One such area, the Damascus suburbs of East Ghouta, is the target of renewed violence, with over a hundred civilians dying daily to chemical weapon attacks and regime airstrikes. Compounding these attacks, the state of siege East Ghouta faces has prevented food or medical supplies from entering the region, leaving hundreds of thousands malnourished and vulnerable. Finally, reports are surfacing that the Syrian regime forces are pursuing a policy of targeting doctors, nurses and other medical workers, denying treatment to an already beleaguered population.

All of these crises raise troubling questions about the nature of East Ghouta’s previous designation as a “de-escalation zone” by the Russia-sponsored Astana peace negotiations, and what this seemingly-inevitable eradication of the last bastions of Syria’s popular opposition means for the shape of a potential peace outcome.

The Frontline Club has invited a panel of experts to dissect what the events that have transpired in East Ghouta reveal about a pattern of human rights violations that have come to define the Syrian civil war.

Chair

Jeremy Bowen BBC Middle East correspondent from 1995 and Middle East editor since 2005, award-winning journalist Jeremy Bowen has spent much of the past two years documenting the game-changing moments in the history of the Middle East.

Speakers

Dr Abdulkarim Ekzayez is a Syrian medical doctor and an epidemiologist. His work at Chatham House focuses on the public health impacts of conflict, as well as challenges around the protection of healthcare in conflict, both issues he has experienced first-hand in Syria. Dr Ekzayez researches health workers as military targets and is personally working with other Syrian and British medics and activists to support humanitarian efforts in Eastern Ghouta. He is a regular contributor to several medical and civil society institutions in Syria, and has been active in advocacy for Syria through media and conferences. He is a trustee member of two NGOs, Shafak and Eye to the Future.

Dr Idrees Ahmad is a Lecturer in Digital Journalism at the University of Stirling and a former research fellow at the University of Denver’s Center for Middle East Studies. He is the author of The Road to Iraq: The Making of a Neoconservative War (Edinburgh University Press, 2014). He writes for The Observer, The Nation, and a wide variety of other publications. He is now working on a book on the war of narratives over Syria. Idrees has appeared as an on-air analyst on Al Jazeera, the BBC, TRT World, RAI TV, Radio Open Source and several Pacifica Radio channels.

Leila Al-Shami has worked with the human rights movement in Syria and across in the Middle East. She is the co-author of Burning Country: Syrians in Revolution and War (Pluto, 2016, 2018) and a founding member of Tahrir-ICN, a network that aimed to connect anti-authoritarian struggles across the Middle East, North Africa and Europe.

Photo: Civilians escape from explosion site after Assad Regime’s forces strike over the de-conflict zone, Ein Tarma Town of Eastern Ghouta region of Damascus, Syria on 22 August, 2017 [Alaa Mohammad/Anadolu Agency]

Di Giovanni is no stranger to conflict, with work spanning the first Palestinian intifada, the Bosnian war and much of the upheaval of the Arab Spring. Her latest book is the result of numerous official and unofficial visits to Syria, weaving accounts of human tragedy into the country’s wider political picture. For di Giovanni, focusing on those trapped in a war beyond their control was the most striking and impactful way to cover the conflict.

“For me, far more interesting than being on the frontline in Homs, was going to the military hospital of Assad’s soldiers,” di Giovanni said. “I went early one morning when they were having their mass funeral… These were the regimes soldiers so you would think that we could perceive them as monsters… They were kids, they were 18, 19 years old… they just found themselves in this time and this place, but they were basically just kids.”

Sackur asked di Giovanni what it was like to witness Syria’s “terrible descent into full-on civil war,” and the rise of Daesh.

“As early as 2013 we started seeing, or maybe even earlier in 2012, the radicalisation of Aleppo… My trips back there became increasingly difficult,” commented di Giovanni. She recalled one particular incident that made her realise how dangerous the situation had become for Western journalists, in which herself and photojournalist Nicole Tung were attacked by an angry crowd frustrated by the West’s failure to intervene in the war.

“In the worst days in Sarajevo, the population never turned on us… And now we were getting attacked, as women we were being subjugated even with our former colleagues, and worse than that, Steve (Sotloff) and Jim (Foley) were beheaded.”

A major focus was the West’s inaction over the Syrian war, and the frustration that this has generated. Referring to a recent spate of Russian airstrikes on hospitals and schools in northern Syria, one audience member asked if there was any hope of bringing Assad and Putin’s impunity to an end.

Di Giovanni responded by saying Assad shouldn’t be allowed to continue his reign of power, but also conceded that “the more that Daesh continue to push and do these horrific acts publicly… the more that people who before had been supporting the opposition went back to supporting Assad. If you pull Assad out right now – this is a man with blood on his hands, a war criminal – you’re going to have a power vacuum in Damascus… There is no one yet ready to step into his shoes.”

Sackur added that a more cynical view would “argue that for all of the hopes we had for street politics and uprisings… actually removing the Gaddafi’s, or the Assad’s, or the Mubarak’s unleashes a form of chaos that is worse.”

An audience member asked what Assad’s endgame might be, given that Daesh’s actions are bolstering support for his regime. Di Giovanni replied: “I think he’s won. The Russians are on his side. He’s managed to turn the UN into a laughing stock. The diplomatic channel has basically been made a joke.”

On a final note, an audience member asked di Giovanni if she had any stories of hope from Syria. She recounted meeting members of the White Helmets, a group of ordinary civilians in Syria who rescue people from the wreckage of airstrikes – despite the enormous risks to their own lives, particularly in light of Russia’s ‘double-tap’ bombing strategy. “In war time you get horrible things, but you also get the human spirit capable of doing good… I came away thinking superheroes really do exist.”

Click here to find out more information on the White Helmets.

Purchase a copy of The Morning They Came for Us: Dispatches From Syria here.

L-R: Sean McAllister, Yasmin Alibhai-Brown and Amer Daoud

The plight of Syrians has returned to the headlines following the recent release of a tragic image of young Aylan Kurdi lying dead in the sand. It is easy to forget that the current situation in Syria, and the millions of refugees who have been forced to flee the country, has its roots in the Syrian Revolution of 2011 and the brutal response of the Assad regime.

In his latest film, A Syrian Love Story, Sean McAllister follows the story of one family torn apart by the political imprisonment of a mother, as they experience the civil war and finally find refuge in Paris.

On Wednesday 23 September, McAllister, alongside the film’s protagonist Amer Daoud and journalist Yasmin Alibhai-Brown, joined an audience at the Frontline Club for a Q&A following the screening.

Throughout the film, McAllister‘s close relationship to Daoud, his wife Raghda and their children is evident. “[McAllister became] part of the story in a way, which is quite a dangerous thing for a journalist,” said Alibhai-Brown. “We’re all trained: you must be distant, you just be objective, you must be balanced. All rubbish really.”

Yasmin Alibhai-Brown

McAllister, who has shot many films in the Middle East, told the Frontline Club that he felt guilty for only visiting countries when they were at war. “I’ve made films in Iraq under Saddam Hussein and after… I always remember them talking about the golden days, before war,” he said. When he heard someone say that Damascus in Syria was like Iraq in the golden days he thought he’d go and see for himself.

Before the Arab Spring uprising and the subsequent civil war, McAllister travelled to Syria to find a story. “I kind of fell in love with this place… there was fun with fear in those days and I was hanging out there for maybe, on and off in this insane way that we do making documentaries, about eight months,” he said.

In the film, McAllister says he met Daoud in a bar in Damascus, a serendipitous encounter that Alibhai-Brown seemed initially reluctant to believe.

“Yeah, I saw this man, he asked everybody in the street: ‘What do you think about freedom? Is Syria free? And what do you think about this president Bashar al-Assad, why is his picture everywhere?’” Daoud said of McAllister. “He’s crazy to ask these questions.”

Daoud told the Frontline Club audience that he was worried at first when McAllister began to ask him these dangerous questions. “That’s why it took five years to make [the film],” said McAllister. “It took me two years to get [Daoud’s] trust and then his wife came out of prison and she didn’t trust me for another two years.”

Although the film focuses very centrally on Daoud and Raghda’s relationship, McAllister said that this was not the focus from the outset. In fact, McAllister’s initial failure to secure a commission for the film had a significant impact on its direction.

“It wasn’t that I was planning it, it wasn’t a master plan, I just couldn’t get it commissioned,” he said. “If it had been commissioned earlier it would have been an Arab Spring film that would have been largely around the topical events of the time.”

When Daoud and his family left Syria, McAllister said he was initially worried that the film would lose momentum. “But actually,” he said, “what started to happen between them for me as a filmmaker was much more interesting in France. And it was this fragmentation… this disillusionment and disconnection to this whole place.”

McAllister also said that once Daoud had moved to France, he became a lot more involved in their relationship. “My role became even more connected. They would call one week, [Daoud] would call me up and say: ‘You’ve got to come now, tomorrow, we don’t know what the fuck’s going on. You’re the only person that’s been with us on all of this, you can make sense. And the next week [Raghda] would be calling me up saying, ‘Sean, come now’.

“Because although these people that have gone through so much talk to so many interesting people that want to help, they’re looking in the eyes of people that really don’t know what they’ve been through. And I think that’s the disassociation, the disconnection we have with this tragedy in Europe now.”

Amer Daoud

Daoud explained why many refugees were so desperate to come to Europe. His experience of being a refugee in Lebanon, he told the Frontline Club, was one of purgatory. “You cannot imagine how you live without papers, without food, without anybody to take care of you. What are you? Nothing. You are waiting for just one thing: death. All the refugees are the same. They have a hope to come to Europe,” he said.

L-R: Yasmin Alibhai-Brown, Sean McAllister and Amer Daoud

A Syrian Love Story has started to gain more traction than McAllister is used to. He admitted that despite his best efforts, most of his work finds a niche audience. “My target audience is three mates back in Hull that don’t give a monkeys about wherever I go… and try to get them into that space” he said. “Usually that doesn’t matter and it still goes out to 265 people on BBC Four.” However, on this occasion current events have pushed the film out to more people.

“You deliver a good film and there’s unfortunately a dead body of a boy swept up on a beach,” said McAllister referring to the photo of Alyan Kurdi published earlier this month. Due to the urgency these photos have given to the refugee story, A Syrian Love Story will be broadcast in a prime BBC One slot.

“It’s not easy for eight million Syrian refugees, it’s not easy. But I think we can find a way to press our governments somehow, in Europe, to organise travel between Europe and the places of refugees,” said Daoud.

However, as McAllister said, it is much harder to support refugees in their emotional upheaval. “We went to some of the camps in Bulgaria and places on the border and it was just horrendous. I mean it was so bad that the refugees there, having been beaten up by the Bulgarian police, were trying to get back to Syria,” said McAllister.

He did not blame Bulgaria, but said there needed to be a more concerted effort.

“What we don’t really realise is how many people live like [Daoud],” said McAllister. “I think he moved houses about 16 times in the making of this film and there were times I knew he didn’t have anything, that they’d not eaten for days. And that’s not unusual for a lot of people in his situation.”

A member of the Frontline audience asked Daoud how, after leaving everything behind in Syria, he supports himself and his family. “How do I support myself?” he said, “I train my face to smile everyday.”

Sean McAllister (left) and Amer Daoud

Visit the A Syrian Love Story website for more information on the film and upcoming screenings.

Amer, 45, met Raghda, 40, in a Syrian prison cell 15 years ago. Over a number of months they communicated through a tiny hole they had secretly made in the wall. They fell in love and, following their release, married and started a family together.

This film tells the poignant story of their family torn apart by the tyrannical Assad dictatorship. Filming began in Syria in 2009, prior to the wave of revolutions and ongoing changes in the Middle East. At the time, Raghda was a political prisoner and Amer was caring for their young children alone. McAllister filmed in the thriving heart of the Yarmouk Camp in Damascus – now an infamous news story as the Assad regime blocked all aid and food to its inhabitants.

This intimate family portrait probes to understand why people are literally dying for change in the Arab world. As Raghda is released from prison, filmmaker Sean McAllister himself is arrested for filming and the political pressure around all activists intensifies. The family flee to Lebanon, and then to France where they are given political asylum in the sleepy town of Albi, where they now watch the revolution from afar and wait for the fall of Assad.

However, in exile Raghda’s mental heath suffers. We see their new life in France develop, but the war is now between them. In finding the freedom they fought so hard for, their relationship is beginning to fall apart.

A Syrian Love Story won the Grand Jury Prize at the 2015 Sheffield International Documentary Festival.

Directed by: Sean McAllister
Country: UK/France/Lebanon/Syria
Running time: 80′