A number of filmmakers stand amid the devastation and devastation caused by the Israeli war on Gaza since October 7, 2023, carrying their cameras to record stories and tales from inside the Strip as part of the project “From Distance Zero” by Palestinian director Rashid Masharawi.
Tel Aviv Tribune Net met with the international Palestinian director, to talk about the details of the project that was celebrated at the Arab and international levels.
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The phrase “from distance zero” has spread widely since the outbreak of the Israeli war on Gaza. Weren’t you afraid that this might cause some international actors to be reluctant to participate in the project? What is the meaning and symbolism of the name to you?
“From Distance Zero” are films that are actually shot from distance zero. The initiative gives the opportunity to filmmakers who are in Palestine and live the events closely to present their cinematic stories, because this is what distinguishes the film that was made during the war, as this cinematographer is a partner in everything that happens, and from here the name came. .
We are certainly not afraid of any reservations, because when we think about an activity or films, the focus is on what we do first. We do not make films for a specific party, and indeed there is great interest in the project, not only at the Arab level, but also at the foreign level.
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Since the project has received great attention since its announcement, have you received support from other entities or individuals?
There are small contributions from several parties that can be considered support or assistance, but it is not the usual way of financing the films that we implement. This support is linked to supporting the situation in Gaza, and among the most important parties that provided support are the Royal Film Commission of Jordan and some institutions and companies, and most of the project workers are volunteers. Because the initiative is not commercial, if the project succeeds financially, any support will be for filmmakers and cinema in Gaza as well.
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The film industry in Palestine always faces challenges and obstacles that you personally suffered from. Was that a reason for your support of the initiative and the makers inside Gaza to reduce the pressure on them?
I have a habit as a Palestinian filmmaker – from Gaza specifically – of launching an initiative on a large scale and on a large scale in conjunction with any major and influential event in our lives. For me, the war this time was different in its shape and size, the number of victims, and the size of the disaster and nightmare.
After the start of the war, I decided to play the role of a bridge between the filmmakers at home and the world through my previous experiences and my relationships with the media, festivals, television channels, and friends and fellow filmmakers. We all have one goal, which is to tell stories from Gaza that would be impossible for the world to see if we did not present them through the project. Away from news and slogans.
Films live for a long time due to their artistic and cinematic value, as they are not just a reaction.
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Were there certain conditions in choosing the filmmakers?
Of course, we had very clear criteria for choosing films, starting from the idea. First, it must be a story that has not been told before, and it must move away from the reports, video investigations, news, and things that the world has seen during the past months.
Secondly, the director must be an artist and talented, even if this is his first film, but he or she must have the ability to execute a cinematic film.
Then for the idea itself to be implementable, we know the data on the ground and the difference between places, the method of transportation and daily life, and we present films during asylum and under bombardment and with people struggling to survive, and struggling to secure food and water for their families, and they are the same people who will implement Cinematic film.
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What equipment was used in the project? How did you deal with operations after filming?
Filming was done using “4K Digital HD” cameras, all of which are digital. Filming was done at a high level, so that it could be shown on a large screen cinematically. In addition, we allowed filming with a phone if the quality was equivalent to a digital camera, in order to give an opportunity for the largest number of people to participate and to facilitate movement. Photography and movement.
There are films that were filmed on a phone. Working on the project was a real cinematic production, and we were training, nurturing, consulting and directing filmmakers in order to qualify them, establish them and teach them to present films without artistic or technical concessions.
As for the post-filming operations, they were carried out in two directions. Whoever had the ability and had a laptop, electricity, and a tent to carry out the initial editing process in Gaza would do so, and we would adjust the sound, colors, and initial final editing. The second part was also remote editing carried out by filmmakers outside Gaza with supervision. Technical consultants to access cinematic works important in their artistic value.
As for the aspects related to translation, graphics, and color correction, they were outside Gaza, and the music for all the films was provided by the artist and musician Naseer Shamma.
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Filming in the middle of war is certainly not easy. What difficulties did the filmmakers face?
Some of the workers were losing relatives during filming or preparation and during the writing stage, which kept them away from the project. Another problem was that some were exposed to real danger in accessing a place with the Internet to send the materials they filmed.
There were also major technical difficulties that were almost insurmountable, such as cutting off the Internet and electricity for days or losing contact with someone. We were committed to sticking to the same ideas and stories and for events not to affect the main idea.
Also, filming was taking place under bombardment, because there was an awareness among filmmakers and consultants that the project was more important and bigger than anything.
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You recently participated in the “From Distance Zero” initiative at the Aswan Festival, and you also participate in the Cannes Film Festival and other major events. Tell us about these participations?
Our presence at the Aswan Women’s Film Festival was through presenting clips of films and messages from directors, but we did not show the films themselves. The Arab premiere will be in the next session of the Amman Film Festival. As for the Cannes Film Festival, the initiative is not among the official presentations of the festival, but we are presenting Palestinian activity at the festival and it will be Shows inside the festival halls, which is a media show that has nothing to do with the official shows chosen by the organizing committee.
Film festivals and activities contribute to raising awareness, shedding light, and giving the opportunity to those who want to express themselves through a symposium, article, or film, because in parallel there are Zionist narratives and false narratives that need to be corrected. The war did not happen on October 7. The war we have been living in for 77 years, and culture and art. The media carries stories, history and memory, and cinema is one of the visual and audio tools that preserve memory.
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You announced some time ago that you had finished your new film, “Fleeting Dreams.” When will it be released? Does it address the war on Gaza?
The film is already ready and will soon be shown at festivals, but my priorities, time and attention since the outbreak of war in Gaza have been focused on the project “From Distance Zero”. As a Palestinian Gazan filmmaker and human being, I cannot help but do that.
But there are parties related to production and distribution that are arranging everything related to “Fleeting Dreams” because it is important for the film to be released at this stage, to translate to the world how we lived before the war, and that what the world sees now is not our image, as we are not an ignorant or foolish people. Or poor, but we are the product of a political situation. We are a civilized people, and therefore it is important that the image of Palestine, the Palestinian people, their life and their art be shown.
