Sean McAllister’s new film ‘A Syrian Love Story’ now has its very own Facebook page at facebook.com/ASyrianLoveStoryFilm – It would be great if you could visit and ‘like’ it. Thank you.
And just as a reminder, Sean also has his own Facebook page at facebook.com/tenfootfilms So please feel free to pop along and join him there for more general news about his films. Thank you again…
If you are a subscriber to Broadcast Magazine you can see the following piece on Sean McAllister by George Bevir
Sean McAllister: A Syrian Love Story
Seasoned documentary-maker Sean McAllister talks to George Bevir about filming during the Arab Spring, and why commissioning editors should reject the urge to play it safe.
Having been travelling to Syria since before the uprising in 2011, film-maker Sean McAllister was used to passing himself off as a tourist to avoid attracting the unwanted attention of the Ministry of Information.
But when the revolution swept the country, filming proved more problematic: such was the threat from the Syrian regime that protestors were reluctant to appear on camera because they didn’t want their identities revealed. “It was fucking difficult,” says McAllister, in typically candid fashion. “Even if you used a phone to film, the snipers could get you.”
The testing conditions required an innovative approach. McAllister bought a batch of glasses with built-in HD cameras and dished them out to protestors so they could surreptitiously capture footage of the revolution without being detected.
Involving those he films in the production is a hallmark of McAllister’s work, which he describes as “fly-in-the- soup, rather than fly-on-the-wall”. He embeds himself in the lives of his subjects – or collaborators, as he refers to them – to the extent that they become part of the process, looking after back-up copies of rushes and even working with him on other projects long after a production has finished.
The downside of the camera glasses was that they didn’t convey this transparency. “What they captured looked like spy-cam footage, and gave it a kind of undercover documentary look, which wasn’t what I wanted.”
The relationship at the heart of McAllister’s latest film, A Syrian Love Story, is that of Amer and Raghda, political prisoners who met in a Syrian prison cell 15 years ago and later married and had children.
The documentary, commissioned by Nick Fraser for the BBC’s Storyville strand and part-funded by the BFI, spans a five-year period that began in 2009, before a wave of uprisings swept across the Arab world. It charts the story of the family as father and mother are jailed for their political beliefs, and ultimately exiled.
Before the BFI agreed to back the project, it wanted to know why it should fund what appeared to be a TV documentary. “I told them it was like one of my favourite John Cassavetes films, Love Streams, with Amer playing the role of Cassavetes and Raghda as Gena Rowlands,” says McAllister.
“There’s drinking and fighting, and it’s about the impossibility of love against the backdrop of a revolution. When I pitched it for one-hour doc slots it was a current affairs film, but now it is more rounded. That was the beauty of filming over five years: it’s a bigger, more theatrical experience.”
McAllister’s films have a habit of morphing into something else. When the story fell through on the film the BBC initially commissioned him to make about Syria, he kept quiet and hung on to the budget, turning his attention to Yemen for what became 2012 Storyville doc The Reluctant Revolutionary. Similarly, funded trips to Greece and the UAE enabled him to visit Beirut and Damascus to catch up with Amer and Raghda.
While he acknowledges that deviating from a broadcaster’s brief is a risky strategy, he wants commissioning editors to be just as fearless. “If we don’t make these creative decisions about how money has to be spent to find the films, how will they ever be born? Not from commissioning editors standing like gods in their ivory towers on six-figure salaries; they ain’t gonna dream up the stories.
“The only people who can find real stories are those who get out there with a camera. Film-makers who take risks need a commissioning editor who is as brave to allow these projects to be born.”
© George Bevir
A Syrian Love Story (2015)
Coming very soon… Filmed over 5 years, A Syrian Love Story charts an incredible odyssey to political freedom in the West. For Raghda and Amer, it is a journey of hope, dreams and despair: for the revolution, their homeland and each other. A Syrian Love Story has its World Premiere at the Sheffield Doc/Fest on Sunday 7th June 2015. More information to follow…
Cinemas and festivals
For up-to-date information about where you can see A Syrian Love Story please sign-up to our newsletter by sending a email to firstname.lastname@example.org
“Sean they are shooting people in the streets of Beirut” said Adad’s message, written to me from the cramped flat I’d visited him in just a couple of days before. The gunfight that had killed 8 in Tripoli had spread ominously to the streets of Beirut just as he had predicted / feared it would.
After being forced to flee from Syria and Assad’s onslaught he thought he had found some sort of safety in the Lebanon, though he always knew it was a relative, delicate safety which could end any-time. His and his family’s situation is made more all the more precarious because he doesn’t have a passport or any papers – if he were to be caught living there he we probably be sent back to Syria and to an end I don’t wish to think about.
But for now Asad keeps to the shadows as he looks for work and money to help feed the family. He locks the gate to his flat keeping Asu inside, the sound of gun crackle seeps in from the distance as Sargon arrives home late from work again. Adad finally settles Asu into his bed but he cannot sleep, disturbed by the rocket propelled grenades exploding in the distance. As if this family (like many other’s all over the region) hadn’t already seen enough danger and death in their desire for freedom and a normal life. “Some days we don’t even have enough money for bread” his message continues… “And now this is happening, where will it all end?”