Sara Fattahi

Sara Fattahi

出生 : 1983-01-01, Syria

略歴

Sara Fattahi, born in Damascus in 1983, studied Law at Damascus University and graduated at the Fine Art Institute in Damascus. Storyboard artist & animator for several channels such as Al Jazeera Kids and SpaceToon, as well as art director of soap-operas from 2003 to 2008. Since 2010, independent filmmaker and producer. Since 2014 collaborations in research and writing for independent short films. First short documentary 27 METERS in 2013. Fattahi’s first feature length documentary COMA was produced in 2015 and was granted the ‘Regard Neuf Award’ for the Best First Feature Film at Visions du Réel 2015, the FIPRESCI Award at the Viennale 2015, and has been screened at numerous festivals such as MoMA’s Doc fortnight 2016, Berlin Critics’ Week 2016, São Paulo 2016.

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Sara Fattahi

参加作品

Anqa
Anqa
Editor
“I am not the remains. I exist.” Three Jordanian women barely survived the violence inflicted on them by men. Çelik films them from as up close as possible in their flats, which they barely leave, listening to them speak with the opaque logic of trauma.
Chaos
Chaos
Cinematography
'Chaos' narrates the story of three women in three different cities. They have given up on life. One lives in Damascus. She has stopped speaking to others entirely, isolating herself in her flat. The other has left Damascus as a result of the war and went to Sweden, where she imprisons herself in her paintings, hoping through them to rid herself of the torments of the past. The third ended up in Vienna and faces an unknown future, like the ghost of a woman who fled Austria after the Second World War. It is a discussion between a woman stuck in Damascus, a second stuck in exile, and a third who has recently left. It is a conversation between the interior and exterior – an impossible conversation.
Chaos
Chaos
Director
'Chaos' narrates the story of three women in three different cities. They have given up on life. One lives in Damascus. She has stopped speaking to others entirely, isolating herself in her flat. The other has left Damascus as a result of the war and went to Sweden, where she imprisons herself in her paintings, hoping through them to rid herself of the torments of the past. The third ended up in Vienna and faces an unknown future, like the ghost of a woman who fled Austria after the Second World War. It is a discussion between a woman stuck in Damascus, a second stuck in exile, and a third who has recently left. It is a conversation between the interior and exterior – an impossible conversation.
Coma
Coma
Director
The film shows the micro cosmos of three generations of women from one family. In detailed observation their movements between the present and an ever existing past is followed as their lives intersect while living together in one house. Coexisting, but separated by the age and time that each carry in them, they share their painful experiences and search for a way of life in the loss and agony of the war around them. Their lives overlapped with the events of Damascus, their city and constant reference, they watch while its organs slowly shut down, as if – just like its population – it is dying from a long coma.