In 2006, I left NYC for Amman/Beirut. The Levant had shifted to more conservative religious social structures, affecting women, which disturbed me. Then the ‘06 Israeli war on Lebanon shocked us, ruining families. I heard of several tragic Arab interfaith love stories from friends. It felt, all around, that alongside the global War on Terror, there had been an undeclared War on Love launched in my home. It was time to write a film.
Crushed between overbearing family, different Gods, and the loss of a homeland, how can a concept as fragile as love, survive? Or bloom? As a secular refugee from a Christian Palestinian family, it is important for me to shed critical light on minority rights, gender roles and disillusioned revolutionaries. I found that a love story that’s subtly humorous in its exploration of two contradictory Arab families is a good vehicle for interpreting those themes.
The subtext is unique to the region. It delves into backdrops of patriarchal systems, censorship, interfaith marriage taboos, second-class refugee citizens, Israel, and religious hypocrisy causing constant wars. But also, despite dead ends, many young people remain activists for humane ideals. English comprises 60% of the film, and Arabic 40%, with traces of French. The film will be shot in a gritty, visceral manner where NYC, Beirut, and Amman are treated with different cinematic looks, as evidenced in films like Traffic. Amman is a washed out grey, ominous, stagnant camera and mood. Beirut has vintage classy, vibrant, intimate deep colors of old postcards, a beautiful sea. NYC is flashy pop colours, travelling shots, laughter and sex, a whirlwind of emotion, un-rooted. The war footage is to be sourced from real events in 2006.
I hope to create a dramatic film with a strong independent Palestinian female lead, one that deals with arranged marriages in a unique context and a courageous manner. There is a generational conflict between youth raised on American individualism mixed with Arab heritage, and the older generation who resist this global cultural takeover. This dichotomy is clearly manifested in wedding issues. So-called liberal people show prejudice where religion, race, and family name become of utmost importance. The film is also a self-directed critique of the Arab world relapsing into religious fundamentalism after the secular swinging ‘Seventies died, killing any noble aspirations the PLO had. It also exposes the current complex lives of Palestinian refugees- and lovers- in various racist Arab cities.