In progress: Enthusing the wait
By
Mohamed El-Assyouti
Ahmed Rashwan plans to shoot his first long feature this summer. His graduation project was Zamzam (1994), following which he made three short films produced by the National Cinema Centre (NCC): Muftaraq Al-Turuq (Crossroads 1995), and the documentaries Guwwa Al- Bashar (Inside People 1998) and Lama Dakhalt Al- Geneina (Once I Went to the Garden 2000). He also made the documentary Yom Zay Ayy Yom (A Day Like Any Day 1999). He produced and directed the narrative short film Al-Sabah Al-Tali (The Morning After 2002) independently.
I am preparing for a short film, 'An Al-'Ushaaq (About Lovers). It was inspired by a letter to the editor published in Al-Ahram which was the subject of a column by Karima Kamal in Sabah Al-Kheir magazine. Characters are based on this idea and Kamal will share the credit for the story with me. Reham Habib wrote the script, Sherif Hilal will do the videography and Basma will play the lead role. This is going to be the second short film that I produce independently. Afterwards I am planning to shoot my first long feature during the summer, on digital video, but I don't plan to stop making short films and documentaries. A filmmaker who directs a feature film shouldn't be pigeon-holed as a maker of feature length dramas just as the maker of short films should not be characterised as a "small" filmmaker. Even if you make a whole series of long features it is perfectly possible that you will come across a subject that demands to be tackled in a short format.
In the 1990s digital video developed into a valid alternative for independent filmmakers and the ProHelvetia workshop held in 1990 allowed non-Film Institute graduates in on the act. It's a democratic way of making films if only because you can cut down the budget drastically. Since the mainstream industry is going through a chronic crisis there is an urgent need for something like digital video to restore the balance of power.
Over a brief period -- think just of 2002 -- large numbers of short narrative and documentary films have been made by young filmmakers. For instance Nader Hilal, who had not made a film since his graduation project in 1995 -- joined up with scriptwriter Yasser Abdel- Latif, a collaboration that has already resulted in two short films and now they are preparing a third.
In 1997 I was planning to shoot Bil-Alwan Al-Tabi'iya (In Natural Colours) based on a script by Sayed Abdel-Maged. Mahmoud Hemeida was enthusiastic and planned to produce it. I also managed to secure a grant for post-production from the French Fund Sud, administered by the French Foreign Ministry, to the value of 700,000 francs. Unfortunately Hemeida reconsidered and pulled out of the project. There was a deadline for the grant, I managed to get two extensions, but my efforts to secure a local producer were all in vain. During the National Film Festival of 1999 the Minister of Culture announced that the ministry would allocate LE2.5 million to contribute towards the production of five feature films. I sent three memoranda to the minister, explaining what was happening with my project, but I received no reply. I could not meet the deadline. Later there were plans that Arabiya Productions produce it but these fell through. I know that I will make it one day, sooner rather than later; the only guarantee of whether a film is made or not is how determined you are to make it. As long as there is enthusiasm for a given project there is a possibility of it being made and the stronger the enthusiasm the greater the possibility. This particular script had been commended by all who read it.
I also considered another script which I wrote myself, Gawab Niha'i (Final Response). It was an attempt to use the success of the TV show Mann Sayarbah Al-Milyon? (Who wants to be a millionaire?), whose presenter always repeats the same question, "Final Response?", to the contestants. I was also going to bet on making a light comedy that was respectable but that might also enjoy commercial success. I later lost interest in the project. I was not very emotionally attached to it.
I haven't stopped working for Nile Variety Channel or as an assistant director on others' films but have never felt comfortable about this. I have never had the liberty of making a film I like in the way I like and in the time I need. Digital video has made this a possibility.
My first independent short film was Al-Sabah Al-Tali, based on a short story by Mustafa Nasr. I decided to make it on my own when the script was rejected by the NCC. It made me seriously consider working without waiting for the approval of producers or committees, who are often unjust and sometimes illogical. These committees are mopolised by people whose way of thinking is different to ours. I borrowed a camera from ProHelvetia, used the editing unit in Al-Mastaba Centre for Heritage. Everyone who worked in the film for free was cooperative: videographer Sherif Hilal, editor Nadia Hassan, composer Amr Ismail, assistant director Hala Lutfi and actors Caroleen Khalil, Akram Mustafa, Nuheir Amin and Hanan Mutawi'. Said Shimi supplied us with lighting equipment. We experimented with fluorescent lighting to create a hospital atmosphere, with hand-held camera and fast cuts. I shot some scenes in my flat and used my own car as well. The film has already been screened in several cultural centres and in the German festival Ex Ground but it still hasn't been sold.
I am happy that Mohamed Khan, Khairy Bishara and Asma El-Bakri are making films on digital video. This signals a new trend in local filmmaking. One mainstream producer is already preparing a package of digital video films with mostly young people. I would have liked that the first films on digital be made by people from my generation, but it seems that Khan, Bishara and El-Bakri are more adventurous -- or perhaps they are more financially secure. A good sign is that veteran cinematographer Tareq El-Telmissani has collaborated with Bishara and Khan even though he is very much in demand in the mainstream industry. He is placing his stakes on the new trend.
