Capturing Syria: Interview with Talal Derki

I met Syrian filmmaker Talal Derki at the bustling 26th Shanghai International Film Festival, where he had just arrived and was rehearsing for the opening ceremony. Serving as one of the judges for the documentary section, Derki is renowned for his poignant and unflinching portrayals of life in war-torn Syria. His documentaries have earned international acclaim, resonating with audiences worldwide for their raw honesty and deep humanism.

Amidst the festival's fervor, we found a quiet moment to discuss the unpredictable nature of documentary filmmaking, the profound challenges of capturing real-life drama, and the ethical responsibilities that come with narrating true stories. His passion for his craft was palpable, reflecting his commitment to shedding light on untold stories he believes can foster understanding and empathy across cultures. Here is our conversation:

Arina: I was researching your biography and found it interesting that you started as a fiction filmmaker. How was the switch? What made you switch from fiction to documentary?

Talal: I studied fiction in Athens and worked on many projects; I made short films, then I was the first assistant director and executive producer for many fiction films in my country and Greece. When the war happened in Syria, I found the real moments captured in documentary elements more urgent. Then I got attracted by the reality, by the story's reality. Nonfiction storytelling and the story structure became more adventurous for me than fiction films. In fiction, you sit like this, you have your own team, a script written by one person. All characters are written by one person, the scriptwriter. But in a documentary, you don't know - every second, the character surprises you. You don't control the scene, and that's for me how it guides you, how you can involve the real characters, not the actors. I mean, of course, I want to do fiction, but nonfiction filmmaking also has its own beauty, and that's very attractive as a personal side to gain new experience.

Arina: In your films, you portray human drama, like in your recent movie "Under the Sky of Damascus," where you address the issue of female abuse. How long does it take to gain trust with the people you film to let them share very intimate stories?

Talal: "Under the Sky of Damascus" is the third part, I mean, for me, I want to end this trilogy of the Syrian war. And with a post-war film from inside Damascus, where I grew up and also the other director. We gained the trust of the characters, not at an early stage but a bit later, at that point when they start to tell us what's happened behind the scenes. I have always built a strong relationship with my characters. Even sometimes I'm criticized, but there is something like I build this trust, this deep understanding with every subject I work with, it takes time, always it takes time. But you have to, this is the most difficult thing in nonfiction and the most sensitive part that choosing characters. It's part of it like how they accept you and part of it how they engage with the topic or with the topic of the film you aim to do. So when I feel like harmony and good energy coming up with the people, I start to interview because in the beginning you don't know your character. You film many people and then later you decide that this person looks very promising, you have a story, and then you go deep into the follow-up.

Arina: Do you think the documentary filmmaker has a moral responsibility for what happens to the protagonist after the movie?

Talal: It's somehow the writing of history through images because it's not fiction, it's all if it's good, honest, has ethical sides, strong. That's why it's very important that the filmmaker really be honest with the story and the topic and not just with his point of view. Because the moment the film is out from the editing room, it's not anymore our film as filmmakers. It's for the audience, so it's very important for people to really have this ethical side and try always to bring the reality at the same time the clear meaning for the topic and what it needs, it's a big responsibility.

Arina: But also to make a documentary interesting, sometimes they use drama to create interesting storytelling. What do you think about this?

Talal: This drama is coming from there because every one of us is an open book. It's wide like if you put the camera, it's a wide shot. And in the films, cinematic films, let's say the cinematic value, you have to focus, you have to go close up at some point. You have to choose what's the angle you want to get out from every human story or every event. And that angle should be able to hold the drama, to make people think that they have to continue watching the film. Because if the film is open and from the beginning, you know what's going to happen in the end. Just repeating itself then people will change the channel or will not watch it until the end.

Arina: What are the elements of a good documentary?

Talal: Good characters.

Arina: ..and this is the most difficult part to find them.

Talal: The charismatic characters. And the relation, the complete match between the characters, the subjects, and the topic. How much it matches and how much the character is honest and really does strong values or acting or working for the topic of the film. That's the common thing.

Arina: We are in Shanghai. This is your first time in the city!

Talal: I hope not the last time. I hope to come. That's what I want my next films really will give the opportunity to have a world premiere or Asian premiere in Shanghai.

Arina: How do you see Shanghai as a documentary film director? Imagine, for example, if you are filming in Shanghai, what would be the topic?

Talal: Look, when we get out from giving my impression as a filmmaker. When I get out from the airport and get the car to the hotel. And you are on the way, all these highways. You see just the big buildings huge. And you say wow, it's a big industry here. There are people like it's a whole complete world. When you get out from the highway and get into the small streets, you see those trees, you see people around, you see shops, restaurants. You feel the life, you feel oh, I love it. You feel immediately when you get into the small street that there is intimacy. There is life, there is love. That's what you feel the passion of the Eastern people. That's clear, you can see it in their way of smiling, way of looking. Every shop we go, you find this warmth. And that's not in the West is not anymore you find it easily, unfortunately.

Arina: What do you hope the audience to take away from your films?

Talal: From my films, take away like that. That the experience, I try always, I'm doing films. Let's say about Syria or whatever. But always I try to bring elements that touching and speaking to the people all around the world. But I want the audience to like the films. That's the most important thing too. Like it and also for the filmmakers too. To see that it's always, it's a duty for every filmmaker to not look for the short way. Sometimes we make it more complicated to bring more elements and more quality of making films. We spent like sometimes five years on one film, 90 minutes, can you imagine? So it's a lot of work. And we never say, this is the point, I never say that I'm happy or satisfied. I always say I need more. In the shooting and in the editing, I say always no, no, no. It should be, it should be more.