Dialogues of exiled

by Rami Nihawi

Research & project

Rami El-Nihawi’s research deals with the theme of exile and the re-appropriation of narratives as a way to overcome this traumatic experience. Those are developed in the trilogy described hereafter. Until further notice, a close-up on the Lebanese ‘organized chaos’, raises the question of exile and home through the fictional story of three Lebanese characters, Yusuf, Mahmoud and Ayoub. Possible memories provides a wider view of the Middle-Eastern chaos, discussing the difficulty for people to come up with narratives helping them confront their traumatic past. This project will take the form of a fake documentary about the making of a documentary about three female activists from different generations and countries. Life is but a fantasy, the widest view of the trilogy, deals with the global chaos and how to free ourselves from it through solidarity. This will be realised as a performance in which the filmmaker asks the audience to help him finalize a film about his dreams and nightmares.This research also focuses on the conditions of film production and distribution, proposing a collaborative online platform, Dialogues of exiled, to help member artists and their wider community to regain independence from traditional institutions in the creation process.

exile, marginalization, privileges, responsibilities, solidarity
Rami Nihawi

Rami Nihawi

Opleiding
Master of Film
Lichting
2021

Rami El-Nihawi, born in Beirut in 1982, graduated in 2006 with a bachelor's degree from the Fine Arts Institute at the Lebanese University. He participated in various film and performing arts productions that focused on the social and political questions facing the ‘post-war’ generations in the Middle East. In 2011, with a group of independent filmmakers, he established Sakado, a production company that served as a platform for various artistic productions and collaborations and where he had the chance to play different roles, as an actor, writer, editor, director, and producer.

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