As a filmmaker who has faced my fair share of challenges in the industry, I can’t help but feel a mix of excitement and apprehension when it comes to the use of AI in filmmaking. On one hand, I see the potential for AI to streamline certain processes and make film production more accessible, but on the other, I worry about its impact on human creativity and employment opportunities.
The fourth installment of the Red Sea International Film Festival in Jeddah, Saudi Arabia showcased prominent celebrities such as Cynthia Erivo from Wicked, Michelle Yeoh, Jeremy Renner, Michael Douglas, and Benedict Cumberbatch, alongside new films hailing from the Middle East, Asia, and Africa. Additionally, it featured acclaimed movies of the current year.
Additionally, it provided a chance to unite six visionary filmmakers, renowned for their groundbreaking work, for the second yearly Hollywood Reporter roundtable during the Red Sea International Film Festival.
2024 RSIFF Jury President Spike Lee temporarily paused his festival commitments to engage in a discussion at the iconic Nassif House Museum, nestled within Jeddah’s ancient Al-Balad district. Representing Saudi Arabia was Meshal Al Jaser, whose amusing thriller “Naga“, about a young woman who embarks on an ill-fated date, was showcased in the 2023 RSIFF Arab Spectacular section and can now be found streaming on Netflix.
Hala Elkoussy, an Egyptian artist and filmmaker, arrived in town with her black-and-white experimental movie titled “East of Noon”, a story about youth rebellion. This film was showcased in the festival’s New Vision program following its debut at Cannes Directors’ Fortnight. Elkoussy shared her comprehensive artistic perspective during the roundtable discussion. Similarly, Sarah Friedland, an American choreographer and director, presented “Familiar Touch” in Jeddah after its world premiere at Venice’s Horizons program, where it won Kathleen Chalfant the Best Actress award. This drama focuses on an elderly character dealing with dementia and the challenges of moving into an assisted living facility.
Lawrence Valin, a renowned French actor and director, shared his perspectives on the art of filmmaking, emphasizing music’s significance, as well as his methods in acting and directing for the drama “Little Jaffna.” This movie, which initially screened at the Venice Critics’ Week program, was featured in RSIFF’s Festival Favorites section and bagged the AlUla Audience Award International Film. Joining this talented team of creators was Canadian artist R.T. Thorne, whose film “40 Acres,” starring Danielle Deadwyler, made its debut at Toronto and garnered attention in Jeddah as well.
In their conversation, they touched upon various subjects such as creative inspirations, the significance of music, challenging stereotypes, the impact of artificial intelligence, and the enduring legacy of Spike Lee’s “Do the Right Thing.
Read some of the highlights of the conversation, edited for length and clarity, below.
Hey Spike, could you tell me why your presence as the jury president at the Red Sea Film Festival in Saudi Arabia, specifically by the Red Sea, is significant to you?
SPIKE LEE Upon receiving the call, I responded without hesitation. I’m deeply passionate about filmmaking, with a particular fondness for international cinema. This role provides me with a unique platform to discover films that may have otherwise eluded me. … There’s immense talent scattered globally, not only in Hollywood.
As a passionate gamer, I’ve always been captivated by the world of storytelling, and for me, that medium has been filmmaking. A few years ago, Saudi Arabia began welcoming filmmakers like never before, and it’s been an exhilarating ride ever since. The box office growth is a testament to the surge of young, creative minds eager to bring their visions to life.
MESHAL AL JASER Previously, cinema wasn’t easily accessible, leaving us to express ourselves through various alternative mediums. However, with its increasing accessibility, it’s now recognized as a significant cultural and economic component. The government is taking active steps to endorse and elevate the industry, offering grants, cash rebates, and establishing large studios at an impressive pace.
Which individuals are familiar with this place, and who are first-timers in Saudi Arabia? Are you all here simply to display your films, or do some of you consider the possibility of shooting a production here in the future? What excites you about this location?
This marks my third presentation. The initial one was dedicated to Malcolm X. We were the pioneers permitted to bring a camera into Makkah during the hajj. Since I’m not a Muslim, I engaged a Muslim crew for the project. A few years back, we exhibited Malcolm X, which was unprecedented in this location. Now, this is my third instance of showing it.
HALA ELKOUSSY I’ve never been in Saudi before, and honestly, I didn’t think my future would include me attending a film festival here.
LEE What do you mean by that?
ELKOUSSY It was not expected. To put it simply, this is quite a surprise not only for the Arab world but also for the rest of the world. So we are experiencing a significant shift here.
R.T. THORNE This is my initial visit here, and I must say it was a delightful occasion for me to arrive. As Spike mentioned, this place offered an exceptional chance to watch movies from voices we hadn’t heard before, experience a culture in ways we never had, all the while hailing from a Western nation. Moreover, I am just like any other person. I cherish exploring new places, making connections with people, and immersing myself in their unique cultures, so I can comprehend them better and grow. And lastly, I was grateful for the chance to share my own story, let others hear my voice, and reciprocally, allow them a glimpse into our perspective too.
LAWRENCE VALIN It appears to me that this is the start of something significant, as going to the cinema isn’t commonplace for many people. In France, cinemas are ubiquitous. At that moment, I recognized our good fortune because it’s ordinary for us, but a new experience for them. One boy caught my attention when his phone started ringing; he answered it without hesitation. I was taken aback and thought, “Really?” Then I realized they are learning, and it’s understandable due to cultural differences. It’s advantageous because you’re traveling and immersing yourself in another culture.
THORNE It’s similar to back home. In Scarborough, there are movie theaters. You can go to a late-night cinema in Scarborough where people shout at the screens. It’s a unique culture, and yes, it’s beautiful. I eagerly anticipate that experience.
SARAH FRIEDLAND I was drawn to this festival primarily due to the praise I’d heard about Kaleem Aftab, the director of international programming here. However, another factor that attracted me is that my film revolves around the theme of aging and the life of a woman going through that process. The most valuable aspect of the film festival circuit for me has been discussing elder care experiences from various countries with people. I’m particularly eager to debut the movie in the Middle East as it remains unexplored, and I can’t wait to learn about local experiences of aging, the available care infrastructure, and how our character, a distinctly American woman, resonates with them.
I was thinking if I could inquire about your unique cinematic style, if you believe you possess a distinct cinematic voice in your work, and if there are any key elements in your most recent production that reflect this style.
ELKOUSSY Originally, I was deeply rooted in the field of visual arts. Moving into cinema seemed essential and immediate for me because, once I had achieved a certain level of success as a visual artist, I felt an urge to connect with audiences, particularly those based in the Arab world.
As an artist hailing from Egypt, steeped in a rich cinematic legacy, I yearned to create films as a means to express my unique perspective. Although I didn’t start with a blank slate, I recognized the immense potential of our shared history as a source of inspiration and visual storytelling.
In my opinion, movies and music are the most universally approachable forms of art. You don’t need to comprehend the language of a song to appreciate it emotionally. The same idea applies to films. They can convey complex ideas, be political or literal, but what makes them unique is their ability to touch almost anyone, regardless of their understanding of the content.
I believe… there’s something deeply human about cinema. It has this remarkable ability to captivate us and offer an immersive journey into another person’s life or culture. This is a truly wonderful aspect of being a filmmaker – to have the power to convey such experiences, and to share them with people from diverse corners of the globe.
I’m planning to seize this moment and pass some flowers along to Spike. It’s a bond between brothers. However, when I was 16, I first encountered the movie “Do the Right Thing.” Unfortunately, I didn’t catch it in the cinema, but I did see it on VHS. As soon as I watched that film, I rewound it and watched it again – right away.
LEE What? The ice cube scene you kept rewinding?
JASON I distinctly recall that movie. It marked a significant impact on me during my younger years. Many films shown in North America are purely entertaining, but this one resonated with me emotionally. It wasn’t just enjoyable; it imparted knowledge and led to insights. That film can accomplish such feats – it can stimulate thought, provoke laughter, anger, and tears, all while leaving a lasting impression that lingers for days. Remarkably, it was the first movie to do so for me as well. Therefore, being a filmmaker is truly a wonderful profession, as you have the ability to enlighten, amuse, stir emotions, and inspire deep thought in others.
In my early acting days, there weren’t any roles that fit me. I admired Denzel Washington, but I thought to myself, “I aspire to do what he does, but he is an African-American, and I am a French Tamil man with no role models.” So, I had to blaze my own trail. When I starred in Little Jaffna, I used to joke that it was like Do the Right Thing, but set in the Tamil community and filmed in French.
I need to establish a fresh portrayal as it’s nearly impossible to imagine leading or performing without one. This is uncharted territory for me, being my first film. For every Tamil individual in France, it’s an exciting novelty. We’re embarking on something new, and this is just the start.
LEE How did you get your film made?
VALIN I followed the traditional path, delving into studies and acting roles. I landed typical parts such as the Indian character, the Indian sidekick, the mystic, and so on. Eventually, I felt compelled to switch sides, focusing on writing and sharing stories that transcend stereotypes and reflect my community. Interestingly, in Little Jaffna, there are political undertones. When seeking films that were both entertaining and carried a powerful message, Do the Right Thing was an ideal choice for me.
Hi Meshal, I recall viewing images of your movie “Naga” displayed at the festival and market corridors last year, and I distinctly remember some local children pausing and gesturing towards them. Have you ever contemplated creating opportunities for creative minds in the region or in Saudi Arabia?
AL JASER I’ve only recently embarked on this journey, as has the film industry itself. This brings with it a sense of privilege, yet also a heavy burden and pressure to contribute significantly as part of this new generation of filmmakers. Unlike traditional filmmaking careers that usually progress in a stable industry and are largely individual endeavors, ours seems more collaborative. It’s not just about personal success; it’s about working together towards the collective goal of creating a sustainable industry. This isn’t an individual quest for accolades; instead, I feel a responsibility to ensure that this industry thrives and continues to grow. It’s challenging, yet incredibly rewarding and exhilarating.
FRIEDLAND My background lies in creating dance movies, but not ones rooted in stylized dance forms. Instead, my films explore social dances – the rhythm of daily life. As I transition into narrative storytelling, I feel my role is to convey narratives that were previously expressed through words, but now through body movement. This film I’ve made is essentially a character study, yet it’s told from the physical viewpoint of our character. I aim to continue producing films that have a language of the body and are structured around choreographic patterns.
ELKOUSSY Words are overrated.
In my opinion, We discover a lot about individuals not just through what they say, but also their movements, their non-verbal cues, and subtle interactions. This, for me, is the kind of visual storytelling that truly captivates me in cinema.
In some of your movies, both R.T. and Lawrence incorporate music and dance in significant moments… Is the integration of music and movement a crucial aspect for you?
AS A FAN, I WAS RAISED ON THE COLORFUL WORLD OF KOLLYWOOD [TAMIL-LANGUAGE INDIAN CINEMA] INSTEAD OF BOLLYWOOD BECAUSE AS A CHILD, WHEN I WATCHED FRENCH MOVIES, THE LEADING ACTORS DIDN’T RESEMBLE MY OWN SKIN COLOR. I FOUND MYSELF YEARNING FOR IDENTITY WITH ALAIN DELON OR JEAN-PAUL BELMONDO, BUT IT WASN’T MEANT TO BE. INSTEAD, KOLLYWOOD OFFERED A MIXTURE OF POLITICS, MUSIC, AND DANCE THAT CAPTIVATED MY HEART.
When viewers watch this movie, they often comment on the large number of characters who are of brown descent and quickly conclude it’s a Bollywood production. However, I always correct them, saying that it isn’t Indian cinema but rather French. The unique aspect lies in blending influences from Kollywood (Tamil cinema) with a French filmmaking style, along with elements from U.S. movies as well.
THORNE I kicked off my professional journey by directing music videos, serving as my foot in the door. Initially, the concept of being a filmmaker seemed too grandiose for me. However, I have always been passionate about music and working with artists, particularly those in hip hop. I would capture them on camera, hang out backstage, and persuade them to let me produce videos for them. I’ve always enjoyed this side of things. I believe that’s just the enthusiasm of youth. When you’re young, music resonates with you in a way that words can’t express. It becomes your mode of communication. So, music is deeply ingrained in my life and all my creative endeavors. Consequently, it must play a significant role in my films.
In my movie, an aspect I hadn’t seen before was a portrayal of a Black family navigating through a dystopian world. Previously, Black experiences in the future were not as common or accurately represented. We often appeared marginally in shows like Star Trek, walking down corridors, for example. However, now we are starting to see more of these representations, and my film presents a unique perspective: it’s a dystopian tale centered around a farming family. Traditionally, Black people on farms in Westerns were depicted as slaves. But this family is not only surviving but thriving in the future. This family includes both Black and Indigenous members, which is an experience not typically portrayed.
Music plays a crucial role in both our societies, and it’s essential for my teenage son to have music. He’s growing up in a world by himself, and he uses music as a way of connecting with the past. To help him do that, I obtained a portable cassette player, which he carries around everywhere. He has a mix tape filled with various genres, including hip hop, and he listens to it frequently. In one critical scene in the movie, we see him engrossed in music – I won’t reveal too much, but he’s watching someone dance. There’s a young woman dancing, and my son is captivated by the moment as they both connect through the power of music, even though they live in a grim, dystopian world.
ELKOUSSY It doesn’t appear to be mere chance that I’m seated next to you. The central character in my film is a youthful individual, on the brink of adulthood. This production isn’t set in a future dystopia but rather one that mirrors our current reality. And he instigates change through his musical talents. In pondering how this young person could convey his yearning for transformation, the initial thought was undeniably that he must be an artist of some kind, but what type? The answer soon became apparent: music, because music possesses a unique quality – it cannot be halted. Music couldn’t be silenced in Communist East Germany or Iran, for instance. Consequently, I chose to follow this path, yet simultaneously, since he needed to innovate through music, it was essential that he didn’t adopt existing methods of music creation we know today. Instead, he had to develop something novel to create a gap between him and the status quo. Thus, we essentially crafted unique instruments within this dystopian society.
Our work on the music began once we finalized the initial script draft, as it took a total of five years collaborating with a composer and sound designer. To start, we constructed the unique instruments. I only instructed the composer to create sounds for this young character that wouldn’t resemble any familiar instrument, as I planned to assign traditional instruments to symbolize authority. This young man required an entirely distinct sound. Therefore, after constructing the instruments, we had to fine-tune them before composing music specifically for these new tools, ensuring it wasn’t just random noise. Then, the composer created the music, which was recorded, and when we found our actor, he needed to practice playing these newly crafted instruments.
Born with a strong foundation in jazz and folk music from my late father, who composed for artists such as Bob Dylan, Judy Collins, Aretha Franklin, among others. Growing up in a musically-inclined household, I was exposed to the art of integrating music into storytelling at an early age. Upon leaving film school, my father created the scores for films like “She’s Gotta Have It,” “School Daze,” “Do the Right Thing,” and “Mo’ Better Blues.” This experience has instilled in me a deep understanding of how music can enhance narrative, which has served as one of my cornerstones.
Any other forms of creativity that have inspired some of you?
In my perspective regarding scriptwriting, I find inspiration from various performance-oriented forms of literature. This includes movement scores, experimental scripts, and unique notation systems. Frequently, when composing scripts, I don’t draft them as screenplays initially but instead create maps or diagrams instead. The work of performance artists who utilize such notational methods particularly captivates me.
As a gamer, I teamed up with a choreographer in my debut movie, though it had no actual dance sequences. In certain scenes, I found myself striving to isolate the motion, aiming to uncover the essence of the meaning. Just as we trim unnecessary words in our dialogue, at times, we must do the same with movement – removing anything that doesn’t propel us towards our intended destination.>
VALIN It feels instinctive to us Tamil folk. We didn’t require a choreographer; we simply played the music. To me, it’s all about the costume… it holds significant value for me. Coming from a less affluent family, having an impressive outfit was crucial when I ventured out.
When making the movie on a modest budget, I found that all the boys in the neighborhood were dressed in black, gray, and dark blue. They seemed reluctant to wear anything bright. So, I said, “We’re going to add some color to your outfits. … I want you to look stylish.” Even as I began writing, vibrant colors appeared to me – in the shoes, accessories, everything.
LEE You mean the Jordans?
VALIN The thing is, I didn’t put Jordans on because I thought everyone would say “you are doing Spike.” And I said okay, I put other stuff on.
Does everyone here have an abundance of creative spirit? What are your thoughts on the role, or lack thereof, of artificial intelligence in the film industry?
LEE There’s a difference when you use it as a tool versus creativity.
JESSIE As a youngster, I was incredibly quick at doing math problems. However, once I received a calculator, I found myself becoming slower. This tool might aid in rapid thinking, but it also gives me pause because I value taking my time. Writing scripts requires careful consideration, and I don’t want to rush through that process or become overly reliant on a tool. … With AI, there’s a small part of me that feels uneasy about its pace. It’s moving too swiftly for my comfort.
FRIEDLAND I don’t hold any particular feelings towards AI. However, I strongly object when the forces of capitalism decide which films are produced. If AI is utilized to lower costs and discourages human filmmakers from creating movies, then that’s a concern for me. But in my opinion, it’s the market system that’s the issue, not the tool of AI itself.
I, as an avid admirer, find myself grappling with a sense of detachment. It’s not just about AI in isolation, but it seems like science, driven by capitalism, is subtly suggesting that human beings aren’t significant. We’re creating robots to bring smiles to care home residents, yet there are millions who struggle to find employment. This gives me a strange feeling that certain parts of the world are pretending that humans are becoming less important or maybe we’re nearing extinction. The vision then seems to be one where only a select few will remain.
LEE Musk.
ELKOUSSY I completely agree with your sentiment. I find myself dissatisfied with this trend due to its apparent disregard for the vital human aspect that could be nurtured and improved in terms of well-being. Is it not possible to envision a unified, harmonious world where all individuals are interconnected? Why isn’t this concept part of the blueprint for our future? Why does it seem like a fable rather than a reality? I must apologize, but as an artist, I am driven by my vision.
I wanted to inquire from Meshal about the stereotypes portrayed by Hollywood regarding individuals from the Middle East, including his personal perspective.
AL JASER It’s not my intention to constantly criticize this topic, but perhaps I could express some thoughts on the overall mindset of Arab people instead. To me, it seems a bit harshly phrased, yet I believe Arabs possess a great sense of humor and can find amusement even in the most distressing circumstances. I suspect the roughness of the language may contribute to this perception. Apart from that, I believe everyone could benefit from being more considerate when reflecting on other cultures, including Arabs as they engage with various cultures.
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2024-12-18 20:28