Venice Award Winner Ahmad Ghossein on Absurdist Comedy ‘The Side Effects of Trusting Life’ and War in Lebanon: ‘People Want Topics From Us, Not Cinema’

As a film enthusiast with a deep appreciation for Middle Eastern cinema, I find myself deeply moved by the story of Lebanese director Ahmad Ghossein and his upcoming film “The Side Effects of Trusting Life.” His work is a poignant reflection of the struggles faced by his nation, particularly in the aftermath of Lebanon’s economic collapse in 2019.

Five years have passed since my debut film “All This Victory” won both the Grand Prize and the Audience Award at Venice’s Critics’ Week, and now I, Ahmad Ghossein, am preparing to embark on my next cinematic journey. My upcoming project, titled “The Side Effects of Trusting Life,” has been chosen for this year’s Agora Crossroads Co-Production Forum at Thessaloniki Film Festival, where it received the Midpoint Consulting Award. As a passionate film enthusiast, I can hardly wait to bring this story to life on the silver screen!

Ghossein shared with EbMaster that the recent movie he created is complex due to the situation in Lebanon, yet he penned it before the current events unfolded. He wasn’t just referring to the ongoing conflict with Israel, but also the hardships Lebanon has endured over the past five years. In 2019, Lebanon experienced a total collapse – economically, politically, and socially, demonstrating how capitalism and new liberalism fell short. If you wish to examine the banking system’s failure on a global scale, he suggested looking at Beirut. That image of struggle served as inspiration for the dark humor that emerged in his writing during those challenging times.

The Consequences of Embracing Life” portrays Lama, a young woman, who develops hearing problems due to panic attacks following her job loss amidst Lebanon’s economic crisis. To avoid stressful scenarios, she returns to her rural hometown. However, fate has other plans, as she finds herself drawn back into the chaotic city of Beirut and immersed in a whirlwind of distressing incidents. The movie is slated for production by Lebanon’s Abbout Productions, along with Germany’s Twenty Twenty Vision Filmproduktion and Norway’s DUO film as co-producers.

In his director’s explanation, Ghossein expresses that Lama, similar to him, feels powerless following her job loss, observing the decline of the city as others try to flee. In the portrayal of Beirut in the film, everything seems broken – there’s no functioning electricity, water, or money. Ghossein describes the movie as being meticulously planned and providing viewers with a vivid understanding of the disorder that characterizes this fictional Beirut.

Following the creation of a movie titled “All That Victory” about the Hezbollah-Israel conflict, Ghossein swore he’d never produce a war-themed film again. However, the unrest in his homeland proved hard to ignore. “The facts are that just two months after I departed Venice, a revolution broke out, followed by COVID and then a war. As a result, I didn’t have the opportunity to process what was transpiring. Filmmakers require time, and we need breathing room. I must live to write.

Amidst the ongoing tension between Lebanon and Israel, the director finds himself hesitant about commencing his upcoming film due to the intense nature of the situation. “At times like these, it feels as though films are not crucial. If someone were to ask me right now if cinema matters, I’d say no. My country is at war, and helping people should be our top priority.

Ghossein emphasized that people seek relevant topics from us instead of movies. During challenging periods, especially in times of conflict, there’s an expectation for social drama narratives. People view us as subjects, desiring to comprehend the Middle East through our work as it is portrayed by Western perspectives.

Ghossein continued, “Cinema functions as a global tongue, yet there’s an underlying stress since financing ultimately originates from Europe. While the Arab world is witnessing transformations with increased co-productions and financial assistance, there remains no real freedom. Today, European producers are showing interest in gaining more insights, although the term ‘understand’ somewhat irks me.

As a movie enthusiast, I’m thrilled to share that my latest project, titled “The Side Effects of Trusting Life,” will be taking me to Thessaloniki. I find a profound connection between Greece and Lebanon, and I’m grateful for the opportunity to collaborate with local partners who truly understand the intricacies of working on Arab projects. This collaboration will bring me back together with the Greek editor of “All This Victory,” Yannis Chalkiadakis, and I am open to the idea of capturing Greece in my lens for Beirut.

Greek producers proposed filming here instead of next year, according to Ghossein,” said Ghossein. “However, should a war break out in Lebanon, I won’t be shooting anything at all. My attention and dedication must remain with my homeland during such times, and I cannot simply film in Greece while ignoring the situation here. It’s just not feasible.

As a dedicated fan, I can’t help but echo the director’s sentiments about the allure of co-productions. They offer enticing opportunities such as grants, rebates, and collaborative partnerships with like-minded producers. One intriguing idea is to split the filming process between Lebanon and Greece, yet, despite the appeal, Ghossein feels a profound sense of attachment to his homeland and the unique narrative it offers. He eloquently expresses, “A space speaks to you in its own way. In the end, I am bound by loyalty to the space and my country.

2024-11-10 16:46

Venice Award Winner Ahmad Ghossein on Absurdist Comedy ‘The Side Effects of Trusting Life’ and War in Lebanon: ‘People Want Topics From Us, Not Cinema’

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