DFI Hezayah Screenwriting Lab
Still from Pasolini's Salò, or the 120 Days of Sodom
It’s been more than a few weeks since the first DFI Hezayah Screenwriting Lab session in late July, and the next one starts on 20th September. The first session was intense but, in many ways, reassuring.
The Hezayah screenwriting lab has given me renewed energy to push forward with The Ogress of Fez. Though surrounded by more experienced filmmakers, I haven’t felt out of place. It’s been a rewarding experience, one that has deepened my belief in this story and my desire to tell it in a way that feels true to its vision.
Raja Amari, my mentor, has been instrumental in helping me get closer to the essence of The Ogress of Fez. A brilliant French-Tunisian screenwriter and director, Raja is known for her nuanced approach to storytelling, and I feel our aesthetics align in many ways.
Her feedback has been sharp and insightful, never overstated, encouraging me to think carefully about the key themes and my intentions with the story. She’s also shared invaluable insights into her own process, which has helped me reassess my approach to developing this story.
Raja recommended a few films: Pasolini’s Salò, Theorem, and Arabian Nights. Watching Salò was a difficult experience. The beautiful set design, graceful bodies, and elegant costumes were contrasted with the depiction of the most corrupt and disgusting acts on screen, which seemed to heighten the horror. The more visually stunning the film became, the more unsettling it felt. I experienced a cold rush wash over my head, a prickly sensation, like my body was rejecting what I was seeing. The last time I felt this way was watching Gaspar Noé’s Irreversible.
I felt certain initially that I wouldn’t want to incorporate any of its elements into my own work, yet I’ve been surprised by how the film has stayed with me. There’s something about Salò that is unlike anything I’ve seen before. It lacks a clear narrative and instead feels like a portrayal of the degradation of morality, more a critique than a conventional story.
Despite the discomfort it caused, the film has stayed with me, raising more questions than answers, and I find myself reflecting on it more often than I expected.
Perhaps this is what Wong Kar-wai means when he talks about the 'aftertaste' of a film, how you might not fully understand it when you first watch it, but it lingers in your mind, asking for further reflection. Even though the graphic elements of Salò are not something I necessarily want to incorporate into my own work, there are still a number of takeaways.
The power of a film to evoke such a strong reaction is something I can appreciate, even if the experience was painful. I do hope Raja’s other recommendations aren’t quite so harrowing, though!
This year has been one of the toughest financially, especially in the film and television industry. While writing and directing are my true passions, I make my living as a post-production supervisor on high-end TV dramas and independent feature dramas. With the industry taking a significant hit since the writers’ strikes, my income in that role has been gravely affected, making it even more challenging to stay on track with The Ogress of Fez.
I’m incredibly grateful for the support I’ve received, especially from the Doha Film Institute, which reduced the lab fee, and the British Council, whose funding made it possible for me to participate. Without that, continuing this project would have been nearly impossible.
Even though I’ve managed to establish a career within an industry I love, the instability of the industry can be overwhelming when work slows down. Without financial safety nets or family wealth to fall back on, there’s often a sense that pursuing creative work is a luxury I can’t afford, especially when basic survival takes priority. But something keeps driving me forward. I’ve begun to feel more strongly that these stories need to be told and that I deserve a place in this industry, just as much as anyone else.
Lately, I’ve been reflecting on what it means to be a creative from a working-class background, especially in today’s climate. It’s something I want to explore further when I’ve had the chance to think it through, and I plan to write more about it soon. For now, though, I’m focused on the next steps for The Ogress of Fez and eager to see how the project continues to evolve.