{"id":16576,"date":"2025-04-21T14:21:39","date_gmt":"2025-04-21T11:21:39","guid":{"rendered":"https:\/\/al-rawiya.com\/?p=16576"},"modified":"2025-04-26T18:25:50","modified_gmt":"2025-04-26T15:25:50","slug":"fann-w-fenjen-with-omar-gabriel","status":"publish","type":"post","link":"https:\/\/al-rawiya.com\/ar\/fann-w-fenjen-with-omar-gabriel\/","title":{"rendered":"Fann W Fenjen: Omar Gabriel"},"content":{"rendered":"\t\t
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Filmmaker<\/span><\/p>

Omar Gabriel and Cyril Kokozaki on Navigating Community, Memory, and Healing After War<\/strong><\/h1>

By Cyril Kokozaki<\/span><\/p>

Photos by Omar Gabriel<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Those familiar with Omar Gabriel<\/a>‘s work understand his distinctively intimate, \u201cslice of life\u201d filter: his camera-work reflects the moments where we feel profoundly human and connected. From the award-winning <\/span>A <\/span>Letter to Myself<\/span><\/i><\/a>, which offers a personal exploration of queer icons in Lebanon, including the Palestinian resistance poster-woman <\/span>Soha Bechara\u2019s<\/span><\/a> letter to herself and her trans son, to his recent ARTE-commissioned documentary\u2013 yes, <\/span>the<\/span><\/i> premiere cultural TV channel in Europe\u2013 his work is remarkable, tender, and current. After eight long, gruelling, collapse-tainted years in production, Omar is aiming to release his first feature film in 2025, so don\u2019t miss the preview from this rising talent on ARTE\u2019s <\/span>Tracks East: Lebanon After the War – Is Healing Possible?<\/span><\/a> The documentary interviews three of Omar\u2019s artist friends against a backdrop of the destruction and fragile ceasefire that continues to shape their inherited reality, and where the cultural resistance that the Lebanese are known for lives on.\u00a0\u00a0<\/span><\/p>

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We asked actor Cyril Kokozaki<\/a> to flex his skills and pose Omar some questions.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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OMAR GABRIEL:<\/strong> Hello\u2026yahhh Cyril, hello!<\/span><\/p>

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CYRIL KOKOZAKI:<\/strong> Bonsoir! <\/span>\u0645\u0631\u062d\u0628\u0627 <\/span>!<\/span><\/p>

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OMAR:<\/strong> They told me it was a surprise, I didn\u2019t think it would be you!<\/span><\/p>

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CYRIL:<\/strong> Yeah, surprise! Hahaha\u2026 Okay, first of all I really want to give you compliments on your work. I really enjoyed watching it. I watched the ARTE preview, I think three or four times. You really showcase the alternative scene in Beirut, like you\u2019re giving the rest of us an opportunity for our voices to get out there, for more expression, and you’re doing it in a very nice way. So yeah, I just wanted to share that. Would you consider \u0647\u064a\u062f\u0627 \u0627\u0644\u0634\u064a like Raymonda<\/a> says about going back to her busy life, \u0625\u0646\u0648 this is how she heals. So did this help you with your healing?\u00a0<\/span><\/p>

OMAR:<\/strong> I suppose you can\u2019t have people speak so honestly and not go through it with them, especially when you share the same experience. So <\/span>\u0623\u0643\u064a\u062f<\/span> there is some kind of healing. But can I say that I\u2019m healed? Uhh, I\u2019m not sure.\u00a0<\/span><\/p>

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Aside from the project, I think healing is an ongoing life quest. What we\u2019ve lived through\u2014and are still living through\u2014 is an immense form of violence. For people who are sensitive or humanitarian in nature, it\u2019s not something that passes easily. And even when it\u2019s over, we know it\u2019s not completely over.<\/span><\/p>

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Since I\u2019m introspective and honest with myself, I can\u2019t say I was healed when the project ended. Like Ray says, it\u2019s just <\/span>part of<\/span><\/i> my healing journey. But that doesn’t mean that the journey is over. I think it’s an ongoing quest, a turbulent one, and it includes many forms of wars\u2014not just the obvious reasons. I\u2019m also against just talking about the actuality and the \u201cnow\u201d, because everything is a pile up of so many things that are corrupt and unfair and inhumane. And yet we have to continue. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ruwan Teodros, captured by Omar Gabriel<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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CYRIL:<\/strong> I know, challenges compiling over the span of just a few years. You do a lot of work in queer cinema, I work in queer cinema as well,\u00a0 I know the challenges that we\u2019re already facing, and then the external factors come in. Take Joey<\/a>\u2019s story for example, you really see how the ripple of something that’s happening kilometers away can affect someone on such an intimate level. He had to hide a part of his identity for 36 days, he calls the invasion pinkwashing, and how he went along with it. What was the greatest challenge you faced while filming this?<\/span><\/p>

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OMAR:<\/strong> I think the most challenging part was speaking about a topic this complex\u2014one that\u2019s being showcased to Western audiences\u2014while still being honest for us. <\/span>\u0644\u0623\u0646\u0648<\/span> this is not a self-funded project that I felt like doing. This is a documentary for ARTE, so I felt a responsibility knowing that this narrative is being translated for the West.\u00a0<\/span><\/p>

What has happened politically and how the West has shaped our narratives\u2014 and the hypocrisy that it has played in the war, and in how the media covered it\u2014 I felt that it was finally my turn to show a narrative that represents us. Even if it\u2019s mostly reaching their audience, at the very least, I want them to see a narrative that they don’t know about.\u00a0<\/span><\/p>

That was the biggest challenge. On one hand, I have a big responsibility to speak about something that’s so fresh and so complex, something that we haven’t digested yet, and try to tell it in a way that\u2019s as multi-layered and authentic as I can be in the representation. This documentary is both a window to Lebanon, and to me as an activist and an authentic filmmaker. I want them to see something that is real, something that reflects us more than the propaganda or shallow, informational coverage that they are receiving.<\/span><\/p>

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CYRIL:<\/strong> You showed up to the challenge really well, especially in how you captured the streets, the daily life of the Lebanese. One example that stood out was the scene with the three generations of women; Ruwan<\/a>, her mother, and grandmother. I\u2019m referring to that intimate scene where each of them speaks about the war of their generation. <\/span>This<\/span><\/i> is our reality, this is what we inherit as Lebanese people. And although it’s sad, the way you portrayed it was so beautiful and multi-layered. A question for the filmmakers: what lenses were you using?<\/span><\/p>

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OMAR: <\/strong>Honestly <\/span>you have to ask the DOP hahaha\u2014the lenses are an additional technical thing. For me, what is most important is in the frame itself, because this is what conveys the emotions and the stories. As for the lenses, <\/span>they of course have an important<\/span> additional value because they film things in a way that resembles the vision that I want. I focused on using lenses that zoom in on the people\u2014 that are close to people. I didn\u2019t use many wide angles unless I was filming the destruction of outdoor spaces. I focused as much as I could on faces, on emotions, on intimate spaces, and all of that happened through the use of portrait lenses mostly.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ruwan Teodros, captured by Omar Gabriel<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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CYRIL:<\/strong> I definitely noticed you used a lot of extreme close-ups, like in the scene where Joey is applying makeup while he’s going into his drag character. It felt like we got so close to each character. Beyond the lens, what really stood out was your presence and the questions you asked that allowed each person to open up, to share, and to be this comfortable. There’s a very natural feel to everything, it’s very natural how you show the reality of things. I think it’s a huge challenge: to show reality so honestly, especially when there\u2019s a person in the frame and it\u2019s your role, as the filmmaker, to lead them there with your questions.\u00a0\u00a0<\/span><\/p>

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OMAR:<\/strong> For me, this is not a challenge. Thank you, I appreciate it that you see it that way, but for me, the real challenge is when I’m disconnected from reality or from authenticity. So when I have the opportunity to be close to people\u2013 to be close to the truth and their emotions, on the contrary I feel like it\u2019s an opportunity, a lucky opportunity someone gives to me.\u00a0\u00a0<\/span><\/p>

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With a camera you have a huge privilege: to get close, to access the school of people, and their personal, intimate stories. Stories that, in our daily life, <\/span>\u00e7a passe inaper\u00e7u<\/span><\/i> \u064a\u0639\u0646\u064a<\/span> it goes by unnoticed, and the world continues. For Joey, he might go to his job and nobody would ask him a question about everything that he has lived.\u00a0<\/span><\/p>

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So for me, the camera becomes a small window, a moment to say: no, no, no, no, no, no. Things should not continue like that without opening these little windows. Because our personal stories matter. And by nature, as Omar the human, not just the filmmaker, I think this is part of my vision. I\u2019ve lived through so much that made me feel like, no, life cannot continue like that normally. I just need to stop and open this window and see what’s inside. I need it. It\u2019s a need.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Joey, captured by Omar Gabriel<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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CYRIL:<\/strong> I\u2019ve read a few articles about you, and it feels like this message runs through all your projects. As if you like to return the heartbeat to people.\u00a0<\/span><\/p>

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OMAR:<\/strong> Hmm, what do you mean by heartbeat?<\/span><\/p>

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CYRIL:<\/strong> As if to bring them back to life. You’re not satisfied with just saying <\/span>hamdellah <\/span><\/i>(thanks be to God), right?\u00a0<\/span><\/p>

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OMAR:<\/strong> <\/span>Hamdellah<\/span><\/i> by itself doesn\u2019t bother me, because it carries a kind of gratitude for the good things that are still present.\u00a0<\/span><\/p>

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But when <\/span>hamdellah<\/span><\/i> becomes a tool for denial\u2014 used to soothe all the pain and problems, just because we don\u2019t want to speak or open the wounds and share them\u2014then we end up with a society that is sick on the inside, but on the outside keeps saying <\/span>hamdellah<\/span><\/i>.\u00a0<\/span><\/p>

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The problems get worse. The wounds aren\u2019t healing. People just continue, and continue, and continue, and I feel like my existence as an artist is to say: Ahh, stop. I\u2019m not satisfied. Maybe somewhere that\u2019s wrong, because maybe it would be better for me to say <\/span>hamdellah<\/span><\/i> and continue like everybody else. But that\u2019s not me.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Joey, captured by Omar Gabriel<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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CYRIL:<\/strong> As someone who has documented queer narratives, don’t you feel like the spaces where queer cinema could be projected are very limited in Beirut, or they need to be sort of protected, because of the political situation?<\/span><\/p>

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OMAR:<\/strong> There are no safe spaces in Beirut. There are safe people, and the space becomes safe when people gather to watch\u2014 unless there\u2019s a violent intrusion. As long as we have no queer rights, as long as queer films are not legal, as long as spaces that are considered safe have no protection, it\u2019s never safe. It becomes safe when these people gather together.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Omar Gabriel<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Omar Gabriel<\/span><\/a> has filmed, produced, directed, edited and photographed short films, commercials, motion pictures, music videos and photographed countless celebrities for over 12 years. His films have showcased at Xposed Film Festival in Berlin, and Institut du Monde Arabe in Paris, while his photography has been shown at the Bienal’23 Fotografia do Porto and La Casa\u0300 A\u0300rabe in Madrid.\u00a0<\/span><\/p>

\u00a0<\/p>

Cyril Kokozaki<\/span><\/a> is an actor and artist known for his roles in the thought-provoking films Drowning (2024), Embodied Chaos (2023), Corps Absents (2022), Dhow Under the Sun (2015) and others, earning a reputation for deep emotional <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Filmmaker Omar Gabriel and Cyril Kokozaki on Navigating Community, Memory, and Healing After War By Cyril Kokozaki Photos by Omar Gabriel Those familiar with Omar Gabriel‘s work understand his distinctively intimate, \u201cslice of life\u201d filter: his camera-work reflects the moments where we feel profoundly human and connected. From the award-winning A Letter to Myself, which […]<\/p>\n","protected":false},"author":2,"featured_media":16579,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[160,322],"tags":[],"class_list":["post-16576","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-column","category-fann-w-fenjein"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/al-rawiya.com\/wp-content\/uploads\/2025\/04\/Screen-Shot-2025-03-05-at-12.28.05-PM.png?fit=2880%2C1604&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/posts\/16576","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/comments?post=16576"}],"version-history":[{"count":35,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/posts\/16576\/revisions"}],"predecessor-version":[{"id":16671,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/posts\/16576\/revisions\/16671"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/media\/16579"}],"wp:attachment":[{"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/media?parent=16576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/categories?post=16576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/al-rawiya.com\/ar\/wp-json\/wp\/v2\/tags?post=16576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}