll work as time feels right for me.

After “Moondove” competed in Cairo, filmmaker Kassem is contemplating his next project. Originally planning a movie entitled “Before Now, Later”, which offered a glimpse into bureaucratic chaos, he had also presented this title at this year’s Cairo Film Connection platform for development. However, Israel’s ongoing conflict with Lebanon has put a halt to the production of this film.

“All the areas that I plan to shoot in are bombed,” says Kassem. “So the project is on hold.”

He mentions that he also has two more movies in the works. However, at this moment, the idea of doing anything is quite challenging – it’s not just about practicalities like logistics and safety, but also the psychological toll. There are constant drones overhead and bombs going off every hour or so, making it difficult to concentrate. Yet, amidst all the city’s chaos and war, there always seems to be a peaceful corner in my heart and mind.

He goes on to say, “There are often quiet, Kiarostami-like instances amidst the turmoil,” he explains. “I practice martial arts, yoga, and have meditated for 14 years, so I’ll stay composed and try to remain resistant. However, I need to take a moment to ponder, what can actually be achieved?

2024-11-19 13:17

Lebanese Director Karim Kassem Had Two Weeks to Improvise a New Film on the Fly

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