00:00:00: Still at Visio de Real, this time with a wonderful documentary that I could already see at Sundance.

00:00:06: It's called The Birds of War and i'm here with the literal birds-of-war director Durjanae Boulas after Alhada Hara.

00:00:14: So nice to have you're here.

00:00:15: Nice

00:00:16: to me too.

00:00:17: How are your feeling?

00:00:18: After hearing this very personal story in Sundance then You just told me That you've had four festivals.

00:00:24: it is really great.

00:00:25: We were happy that audiences are connecting film and we're getting very interesting conversations in the Q&A's.

00:00:33: And people are coming up to us after the film, I think this is what really matters building this connection sharing our story feeling welcome and accepted these different parts of the world.

00:00:45: We didn't imagine that was gonna happen and were grateful.

00:00:48: Your story

00:00:49: while a personal documentary also a love story.

00:00:52: through war and hardships.

00:00:55: How did you decide turn your personal experience a film.

00:00:59: Like the beginning, like when Jenna came and pitched me this story it was like very different stories.

00:01:04: I mean we are partners and work together.

00:01:06: The idea at first is to make a movie about politics in Lebanon because i am part of her life.

00:01:12: so that's why I became more personal on the film through development Because our country Syria-Lebanon is so complicated.

00:01:20: We have really affected each other by politics As much as we think through.

00:01:24: politics makes things more complicated to make the story more simple.

00:01:30: So through that development with our course of the editor Claire, we reached a point where stories should be more personal and at this moment we understand it as like the love story.

00:01:42: Our love story can explain how politics makes things simpler throughout the film.

00:01:46: At

00:01:46: the same time you're both living in countries which experience wars.

00:01:51: so from Lebanon or Syria?

00:01:53: How was is possible actually shoot while... being in constant danger and simultaneously knowing that your love for him is also a constant danger.

00:02:02: When we met Habak was still in Syria, he had been filming for so many years because for us filmings are the way of documenting life and documenting history And when I was filming in Lebanon He supported me all the time.

00:02:17: We're not thinking about if it's dangerous or not.

00:02:20: we feel like we need to film Because this how you give back our country.

00:02:24: This is our role and we never really stopped because it's a dangerous situation.

00:02:30: I think our role is not just as reporters or journalists, you know?

00:02:34: We are locals...we're telling our own story..I think this what keeps us going.

00:02:38: How long did you

00:02:39: actually shoot the

00:02:40: film?!

00:02:41: So the film was mostly archived!

00:02:43: And we didn't shoot for this film.

00:02:45: Just when we started editing , we took out all of the archive that we have ...and then started to say ok ..what is the film

00:02:51: ?!

00:02:51: The only filming that we did FOR this film life in London.

00:02:56: How many years does the archive roughly cover?

00:02:59: I

00:02:59: would say like more than thirteen years, like my archives covered a period between ten thousand and ten until like three thousand eighteen.

00:03:06: Yeah from ten thousand

00:03:08: nineteen to after that.

00:03:10: yeah And we have also the present which will be considered.

00:03:13: the present are.

00:03:14: the year is twenty-twenty four when the Israeli war started on Lebanon and the Assad regime fell.

00:03:20: The archive was so much like to dig through.

00:03:23: Personally i had around sixteen terabytes of archived HD footage.

00:03:28: Jenai has like, about five terabytes watching all that footage.

00:03:32: It's a nightmare.

00:03:32: We need to find what we want from the footage and take it From The Footage.

00:03:36: Find in The Footages Because also my footage is really bloody And its really traumatic.

00:03:41: I work with Rebecca Day for film in mind To protect our team Like...we have to find ways For my editor not access all the footage.

00:03:48: Watch all the photos.

00:03:50: Me & Rebecca.

00:03:51: we develop Really good traffic lights for the editor.

00:03:55: I spent like two months trying to labor all footage through AMBA Red, The Green one that Editor can access and it's a little bit traumatic red.

00:04:04: its really traumatic footage when we find out is our love story.

00:04:07: It's the main core of film.

00:04:10: We try not to find key moments in this years where life has been changed at these moment And go into archive just like victory specific thing bringing key moments actually

00:04:23: Speaking about the traumatic images and the images of war.

00:04:27: how did you decide?

00:04:28: How much of the actual War to put into the film?

00:04:32: or was it something that you wanted to focus not so much on because It has already been strongly represented in the media?

00:04:38: So as one of the things we were like having discussion a lot about me and jenai.

00:04:42: Having really traumatic footage In The Film Of course, gonna be more emotional for the audience.

00:04:47: But at the same time if That is Gonna Is going To Be Like in a favor of the story Or Not It became like it's our love story, is gonna be like...it's our Love Story.

00:04:55: And in more footage of the world.

00:04:56: that means we're going to be out off The Love Story and coming back To The Love Stories.

00:05:01: We don't want people to disconnect from The Love story at some point.

00:05:05: At this point I would decide not include a lot Of blood because a lot of people saw That on the news most of the time.

00:05:11: Its happening everywhere But then News don't shows how these People are real people And thats what were trying actually To show for all the film.

00:05:20: This

00:05:20: was probably also essential point for empathy to see people in their everyday lives, like falling in love having arguments.

00:05:28: Having work-to.

00:05:29: do you generally also feel that this is underrepresented?

00:05:32: In international media?

00:05:33: does?

00:05:33: yes

00:05:34: I mean the news world reduces People and narratives two headlines And it's often affected by the politics of the country and editorial policies That depict people in certain ways.

00:05:45: sometimes people are depicted in ways Like to justify killings into justify the crimes that are happening, which war is very costly on human lives.

00:05:54: And only losers or other normal people who want to just live and be happy.

00:06:00: if you have safety in love and feel loved then they're the biggest sufferers of these wars.

00:06:06: When we reduce our headlines it takes away humanity.

00:06:09: It takes away connection with audiences because at end day all humans were same Headlines.

00:06:15: politics make us different but connected.

00:06:19: I know that your archival story was finished because it's still ongoing.

00:06:25: How did you actually decide?

00:06:26: this is the one story art?

00:06:28: Yes, we want to tell.

00:06:29: in twenty-twenty four when the Israeli war started on Lebanon We were still editing at that moment We knew that we had to film To bring that at the present.

00:06:39: At the same time Habak wasn't been to Syria and a very long time He was planning to go back to Syria through Turkey see his parents but he hasn't seen him eight years.

00:06:48: so like, okay we need to film that return.

00:06:51: He went to Turkey and for about a month he wasn't able to cross the border.

00:06:55: so we filmed that also when he came back to London The Regime fell.

00:06:58: So we knew ok We have to film.

00:07:00: And then after Habak's Return To Syria we thought we had everything now.

00:07:04: That was the moment When...we felt like Ok Now the film is ending And we wanted it ended in very real way.

00:07:11: Ending Is..the Way Our Life Is Now.

00:07:13: This What Makes It Genuine Did you

00:07:15: Also Have Discussions About What You Put In?

00:07:18: dead film moments where you disagree strongly about

00:07:21: certain scenes.

00:07:23: When it's things that we've lived and experienced, We're attached to the emotion of being there in what is means for us personally And There were a lot times when we had to edit scenes just because they are very important.

00:07:35: But then when I saw them on timeline They felt like they didn't fit Like taking me out off story Because always go back think What this movie?

00:07:44: This love story And then anything that was taking us away from that, we had to make the decision to cut and it really helped.

00:07:51: We have a very strong team around us who became our family.

00:07:55: they supported in this decision.

00:07:57: so our editor would always edit what you want and show it for us To be able see.

00:08:02: if doesn't work Then we'd make these decisions together.

00:08:04: Would

00:08:04: you like mention any of scenes where you disagree?

00:08:08: Editing is something I saw at the hospital when i was under the sea event in one day.

00:08:16: that happened was like the hospital.

00:08:18: it's only one day of filming was and the hospitals like we get bombed a couple of times.

00:08:23: even The Hospital Get Head by Rocket, By Russia.

00:08:26: We were trying actually to edit That scene by itself...we spent around two weeks editing that scene.

00:08:32: It Was very emotional scene..very strong scene but when we added To that timeline its A great scene.

00:08:39: I am presented In it.

00:08:40: But at some point Taking us, like a scene taking us out of the story is really not good seeing in film.

00:08:47: At this point I get super angry but I'm getting super emotional because it's an important scene and we need to see that in the film.

00:08:55: when actually watching all the films And you have discussion about it It was not fitting.

00:09:01: The scenes are still there But We lose alot of elements on that scene.

00:09:07: How do YouTube see your future?

00:09:09: Do You plan to continue on a documentary level or to make films together?

00:09:15: Well, we have the production company Together based out of London and We are making second feature documentary that's already in late production.

00:09:24: It's called Until The Buzzing Stops.

00:09:25: That will be hopefully the second film In that Habak is directing And I'm producing.

00:09:41: I

00:10:08: don't think so, no.

00:10:10: Like when I was in Syria, but it's filming that at this point like i wasn't dangerous.

00:10:14: So It's like the dangers now.

00:10:16: for me At least there is zero dangers?

00:10:37: I feel like there is dangers for me at the moment.

00:10:42: Have you presented this film also in Syria and Lebanon?

00:10:45: Not

00:10:45: yet, but we plan to.

00:10:47: We'd like to do a keynote screening on Syria-Lebanon after we finish the festival run.

00:10:52: Now that this film has had a number of film years both in the

00:10:55: U.S.,

00:10:56: Europe... ...and here of course in Switzerland.

00:10:59: how do you perceive the reactions from the audience?

00:11:01: How does it feel for you?

00:11:02: It feels very moving when people stop us even today like we had two or three different people who stop us and they've seen the film, watched your films really moved me.

00:11:14: And everybody's reaction is very emotional and respectful of our experience.

00:11:19: I think that what matters to us when you get people engaged with it emotionally come up to us tell how do feel?

00:11:28: It's moving so... The reaction has been positive and welcoming.

00:11:33: Now that have gone through all this story Do also and sometimes feel the need to just do your own thing?

00:11:40: Or, Do you just allow it be together after this long period because film also shows a lot of separation.

00:11:45: It's still our reality!

00:11:46: A lot of times when Habak is in Syria I'm in Lebanon or London And since the beginning of this year we barely spent two weeks together maybe In London Because he always working and i am doing stuff This.

00:11:58: what maybe good about us relationship Is that We understand each one has their own mission & needs very like demanding of each other and then when we're together, We try to enjoy the time.

00:12:11: I think that both believe in what were doing And want do more of it and i think will support for this reason.

00:12:17: If

00:12:17: there's

00:12:17: one thing

00:12:18: you could hope is audience would take away from your film What Would It Be?

00:12:21: I Think its To Approach The Wars and Conflicts In A More Human Way Is To Understand That The Reality thats Portrayed By Mainstream News Or by Local Politicians or Country Politics Not The Reality.

00:12:35: Try & See Beyond that there's humanity and there are humans, and empathy.

00:12:39: And to understand it is nothing justifies the killing or bombing of any society.

00:12:45: This should stop because people want to live and they're not allowed to live Because of wars!

00:12:52: That isn't fair Just understanding.

00:12:54: there were human behind the headlines.

00:12:56: Thank

00:12:56: you so much for this wonderful interview.