Explore the compelling stories of displaced filmmakers as they convey their experiences through the art of cinema at the International Film Festival Rotterdam (IFFR).
The International Film Festival Rotterdam (IFFR) has launched the Displacement Film Fund to support filmmakers affected by displacement. This initiative, announced by Cate Blanchett in collaboration with IFFR’s Hubert Bals Fund, aims to empower five directors from war-torn regions. Each recipient will receive €100,000 for the production of short films, which premiered recently in Rotterdam. The showcased works feature talented directors from Syria, Ukraine, Afghanistan, Somalia, and Iran.
The inaugural films financed by this fund present a rich tapestry of stories. One notable recipient is Hasan Kattan, a Syrian filmmaker whose work, Allies in Exile, navigates the complexities of friendship and the emotional toll of awaiting asylum. The 40-minute film features Kattan and his long-time friend Fadi Al Halabi, who have shared a journey through conflict and storytelling.
In Allies in Exile, Kattan reflects on the years spent managing the chaos of war and the quiet despair of life in an asylum hotel in the UK. The film captures how their experience of exile is shaped not only by the bombs that once surrounded them but also by the oppressive weight of bureaucracy and uncertainty. Kattan notes that each moment of filming serves as a means of survival in a world increasingly hostile to refugees. He states, “Every second, every frame is a memory,” underscoring how filmmaking acts as a lifeline to his home and identity.
Kattan emphasizes storytelling’s transformative power, sharing, “I learned making films and storytelling in Syria. We were dreaming of freedom as young people to improve our country.” He believes that through their art, filmmakers can amplify their voices and challenge prevailing narratives surrounding displacement.
Another significant entry is Whispers of a Burning Scent, directed by Mo Harawe, a Somali-Austrian filmmaker. This 28-minute film explores the life of a wedding musician facing a pivotal court hearing while preparing for an important performance. The narrative intricately weaves together themes of loyalty, guilt, and societal judgment as the protagonist navigates his public and private lives.
Harawe emphasizes that while the fund is designed for displaced filmmakers, the stories told need not focus solely on displacement. He reflects on the multifaceted nature of disconnection, suggesting that individuals can feel displaced even within their own communities. Harawe articulates, “Displacement has different states, or stages,” indicating that each person’s journey is unique. He highlights the resilience of displaced individuals, noting their adaptability amidst uncertainty.
Both Kattan and Harawe recognize the need for platforms that elevate the voices of those grappling with displacement. They assert that storytelling is vital for survival and identity preservation. Harawe states, “Sharing is a survival thing for them to share, because that’s who we are as human beings.”
The response to the films premiered at IFFR has been overwhelmingly positive, with audiences resonating with the authentic portrayals of hardship and resilience. The opportunity to showcase these narratives honors the filmmakers’ experiences and encourages dialogue surrounding the broader implications of displacement in today’s world. As Blanchett and the IFFR continue to advocate for displaced artists, the future appears hopeful for those seeking to share their stories through cinema.
As the festival progresses, the films supported by the Displacement Film Fund serve as a powerful reminder of the strength found in storytelling and the importance of creating spaces for voices that often go unheard. Each premiere calls attention to the struggles and triumphs of displaced individuals, fostering a deeper understanding of their experiences.