Why the Syrian filmmaker risked his life for his Oscar-nominated documentary ‘Of Fathers and Sons’

Syrian filmmaker Talal Derki. (Supplied)
Updated 26 February 2019
Follow

Why the Syrian filmmaker risked his life for his Oscar-nominated documentary ‘Of Fathers and Sons’

  • 'Of Fathers and Sons' is the only non-American film that was nominated for Best Documentary at the 91st Academy Awards
  • Talal Derki’s “Of Fathers and Sons” is stunning

DUBAI: Of all the achievements of Arab filmmakers in recent times, Talal Derki’s “Of Fathers and Sons” may be the most stunning. The only non-American film nominated for Best Documentary at the 91st Academy Awards, which take place this Sunday, “Of Fathers and Sons” is the kind of film one might imagine making, but never believe could actually be made. It’s a story that Derki risked his life to tell.

For two and a half years, the Syrian filmmaker lived in northern Syria with Abu Osama, a member of the Al-Nusra Front (also known as Al-Qaeda in the Levant), and his family. There, he pretended to be sympathetic to their cause so that he could film them in an attempt to learn, first-hand, how young men become radicalized. Focusing on a father and his sons, the film lays bare in terrifying detail how young boys with kindness in their hearts find themselves in an Al-Qaeda training camp at a tender young age, all to gain the approval of their beloved patriarch.

“The idea started with my previous film,” Derki tells Arab News. “After the siege of Homs in my last film, ‘Return to Homs,’ after all the massacres, a lot of people on the ground moved to be more radical. It’s a war, but I started wondering how this movement managed to brainwash and bring all these people (over) to their side, and how they gained their trust. I saw a lot of kids with their fathers involved in fights. All these things put questions in my mind. I’m not a part of this, but I also have to understand.”

Derki didn’t want to make a film about the Syrian war or about violence. He wanted to examine life behind closed doors, focusing on the generation of young Syrian men raised in wartime. To do so, he had to go deep undercover.

After starting research for the film at the end of 2013, Derki used many ‘fixers’ to help him work his way into this close-knit community, gain people’s trust, and identify his subjects. He settled on Abu Osama and his sons. He convinced them that he was on their side, and was given intimate access to their lives in return — all the time aware that he could not let them know what kind of film he was actually making.

“Abu Osama wasn’t well known. He’s not the leader. What attracted me to him is how strongly he believed in what he was doing, in the ideology. When you look at him, he looks like a normal father, a lovely father,” says Derki. “This paradox between these two faces — between a lovely father and the father who is ready to sacrifice his kids in order to (realize) his ideology — this is part of my cinematic vision. If I went to a regular cliché jihadist, people would not watch the film. People would leave the cinema after five minutes, believe me.”

Though Derki managed to gain the trust of the family and the Al-Nusra Front, he was always conscious that no matter how friendly they were with him, he was never really creating a true connection with anyone he was filming. And he was powerless to create positive change while he was there.

“I was undercover as a sympathizer,” he says. “This is how they know me. I couldn’t be more than an observer. Sometimes, if I could, I would act as a merciful guy with the kids so they would not get punishment. I played that role. But in a big-topic issue, you couldn’t do anything but make your own film out of this chaos.

“I was connected to them only as a filmmaker, because, at the end of the day, if they knew I had a different purpose than what they thought, I would lose my life,” he continues. “When I had a good moment to film, I was satisfied and happy. As time passed, I had to accept all these things — all these ideas, all this behavior — without any (question). My mission there was to make a film.”

“Of Fathers and Sons” is purely observational. Derki keeps himself out of the story as much as possible, zooming in on a father and his son in everyday moments, in order to see how they interact, the love and trust they build, and the ways that a son’s dedication to his father is twisted to dark ends.

“The knowledge I got from this experience is about the roots of violence — the circle of violence — and the eternal relationship between the dictatorial father and his son; the masculine power that destroys our society,” Derki explains. “All of these things gave me more understanding that it all starts from childhood. Why does someone like me decide not to carry a weapon? If you grow up in a society in which your father, your teacher, are harming you, and punishing you by hitting you, and you’re used to receiving violence, then when you grow up you are very capable of carrying weapons and killing someone for any idea you start to believe in.”

By the second half of the film, the eldest son of Abu Osama is participating in an Al-Qaeda training camp. In one harrowing scene, the young boys are told to lie still on the ground while bullets are shot next to their heads and feet in order to teach them to lose their fear. Even now, years on from filming, Derki thinks about Abu Osama’s young children, hoping they can escape from the fate that already killed their father, who Derki says died at the end of 2018.

“Emotionally, I feel sad for the kids. They are still around 12 years old, it’s still possible to take them out of this and start a new life. Even in the moment when I was there, it was still possible,” he says. “They appreciate life. (But) in this ideology, they appreciate death. Death is their request — not life. Not humanity.”

Derki is speaking to Arab News from Los Angeles, ahead of Sunday’s Oscars ceremony. While there, Derki has had the chance to celebrate with the other Arab nominees, Egyptian-American actor Rami Malek and Lebanese filmmaker Nadine Labaki.

“It was great to meet them and to have some conversation — to be three nominees from the Arab world at the biggest global celebration. It’s very intense,” he says. “I hope that, in the upcoming year, this will bring more success for Arab filmmakers.

“Nadine said she liked it so much. And I liked her film,” Derki continues. “I really want to work with Rami in the future, he’s a very talented actor.”

Whatever happens at the Oscars, Derki hopes the attention his film has received will ultimately be a force for good in the Arab world.

“It’s about how we can protect the new generation in the other Muslim countries,” he explains. “What can we do to build a generation without violence, to focus more on life, love, and communicating with other cultures, instead of building walls around us?”


Christie’s London to feature retrospective on Syrian artist Marwan

Updated 13 July 2025
Follow

Christie’s London to feature retrospective on Syrian artist Marwan

DUBAI: Christie’s is poised to host a non-selling exhibition of work by late Syrian artist Marwan Kassab-Bachi, titled “Marwan: A Soul in Exile.”

Taking place from July 16-22, the show was curated by Ridha Moumni, chairman of Christie’s Middle East & Africa.

This retrospective exhibition will display more than 150 works on loan from museums, institutions and private collections in Europe and the Middle East. The exhibition traces the artist’s career, from his artistic beginnings in Syria to his prolific output in Germany, his adopted homeland, where he spent six decades of his life.

“I wanted to highlight the essential threads running through his career: from his iconic ‘Face Landscapes’ to the celebrated ‘Heads,’ his journey from Damascus to Germany, and the pivotal moments that shaped his legacy — including his major 1976 retrospective at Charlottenburg Schloss, which established his place in the German art scene,” Moumni told Arab News.

“Equally important is his enduring connection to Syria and the Arab world,” he added.

With paintings, works on paper, and editions from 1953 until 2014, this exhibition offers audiences in London the chance to explore the artist’s multi-disciplinary approach.  

“Over the past two years, our aim has been to introduce artists and artistic scenes to London that people here don’t often get to see. One of our deepest commitments is to highlight the richness of artists from the Arab world or of Arab heritage. Marwan embodies this mission beautifully: a towering figure from the Syrian diaspora, who built an extraordinary career in Germany, and had a big impact on modern portraiture,” Moumni said of Christie’s decision to spotlight the artist this summer.

In 1957, Marwan moved to Berlin and attended the Hochschule fur Bildende Kunste, graduating in 1963. The artist, who is referred to by his first name, joined a group of German expressionist painters that included Georg Baselitz and Eugen Schonebeck, but he retained his Syrian identity and engaged with social and political issues of the Middle East through his work. 

“For those who already know his work, I hope they uncover new depths — its poetic power, its meditations on exile, identity, and belonging. Above all, I hope visitors feel a true connection to Marwan’s work,” Moumni said.

 


Artist Dan Pearce explores kinetic energy in Doha artwork

Updated 12 July 2025
Follow

Artist Dan Pearce explores kinetic energy in Doha artwork

  • Steel sculpture captures water dropping onto a surface
  • Doha peninsula was inspiration, Pearce tells Arab News

DUBAI: Internationally-acclaimed London-based artist Dan Pearce has revealed the inspiration for his work to mark the 20th anniversary of the Four Seasons Hotel Doha, titled “Kinetic Drop.”

Known for commissions from French football icon Paul Pogba, other celebrities and global exhibitions, the artist’s bespoke sculpture is crafted from stainless steel.

“I titled this sculpture ‘Kinetic Drop’ because it captures that precise moment when a water droplet collides with a surface, that split second when kinetic energy disperses in all directions,” Pearce told Arab News recently.

“With all my work, I aim to trigger one of three responses: to make viewers think ‘how did he do that?’ to inspire them to touch the artwork, or to encourage movement around the piece for different perspectives,” he added.

The artist, who was born in Australia, is known for his pop culture-inspired work and often turns to DC Comics, musicians and street art for source material.

Taking inspiration from the hotel and its surroundings in Doha may have been a welcome departure for the artist. “The sculpture is mounted on a map of Qatar.

“Geographically, Qatar is also surrounded by water as a peninsula while Four Seasons Doha is situated on the Arabian Gulf where I could see endless views of the shimmering waters from our room — this was also part of the inspiration behind the piece,” he explained.

As for the location of the artwork, the artist said it “could create a sense of urgency and exclusivity, encouraging visitors and guests to interact and connect with it on a social level and experience it before it’s gone.”

Pearce’s work has captured the attention of celebrities and worldwide brands, with commissioned pieces for boxing champion Anthony Joshua, Grammy nominee Rag’n’Bone Man, and hip-hop star 50 Cent, to name a few.

Ensuring his work can be understood across cultures is something that was particularly important to Pearce in the run-up to his showcase in Doha.

“With the concept of the sculpture being water, this makes it universally significant across all cultures. Water represents life, renewal, and connection which are key elements that can transcend cultural boundaries,” he said.


Superman fans claim film is critical of Israel

Updated 12 July 2025
Follow

Superman fans claim film is critical of Israel

DUBAI: James Gunn’s new “Superman” film is drawing attention online for what many viewers interpret as a pointed political message. 

A scene showing a heavily armed military force attacking civilians across a border, where children’s lives are at risk, has sparked comparisons to the Israel-Gaza war.

While neither Gunn nor the cast have stated the film references Israel or Palestine, early audiences have drawn their own conclusions, suggesting the conflict serves as an allegorical backdrop.

One user wrote on X: “Y’all were not kidding about how anti-Israel and pro-Palestine that superman movie was, and they were not slick with it AT ALL,” while another said: “Superman was so openly anti-Israel and god it was so good.” 

Another user said: “Not going to lie I really like the anti-Israel sentiment from superman and now I know James Gunn is always standing on business.” 

Though the film never names specific nations, Gunn has said in interviews that it tackles themes of “politics” and “morality,” and positions Superman as an immigrant, comments that have also sparked backlash from some US conservatives.

The film is a reboot of the DC franchise and marks the beginning of Gunn’s new DC Universe. It stars David Corenswet as Clark Kent/Superman and Rachel Brosnahan as Lois Lane. The cast also includes Nicholas Hoult as Lex Luthor and Isabela Merced as Hawkgirl.

The movie was released in Saudi Arabia on July 10. 


An anthem for unspoken love: Zeyne discusses her latest release, ‘Hilwa’ 

Updated 11 July 2025
Follow

An anthem for unspoken love: Zeyne discusses her latest release, ‘Hilwa’ 

  • The Palestinian-Jordanian artist on her new single, released by MDLBEAST Records 

DHAHRAN: Palestinian-Jordanian artist Zeyne is here for her close-up — and she’s bringing the inspirational women in her family along. 

Zeyne’s latest single “Hilwa” dropped this week and the artwork — shot by Zaid Allozi — shows three women interlocked by their braided hair. 

“The image shows three generations — me, my mother, and my grandmother — all connected by one continuous braid. It’s a symbol of inheritance; the quiet strength and love passed from one woman to the next,” Zeyne tells Arab News. “The braid holds the kind of love that isn’t always spoken, but is deeply felt and remembered.” 

The 27-year-old is using her music to reclaim narrative, identity and joy — singing of Arab womanhood in its most defiant, soulful and cinematic form. 

“We shot (the artwork) in a handmade mudbrick house in the Jordan Valley, built using traditional Levantine methods. These homes — found across Palestine, Jordan, Syria, and Lebanon — aren’t just sustainable, they carry memory. They connect us to land, to lineage, and to something deeper,” Zeyne says.  

“Hilwa” is an uplifting anthem released via Saudi-based MDLBEAST Records, in partnership with Zeyne’s own label, Scarab Records.  

Zeyne performing at Offlimits Festival in Abu Dhabi in April. (Omar Rezgani)

“When we saw the vision Zeyne and her team had, it was a no brainer, we were ready to jump right in and help amplify what was already there and build together towards a sustainable, long-running, global project stemming from the heart of the MENA region,” Talal Albahiti, COO and head of talent at MDLBEAST, tells Arab News. “MDLBEAST Records always champions the upcoming hard workers and visionaries, and Zeyne exemplifies these qualities perfectly.”  

Following Zeyne’s 2024 hit “Asli Ana,” which reimagined Arab rhythmic traditions through a futuristic lens, “Hilwa” pays homage to her mother and grandmother, whose love and wisdom deeply shaped her sense of identity. “While ‘Asli Ana’ was about resistance, ‘Hilwa’ is softer,” she says.  

Through Zeyne’s reflective lyrics and emotional vocal delivery, “Hilwa” explores how beauty and self-worth are inherited — not just genetically, but through stories, memories, and values passed down by generations of Arab women. “You’re so beautiful and no one can say otherwise,” she sings at one point. 

Zeyne in the studio during the recording sessions for 'Hilwa.' (Zaid Allozi)

Born Zein Sajdi in Amman in 1997, Zeyne was raised in a household where music and culture were key. Her father was a record collector, her mother led a dabke troupe, and her sister trained as a classical pianist. Zeyne began performing aged five and was already writing her own lyrics in her teens. 

She studied sociology and media communications at the University of Sussex in the UK, but the COVID-19 pandemic redirected her path. Returning to Amman in 2020, she turned her full attention to music — writing, recording and developing her distinct sound. 

Since the release of her 2021 debut single, “Minni Ana,” Zeyne has carved a singular lane in Arab pop — merging traditional Arabic sounds with modern, genre-defying production. Since then, she has released several acclaimed singles, collaborated with artists including Palestinian singer-songwriter Saint Levant, and written for fellow Jordanian-Palestinian musician Issam Alnajjar, Lebanese-Canadian singer-songwriter Massari, and the acclaimed Chilean-Palestinian star Elyanna.  

Zeyne performing at Offlimits Festival in Abu Dhabi in April. (Marwan Abouzeid and Zahra Hasby)

With more than 46 million streams across various platforms, Zeyne’s music has become a touchstone for Arab youth globally, offering a sound that is intimate, cinematic and emotionally resonant. Her boundary-pushing sound and evocative vocals have established her as one of the region’s most important cultural voices.  

Earlier this year, she launched a three-stop regional mini tour, “The Golden-Hour Run,” that included a landmark performance at the OffLimits Festival in the UAE and stadium appearances as a special guest on Ed Sheeran’s Mathematics Tour in Qatar and Bahrain, where she performed to over 65,000 people.  

She became the first female artist from the Levant to appear on the globally renowned music platform COLORS with her song “Ma Bansak,” and a viral performance in collaboration with Bottega Veneta blurred the lines between fashion, music, and Palestinian resistance. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by zeyne | زين (@zeyne)

But Zeyne’s influence stretches far beyond music.  

As an EQUAL Arabia ambassador, she lit up Times Square in New York City, solidifying her status as an emerging symbol of contemporary Arab identity and woman empowerment. Her inclusion in the DAZED Global 100 further cemented her status as a fearless voice reshaping representation and storytelling in and beyond the region. 

“Hilwa” captures all of that—vulnerability, defiance, and a deep sense of generational continuity. On Instagram, she wrote that the song stems from an assembly line of greatness, and is “a love letter to all the women in my life — my mother, my grandmother and even my younger self — you are beautiful, and no words can say otherwise.” 

This summer, Zeyne brings that message to the stage. She will perform in London on July 19 and 20, Paris on July 22, and Jerash on July 28, before heading to Saudi Arabia for back-to-back concerts in Riyadh on Aug. 7 and Jeddah on Aug. 8. 


REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel

Updated 11 July 2025
Follow

REVIEW: James Gunn’s ‘Superman’ — a fun, heartfelt take on the Man of Steel

DUBAI: James Gunn’s “Superman” marks a confident debut for the newly rebooted DC Universe, now firmly under the helm of the “Guardians of the Galaxy” director. Rather than chase the shadow of past gloom-ridden DC iterations, Gunn leans into sincerity, fun, and a touch of chaos to deliver a film that feels refreshingly light and cheerful. It’s heartfelt — though heavy-handed at times — and also makes room for some timely social commentary. In short, it’s a comic book movie that remembers it’s based on a comic book.

Set in a world where Superman is already known but still finding his place, the film follows Clark Kent as he juggles his day job at the Daily Planet newspaper with his not-so-secret life saving the world. Things take a turn when Lex Luthor — now a tech mogul with an envy problem — makes a move to privatize security and put Superman out of commission. Meanwhile, Superman is caught between being a symbol of hope and a political lightning rod, as he personally stops a country from invading its neighbor. 

David Corenswet takes on the red cape with a straight-edged wonder and charm that feels closer to Christopher Reeve than Henry Cavill. Rachel Brosnahan’s Lois Lane, meanwhile, is the sharpest person in the room and knows it. Their chemistry is palpable, with an early interview scene between the two setting the tone for the rest of the film. For a film that boasts some high-octane action scenes, the tension this pair create in a tiny living room is unrivalled.  

Gunn’s signature mix of sentiment and snark is all over the place, even if pared back compared to his Marvel days. And there’s a constant undercurrent of real-world commentary: Nicholas Hoult’s Lex Luthor is a psychopathic tech tycoon with a god complex (guess who?). And while it never turns preachy, the film doesn’t shy away from allusions to Gaza, Ukraine, or the refugee crisis.

Superman, after all, is an immigrant. And while Gunn doesn’t waste the metaphor, it’s impossible not to feel uneasy when the real-world suffering beamed straight into our social media feeds every day is portrayed alongside cartoon-ish fight scenes. 

Ultimately, Gunn’s “Superman” is an entertaining two hours at the cinema. Is it “Guardians of the Galaxy”-level good? No. Does it need to be? No. Instead, it’s a slightly messy, surprisingly political, and undeniably fun return to a hero who believes in doing the right thing, no matter the cost. And after years of emo DC, that might be just what the doctor ordered.