For Sama (97′) is an intimate and epic journey into the female experience of war. Told as a love letter from a young Syrian mother to her daughter, it tells the story of filmmaker Waad al-Kateab’s life through five years of the uprising in Aleppo, as she falls in love, gets married and gives birth to her daughter Sama, all while cataclysmic conflict rises around her.

Waad’s camera captures incredible stories of loss, laughter and survival as she wrestles with an impossible choice – whether or not to flee the city to protect her daughter’s life, when leaving means abandoning the struggle for freedom for which she has already sacrificed so much.

A favourite of critics, audiences and film festivals, For Sama has already won 23 awards, including the Golden Eye at Cannes Film Festival 2019, the Audience Award at Sheffield Doc Fest 2019 and the Grand Jury Prize at SXSW.

The film will be followed by a conversation and Q&A with filmmakers Waad Al-Kateab and Edward Watts, and Executive Producer Nevine Mabro.

SPEAKERS:

Waad al-Kateab (Director). In January 2016, Waad al-Kateab started documenting the horrors of Aleppo for Channel 4 News in a series of devastating films titled Inside Aleppo. These reports and others became the most watched pieces on the UK news programme and received almost half a billion views online and 24 awards including the 2016 International Emmy for breaking news coverage. Waad was a marketing student in Aleppo when protests against the Assad regime swept the country in 2011. She taught herself how to film and started recording the human suffering around her as Assad forces battled rebels for control of Aleppo. She stayed through the siege documenting the loss of life and producing some of the most memorable images of the six-year conflict. When she and her family were evacuated from Aleppo in December 2016 she managed to get all her footage out. Waad lives in London with her husband Hamza and two daughters.

Edward Watts (Director) is an Emmy award-winning, BAFTA nominated filmmaker who has directed over twenty narrative and documentary films that tell true stories of courage, heroism and humour from across the world, covering everything from war crimes in the Congo to the colourful lives of residents in the favelas of Rio de Janeiro. His 2015 film Escape from ISIS exposed the brutal treatment of the estimated 4 million women living under the rule of the Islamic State and, for the first time on television, told the extraordinary story of an underground network trying to save those it can.  His first narrative short film Oksijan told the incredible true story of a 7- year-old Afghan boy’s fight to survive as he is smuggled to the UK in a refrigerated lorry and the air inside begins to run out. It premiered at the BFI London Film Festival in October 2017 and has since played at prestigious film festivals around the world.

Nevine Mabro (Executive Producer) is Deputy Editor of Channel 4 News. She has led the programme’s agenda- setting foreign output, enhancing its ability to get extraordinary coverage out of some of the world’s most dangerous places. She finds and nurtures new talent both on screen and off, and works with many independent filmmakers. She executive-produced Waad al-Kateab’s award- winning Inside Aleppo coverage for Channel 4 News in 2016 as well as Marcel Mettelsiefen’s Agony in Aleppo short film that won the 2013 Emmy and was developed into the Oscar- nominated film Watani.

A new ICRC, report called ‘I Saw My City Die’ found that between 2010 and 2015, nearly half of all civilian war deaths worldwide occurred in Syria, Iraq and Yemen. The majority of these deaths have taken place in cities: Mosul, Aleppo and Taiz. Join our panel to discuss the emerging trend of War in Cities, with comparative studies of different cities and nations, over recent years.

“Over the past three years, our research shows that wars in cities accounted for a shocking 70% of all civilian deaths in Iraq and Syria”, said the ICRC’s Regional Director for the Middle East, Robert Mardini. “This illustrates just how deadly these battles have become. This is all the more alarming as offensives get underway in cities like Raqqa in Syria, or intensify in Mosul, Iraq. A new scale of urban suffering is emerging, where no one and nothing is spared by the violence.”

The conflicts in these countries have resulted in internal displacement and migration levels unprecedented since WWII. More than 17 million Iraqis, Syrians and Yemenis have fled their homes. And these battles risk becoming even more protracted if real political solutions are not found soon. Wars in cities are so devastating because of the way in which they are being fought. Armed parties are failing to distinguish between military objectives and civilian infrastructure – or worse, they are using or directly targeting them.

Chair

Nawal Al-Maghafi is an award-winning film journalist specialising on the Middle East. She has worked for BBC Newsnight, BBC World, Middle East Eye and Reuters amongst others. She has reported extensively from Yemen, focusing on the humanitarian situation and the West’s involvement in the conflict. Al-Maghafi was nominated for a Frontline Club Award 2017 for her film covering the human cost of the war in Yemen.

Speakers

Pawel Krzysiek has been working in communications in Syria for much of the war for the ICRC, much of his work has been to cross the frontline of war zones, into besieged towns. He is a primary contributor to this report covering the section on Syria.

Joshua Baker is a documentary filmmaker and a journalist and a contributor to the ICRC Report focusing on the section of ‘Mosul’. Baker was on the frontline with Iraqi special forces as they pushed into civilian neighbourhoods during the battle for Mosul. He witnessed first-hand how civilians were being caught up in the fighting, particularly when a suicide bomb detonated right in front of him. He began his career in print working for The Times as Foreign News Night Editor. More recently Baker completed Africa’s Billion Pound Migrant Trail with Benjamin Zand for BBC.  Earlier this year he was an Investigative Producer on two films for BBC Panorama following the terror attacks in Manchester and London, where he secured access to a friend of the Manchester bomber. His film The Battle For Mosul (US title Battle for Iraq) for PBS Frontline and The Guardian was shortlisted for best TV Documentary category at the One World Media Awards and listed for a Grierson Award.

Roland Oliphant  is a Senior Foreign correspondent to the Telegraph and until recently covered Russia and the former Soviet Union from the Moscow bureau. He has reported on the Ukrainian revolution and civil war from Kiev, Crimea, and Eastern Ukraine.

Iona Craig  is an independent Irish-British journalist. Her work currently focuses on Yemen and the Arabian Peninsula. Iona lived in Sana’a from 2010 to 2015 as The Times (of London) Yemen correspondent. She continues to travel back and forth from the country to report on the conflict and deteriorating humanitarian crisis. In June 2014 she won the UK’s most prestigious investigative journalism award, The Martha Gellhorn Prize. Her reporting on an American drone strike that hit a wedding convoy in Yemen was awarded the Frontline Club print award for 2014.

Albina Kovalyova is Television correspondent and producer covering Russia, Ukraine, CIS for FSN and Channel 4 News. Kovalyova has just returned from East Ukraine after doing a report on the impact of fighting on civilian life in front line towns in the country.

Photo Credits: ICRC

On Tuesday 6th December, politicians and journalists met at the Frontline Club to talk with Nujeen Mustafa about her book The Girl From Aleppo and to discuss the West’s response to the Syrian Crisis.

The brutal end of the city’s siege has seen the remains of Aleppo broadcast around the globe. When asked how she felt about these images she replied “relief… but it still hurts.”

Nujeen, who has cerebral palsy, traveled as a refugee across Europe in a wheelchair. She was turned away from borders and the stigma of being a refugee fell heavily on her. However, in her characteristically understated way, she refers to her portrayal as a danger to host countries as “annoying”.

The misrepresentation of refugees was at the forefront of the evening’s discussion. Christina Lamb, Sunday Times Foreign Correspondent and co-author of Nujeen’s book, mentioned that a major difficulty in reporting the refugee crisis was stopping stories getting lost in the vast numbers: “thats why I wanted to tell Nujeen’s story…she wanted people to know that refugees are just like us.”

In the Syrian conflict, control of the message is all important.

Lamb said that the Syrian state had “created their own narrative”. Assad, whom Lamb interviewed last month, was confident of winning the conflict, stating that between him and Al-Nusra, Syrians would be prepared to settle for him.

Andrew Mitchell MP believed that the conflict would end in one of two ways. Given that no military victory was possible, the war was “bound to … end in negotiation”. He added that there was a silver lining in Trump’s election in that, together with Putin, they might be able to reach an agreement in their efforts to unite against ISIS.

This was small comfort to much of the panel. Journalist and analyst Mina Al-Oraibi found it hard to believe that a populace pitted against such violence would accept a brokered peace so willingly: “Our greatest hope for a resolution is that Trump can make a deal with Putin? … How do you tell Syrian’s that?”

Indeed, it is Assad’s forces that is the greatest threat to civilians. The Syrian Network For Human Rights placed 93% of civilian deaths in the hands of Assad’s forces. Lamb backed this up: “I never met a single Syrian refugee who said they were leaving because of ISIS.”

The panel agreed that the crisis highlighted problems within organisations like the UN. Echoing words that he later used in parliament, Mitchell said “the international rules based system is in great jeopardy at the moment”. This comes at an important time, when the world needs more multilateral cooperation whilst nationalism is on the rise. These final statements matched Nujeen’s own: Many people “only think about the differences, not what we have in common. Which is everything I suppose.”

A compelling Frontline Club event on Wednesday 25 June showcased film and photographic work from across the globe that revealed both the depth of suffering and the strength of human spirit in some of the world’s most devastating internal conflicts.

Featured at the event was a series of photographs from Tim Freccia in South Sudan, Alvaro Ybarra Zavala in Venezuela, Eman Mohammed in Gaza and Daniel Berehulak in Afghanistan, curated by multimedia photojournalist and filmmaker John D McHugh.

The event culminated in a screening of Ground Zero Syria, a dramatic film by Robert King featuring unprecedented footage of the brutal conflict in Syria, and an impassioned interview with King by The Times journalist Anthony Loyd that offered some chilling conclusions about the future of the conflict.

Robert King and Anthony Loyd at the Frontline Club.

All of the showcased work shared a common theme: that of the determination of each journalist to bring to light the plight of people facing oppression or armed struggle in their home countries, and to reveal the characters of those individuals caught up in some of the world’s most dangerous conflicts.

Among Freccia’s work was a set of portraits of soldiers from the White Army, a ruthless militia group fighting alongside former Vice President Riek Machar in his campaign against the government of South Sudan.

In Freccia’s unique portraits, presented against a white background, he aimed to show through the expressions and postures of his subjects the “humanity present in these characters, for good or bad, which is often neglected”.

Zavala’s photographs were captured in Caracas and San Cristobal in February and March this year as the protests against Venezuela’s government escalated.

A picture of a woman slumped over the coffin of a lost loved one revealed the sacrifices made by the protestors, while another featured a combatant in plastic protective glasses making Molotov cocktails to take into the fray.

Mohammed took up photojournalism at the age of 19. In a narration of her photographs, she explained how she had to overcome cultural barriers to a woman pursuing such a career.

“I thought I had what it took to be a career photographer,” she said. “I was wrong. To gain acceptance in a male dominated field was next to impossible.”

Covering the war in Gaza in 2008-09 and under fire from aerial bomb attacks, the ground “shaking like a swing beneath us”, Mohammed was abandoned by the two male journalists with whom she was travelling. “Terrified, humiliated and feeling sorry for myself”, she learned a valuable lesson.

Mohammed‘s career has been characterised by a constant tension between capturing her own agony and that of others:

“You can freeze, but your camera cannot. If you don’t document history, it never happened.”

Her work included touching portraits of Mohamed Hodr, who along with 22 members of his family lived for several years beneath the rubble of what was once his home.

The only surviving remnant of what was to be a retirement retreat was a jacuzzi, which he hauled up to the roof of his shattered home so that each morning he could give his children a bubble bath.

Berehulak’s work focused on the terrible impact that the rapidly rising use of heroin in Afghanistan is having on the local population. One in 10 urban households in the country has at least one drug user, and in rural areas heroin use is as high as 30 per cent.

A set of photographs of one hospital ward that was admitting 200 children a month for severe malnutrition featured pictures of young children so wrinkled with starvation that they looked more like the elderly than the newly born. At a year-and-a-half, Mohammed weighed just 10 pounds.

“Nearly every potential lifeline is strained or broken here,” said Berehulak in his narration. “Women are kept away from everyone except those in their immediate family.

“Farmers can’t grow crops because of mines, and doctors can’t get to children until the situation is already severe. Women can’t nourish their own children [because of the heroin use].”

At the country’s premier children’s hospital in Kabul, a five-year-old boy weighing just 20 pounds was being treated on a bench because the infusion line wouldn’t reach to a bed. The drug problem, said the director of demand reduction at the ministry of health, is a tsunami for his country.

Ground Zero Syria

Screened in the second half of the event, King’s film gave a unique insight into the fighters of the opposition Free Syrian Army (FSA) in their efforts to survive the brutal attacks of Bashar al-Assad’s regime.

“For six to seven months we didn’t even think about picking up weapons,” said one.

“We started out with olive branches, but [in the end] the only option was to take up arms and put him [Assad] out of office.”

At a field hospital in Al-Qusayr, southwest of Homs near the border with Lebanon, a young boy looked forlornly up at the camera with a single streak of blood spilling from the corner of his mouth. Across the ward, another child’s guts were bursting through his sundered stomach.

“If I die when I help people it is good for me,” said a doctor at the hospital. “I’m a doctor, I must help people.”

At the Dar al-Shifa field hospital in Aleppo, Dr Osman, a physician at the hospital, explained how he had nightmares about amputating children’s limbs, but each day resisted the urge to return to normal life because there was no one else to help these people.

According to Osman, about 80 per cent of the patients at Dar al-Shifa are civilians. At the time of the interview, the hospital had already been bombed five times, with another 15 bombings nearby.

“The Syrian regime considers medical staff as a perfect target, as a military target,” he said.  “When you kill one doctor it is better than killing a thousand fighters.”

In November 2012, King was there when the hospital was hit yet again, but still hope was not vanquished.

“Dar al-Shifa is not a building, it’s not a machine; it’s people, it’s doctors, nurses,” said Osman, speaking amidst the rubble.

“We will continue. We will build this hospital again and we will work again.”

In one striking scene, Dr Abaman, a former veterinarian working as an assistant physician at the hospital, appealed directly to the camera, emotion cracking his voice:

“We have enough shown TV. Do something. Do something. We are suffering here alone.”

The film also featured the tragic burning of Aleppo’s market, a world heritage site and one of the world’s best-preserved souks.

King asked Ahmed Alhaji, who had witnessed the fire, to explain what he had seen.

“I saw a lot of things that make me cry,” he said. “I saw Assad destroy our history. My heart is broken, I was crying blood.”

Towards the end of the film, King asked an FSA fighter what he thought of the West’s Syria policy. The West’s inaction before – and even after – evidence came to light of the use of chemical weapons in Syria, he said, was a sign to Assad that:

“Whatever you want to do, go ahead and do it. You want to kill 100,000 people that’s okay; you want to drop 100,000 tonnes of bombs that’s fine. Chemical weapons? Just keep 20–30 per cent of them.”

Most of the characters featured in the film, said King, are now dead.

Beyond the obvious perils of filming during an almost constant artillery bombardment, King faced his own challenges in shooting the film, not least the very lack of engagement from the West and its media that was alluded to by the film’s characters.

“I had to reassess why I was risking my life to cover slaughter,” said King in the Q&A with Loyd.

“I’d been there for four months and had photographed 5,000 dead bodies and nobody cared. No one would buy my photographs, so I started shooting video.”

The politics within Syria were also a source of frustration for King. He saw a shipment of powdered milk he had helped facilitate first held up in customs and then less than welcomed by those who had been benefiting from the black market in the product.

Those people who had helped him gain access to the country started to try to influence his material and, when he refused, banned him from going back.

“In the first year I figured that their politics were holding up the medical needs of the community,” said King. “Then they wanted to control the message.”

Asked by members of the audience whether his work could be used to try the perpetrators of the violence, King expressed his frustration with the absence of a more effective international legal system:

“If there was an international court of law that could hold people accountable for their war crimes . . . but why give my stuff to some organisation that fantasises that it can prosecute people?”

Loyd and King agreed that the future for the country is bleak and the potential fallout dire.

“The war launched against Al Qaeda was one thing,” said Loyd, wearing a cast around his leg after sustaining gunshot injuries in the latest of many reporting trips to Syria.

“Now something far worse [Islamic State in Iraq and Al-Sham (ISIS)] has taken up a huge block of the Middle East running almost to the Mediterranean, and the West is aghast as to how to deal with the situation.

“Syria has raised a huge question mark and nobody knows what to do.”

King is convinced that chemical weapons have been smuggled out of Syria and have already reached Western European capitals. Asked whether he was planning to go back to Syria, he said:

“I don’t have to go to Syria. It’s done. It’s here. It’s over. I’m going to sit and wait.”

On Thursday 24 April, the Frontline Club welcomed a full house to a screening of Aleppo. Notes from the Dark. It was followed by an insightful Q&A with directors Michal Przedlacki and Wojciech Szumowski, which touched on the misrepresentation of the conflict in Western media and the possibility of a foreign peacekeeping intervention.

The unique and powerful film aims to document, in the words of Przedlacki, the “fate of ordinary people in extraordinary, dreadful times”, and gives voice to an assortment of Aleppo residents experiencing the daily hardships of life in a war zone.

Created from over 200 hours of footage, Aleppo. Notes from the Dark paints a complex and unique portrait of the Syrian people through a panorama of personal accounts, including those of a doctor at a makeshift field hospital and an Islamic cleric devoted to the pursuit of zakat (alms). Filmed over a period of 44 days, the film communicates the position of its subjects with regard to the state of the Syrian Revolution, their lives prior to the conflict and their expectations and hopes for the future of their homeland.

From left to right: Marta, Wojciech Szumowski andMichal Przedlacki

Humanitarian aid worker and photographer Przedlacki and filmmaker Szumowski commented on the film’s origins, born out of a mutual desire to provide evidence of the extensive bloodshed inflicted on the Syrian people:

“We decided to take the risk and go together to Aleppo. Not for news, not for three days, not for a week, but to stay there for two months in order to properly document and follow the fate of ordinary people. . . . We decided that we had to tell this story . . . there was too little information about Syria.”

An audience member questioned the lack of screen time dedicated to the narratives of Christian Syrians, Szumowski responded (with the help of a translator):

“We think that it would not be optimal to put Christians and Muslims in opposition, I think this is a mistake that we make in the West. Christians amount to 6% of Syrian society, and in the film we have shown the (positive) attitude of Muslims towards Christians. Both Muslims and Christians are Syrian citizens, and we would not like to divide them.”

A second audience member enquired as to whether the conflict in Syria had the potential to radicalise those involved, and the extent to which this would pose a threat to the West. Przedlacki responded:

“To understand why we have seen the influence of foreign extremists we need to understand the despair that Syria has faced, . . . the Syrians have a feeling that the world is letting them burn. . . . We are now ‘drinking the beer that we brewed ourselves’.”

The question of the West’s role in supporting a resolution to the conflict was likewise raised. Szumowski proposed the following:

“The first thing that the West can do is to tell an honest story. I have been following the information that has been in the media about Syria very closely, and I have the impression that there are some deformations of the real situation…. Placing terrorism in the headlines is already a sort of lie… and giving it precedence over everything else distorts the situation… So first it would be to tell the truth, and second it would be to use solidarity”

Przedlacki added:

“Our film is a protest against the ‘civilisation of indifference’. . . . Each one of us can do something. We made a film . . . some of you can write about the film, or can support Save the Children or a humanitarian organisation. . . . This is not some imaginary world. All of this has happened.”

Another audience member warmly thanked the filmmakers for bringing such a pressing situation to light, and enquired as to the extent of Russian involvement in the eyes of the opposition fighters. Szumowski recalled interactions with residents of the Syrian city:

“The people that we met in Aleppo kept talking about Russian mercenaries. . . . We heard tales that some of the aircrafts are being piloted by soldiers from North Korea. . . . It is almost as if the war is not between Syrians but between other nationalities as well.”

Szumowski likewise commented on outsider interests, highlighting the Russian base with access to the Mediterranean Sea as a clear motive for their involvement.

The filmmakers were asked to detail the extent to which the residents of Aleppo that they came into contact with demonstrated support for the suggestion of a Western military intervention.
Przedlacki offered a response and articulated his proposal for a peaceful resolution to the fighting, drawing on his work with humanitarian response programmes in diverse regions, including Afghanistan, Chechnya, Somalia and Pakistan:

“Every option should be considered in order to stop the bloodshed in Syria. . . . We have a dictator that is creating a bloodbath for his own Syrian nation. . . . If diplomatic means are not working then there should be an initiative of the Arab countries to intervene, and the Western role would be to support such an initiative. . . . I don’t really believe that we would see American boots on the ground.”

An audience member pressed Przedlacki on which Arab countries would be involved in this initiative:

“The Arab League itself. In 2012, they agreed to have a peacekeeping operation, which was then stopped by the Russians. . . . Imagine how many people could have lived . . . if this had happened.”

Szumowski expressed greater concern at the extent of mis-information in the West, and demonstrated a reluctance to endorse Przedlacki’s backing of foreign military intervention:

“I am an artist, a creator, not a politician. I think that force is the absolute last resort. I think the most important thing is informing the society openly and honestly about what is going on in Syria.”

Szumowski closed the discussion by recalling the inaction of Allied troops during the Second World War with regards to intervening to prevent the atrocities committed during the Holocaust, pointing out the West’s current complicity in the situation in Syria owing to its failure to act:

“We are committing a similar sin now when we are not talking about Syria. This is something that neither me, nor my friend (Przedlacki) can accept.”

To find out more about Aleppo. Notes from the Dark, the film’s Twitter page is available here.

Interview given by Przedlacki to BBC World News about Aleppo. Notes from the Dark,  on 25 April 2014. Courtesy of BBC:

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View the trailer of Aleppo. Notes from the Dark here:

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This screening was supported by the Polish Cultural Institute London.

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In the summer of 2013, Michal Przedlacki and Wojciech Szumowski spent 44 days in Aleppo, documenting the lives of ordinary citizens in extraordinary circumstances. The film’s protagonists talk openly about the Syrian revolution, their lives before the conflict erupted and their dreams for the future.

Mohammad Sayeed, a journalist from Aleppo Media Center, documents the disastrous situation in the city. Imam Qasim, an Islamic cleric in one of the poor neighbourhoods, tries to help neighbours affected by the war. Dr. Ammar Zakaria, a former Syrian officer, is a doctor at one of the makeshift field hospitals, struggling to save the lives of the wounded. Abu Mahia delivers free bread to some of most affected families in the city.

Aleppo. Notes from the Dark offers a unique and poignant account of life in Aleppo from the perspective of seven of its residents.

Directed by Michal Przedlacki and Wojciech Szumowski
Duration: 90′
Year: 2014

This screening is supported by the Polish Cultural Institute London: