A Collection of Forbidden Stories

Among the guests of this year’s Festival of documentary and short film is Muayad Mussa Alayan, author of the film “Why, Sabreen?” that competed in the short feature film international competition program.

 

“Why, Sabreen?” is a film dealing with the issues of young Palestinians in Jerusalem. The film is a collection of stories, some of which I have experienced myself, which have happened to my friends and people I know. When I started writing the script and putting these stories together, I felt the urge to tell these stories from the viewpoint of youth. These issues are evolving in the last ten or twenty years, but not many film are dealing with youth. “Why, Sabreen?” is a collection of stories about the lives of people of my generation and the story of two lovers, in which we can see all sorts of problems they are facing in their lives.

Why this theme of forbidden love of two Palestinians in Jerusalem. Were you inspired by Shakespeare’s Romeo and Juliet and similar books and films?

- One can’t immediately see that the theme is forbidden love, there are many layers in this film, such as political freedom, economic freedom and situation, as well as financial problems young Palestinians are facing in their lives, with respect to education and good employment. We also have religious and tradition related taboos in society. It’s not strictly a “Romeo and Juliet” story.

Were there any difficulties related to the shooting of the film?

 - Oh, yes. Since I am a Palestinian filmmaker, for starters, you don’t have sure access to film funds. Most funds come from European countries and that’s not enough. On the other hand, it’s a problem to find film professionals. Although we have evolved in the filmmaking sense, you don’t have many Palestinian film workers. For example, there are not a lot photography directors and cameramen and so my cameraman was one my colleagues from the film school in San Francisco. The other problem is distribution, both national and international. In Palestine we have just one commercial cinema. The other cinemas are in cultural centers. These are the three main problems. Another problem was filming in Jerusalem; Eastern Jerusalem is inside the Israeli borders, that’s occupied Jerusalem territory. Be a Palestinian there and run around with a film crew and cameras was very difficult.

Do you have any anecdotes from the shooting of the film?

-Whenever people asked “how did you manage to make a film”, I tell them that the entire village of Betafafa, which is located at the center of Jerusalem, participated in the shooting. Without the participation of the entire village, it wouldn’t have been possible. Making a film in Palestine is like planning a wedding. The women are preparing the food and the bride and the men prepare the dancing stage and the lights. In this film, they were the extras, the catering, assistant producers and without their help, I would have never made this film.

What are your plans for the future?

I am currently writing a script for my first full feature film. I won’t give you any details, but it’s the first Palestinian film about ghosts.