Reflections on structure
Reflecting on my learnings from the Screen South Feature Development Lab I’ve been attending the last 5 weeks, I've come to appreciate the importance of structure in screenplay writing, while also reaffirming my commitment to authenticity and the idiosyncratic storytelling styles in cinema that I find myself drawn to.
Initially, my method focused on capturing small details, allowing the broader narrative to unfold organically. This method of iterating outward has often yielded interesting insights into the narrative and characters. However, the lab's guidance has ighlighted the necessity of balancing these details with a disciplined structural framework, especially for developing a feature-length screenplay.
Developing The Ogress of Fez presents a challenge in depicting a historical Morocco without succumbing to Orientalist clichés. It's a daunting task, but one I am committed to tackle. My previous experience writing and directing my short, Beneath a Mother’s Feet, was less intimidating, as firsthand observations of Moroccan domestic life allowed me to incorporate authentic details of an ordinary family. Also, a short film, I think, is less rigidly devoted to the three act structure principles, and there is often more scope for experimentation.
Authentic touches are what I aim to bring to my portrayal of 1930s Morocco, despite the historical and cultural distance. My research involves exploring available literature and firsthand accounts from the period. I am reading extensively about the period, seeking firsthand testimonies of prostitutes who worked during the colonial era in the Maghreb. In the absence of significant literature on Oum El Hassen, I have turned to Aileen Wuornos's collection of letters which were compiled into the book titled Dear Dawn. I recall watching Nick Broomfield's documentary on Wuornos more than twenty years ago and feeling, at the time, a kind of grief at the tragic circumstances she was forced to endure as a child. The murders she committed seemed born from a deep-seated rage at a world that let her down. There was a moment in the film when Wuornos considered how her life might have turned out had she had a decent childhood, rather than the indescribable horrors she had to endure in her formative years.
Oum similarly had a difficult childhood and overcame many obstacles in her life, but rather than targeting punters, she targeted the prostitutes in her care and collaborated with the French colonial forces against resistance uprisings. There are clear parallels between these two stories, yet Oum’s motivations seem more complicated to me in some ways, and this is something I find myself wondering about repeatedly.
My instincts tell me that the killings are less about a clear motivation and more indicative of the world that shaped Oum - her worldview, how she saw herself, and how she perceived these young women as disposable. Her experiences, including the violence she likely endured and witnessed, could have informed her internalisation of the link between power and violence. She strove to overcome her circumstances by aligning with the French, but perhaps subconsciously realised she would never be accepted by polite society, by French society. This rejection may have led her to see both herself and her girls as less than human. Her girls, serving as mirrors of herself, became conduits for her rage, reminding her of her own struggles and perceived worthlessness.
As an emerging screenwriter, I'm realising that my views on cinema are shaped by filmmakers like Paul Schrader and Robert Bresson, who challenge conventional storytelling with minimalist, transcendental techniques that evoke deep emotional responses through precise, restrained storytelling. While the many filmmakers whose works I am drawn to often took a less conventional approaches to narrative structure, I recognise that I first need a solid grasp of foundational structural theory before I can effectively challenge these rules. Also, I feel strongly that any decision regarding the film's structure must serve the story or fulfil a key intention of purpose.
Navigating this process feels like finding my way through uncharted territory. I've learned a lot in a short space of time, and though it's uncomfortable, this feeling of discomfort tells me that I'm growing and progressing. I fully embrace this feeling and am determined to work through any daunting thoughts. Being accepted into the prestigious DFI Hezayah lab, which begins in just a few weeks’ time, is a strong affirmation that I have a story here worth telling. I am hopeful that through the Screen South lab, I'll make significant progress by the time I start at Hezayah, bringing me closer to new milestones in my journey as a filmmaker.
My lab mentor, Gabriella Apicella, said something today that resonated with me about pitching. She mentioned how we often feel like we’re trying to sell ourselves, and the discomfort that comes with that. She urged us to reframe our thinking - not as selling ourselves, but as advocating for a story that deserves to be told. This perspective shift is starting to change how I view my screenplay, The Ogress of Fez. I know it might sound strange, but I’m beginning to see it as my own child. This reframing helps me feel like I am serving the story. It inspires me to do everything I can to ensure this film is developed to the highest standard. I feel more determined than ever to advocate for this project and get it made.
As I prepare to transition to the Hezayah Screenwriting Lab, I am filled with a renewed sense of purpose. This next step represents not just an opportunity to refine my screenplay but also a chance to deepen my understanding of the stories I am compelled to tell. I am eager to see where this path will lead, and hope to create something that not only entertains but also enlightens and moves those who experience it.
Wish me luck!