Ossama Mohammed, a Syrian filmmaker currently in Damascus, described the view from his hotel window, which includes Mount Qasioun and the presidential palace. He mentioned that the evening prayers from local mosques resonate with him and his wife, opera singer Noma Omran, despite their non-religious beliefs.
Since 2011, the couple has lived in exile in Paris. Following the recent fall of Bashar al-Assad's regime, Mohammed noted that Omran encouraged them to return to Syria directly, expressing their amazement at the timing.
The call was originally intended to discuss the restored version of “Stars in Broad Daylight,” Mohammed's 1988 debut feature, which is set to screen at the Museum of Modern Art's annual film preservation showcase. The film's restoration coincided with the political changes in Syria, although it had been completed prior to Assad's loss of power.
“Stars in Broad Daylight” critiques Hafez al-Assad, Bashar al-Assad's father. The film centers around the complex dynamics of the Ghazi family, particularly focusing on Khalid, who has similarities to Hafez al-Assad. The narrative reveals Khalid's controlling nature as he attempts to arrange marriages to enhance the family's land holdings.
Mohammed explained the pervasive impact of dictatorship on storytelling, stating, “Assad is the co-writer,” illustrating how political oppression influences creativity. He aims to delve into the psychological effects of dictatorship rather than merely criticize Assad.
Although “Stars in Broad Daylight” was never publicly screened in Syria, it gained underground recognition. Mohammed shared that the film circulated through pirated copies, noting its infamous status due to the regime's censorship.
Cecilia Cenciarelli, from the Cineteca di Bologna, described the restoration as a challenging endeavor. Initial efforts to locate a high-quality print were complicated by the discovery that the existing copies were in poor condition. Eventually, a broadcast print from German television was found to be pristine and in the original Arabic language.
The communication barriers with the National Film Organization of Syria posed additional challenges, yet Mohammed retained the rights for non-commercial screenings, allowing “Stars” to be presented at festivals.
As the political landscape in Syria changes, Mohammed is exploring opportunities for wider screenings of the film. He expressed optimism about the current environment, noting a surge of creative expression following the regime's fall.
Despite the ongoing tension in Syria, Mohammed observed a vibrant atmosphere filled with cultural exploration. He and Omran, temporarily back in Syria, found their apartment covered in years of dust, reflecting the long absence of many other Syrians who returned to witness the momentous political shift.
Other films featured in the preservation series include a newly restored version of “Raskolnikow,” a 1923 adaptation of “Crime and Punishment,” and “A Real Woman,” a Brazilian film from 1954 exploring the life of an inadvertent bigamist. The series also features “The Wages of Sin,” a 1938 American exploitation film highlighting the theme of sexual slavery.