Mohamed Rashad reflects on his creative journey, the challenges of bringing The Settlement to life, and the deep societal themes embedded in the narrative. He emphasizes the importance of Arab cinema gaining recognition on the global stage and shares his hopes for the festival’s impact on both his career and the broader film industry. The Egyptian director delves into his creative process, the hurdles of working with first-time actors, and the personal significance of the film’s story.
AM: What was your creative preparation process for the film, including brainstorming and research?
Mohamed Rashad: The reality is that the work on the film, from writing the treatment to its final completion, took about five years. During these five years, I prepared multiple times based on the film's production stages. Initially, I was working on another film that didn't materialize. While researching that film, I got to know a group of young workers in Alexandria, many of whom were factory workers. I visited them in their neighborhood, and when I decided to halt the previous film as I felt it wasn’t the right time, I focused on "The Settlement" and wrote its treatment. I continued visiting these young workers, and their stories and the essence of their neighborhood greatly influenced my film. I aimed to create an authentic yet somewhat poetic representation, capturing their spirit without firmly claiming that the film is purely realistic. Throughout this journey, I prepared myself at every stage.
AM: What were some of the challenges you encountered while filming on set?
Mohamed Rashad: There were many challenges, starting with funding, which took a long time before we could enter the filming phase. The creative aspect was also demanding, as my vision relied on using new actors facing the camera for the first time. I aimed to include actual workers, training them to perform various roles in the film, which proved to be quite time-consuming. Finding and integrating these actors with the workers to achieve my envisioned outcome was a significant challenge. Locating a young actor to play Maro was particularly difficult, as it is a central role. We auditioned nearly 100 children before finding Ziad Islam. Additionally, securing a factory that met my specifications and halting operations for two weeks for filming posed considerable challenges.
AM: What was your experience directing the cast, particularly a young actor like Ziad Islam?
Mohamed Rashad: My approach is to clarify the characters for the actors. I build their backgrounds and explain them, involving the actors in discussions about their character's perceptions. This collaborative approach helps develop a complete understanding of the character's dimensions, making them feel like they embody that character. I used the same method with Ziad who was very intelligent and could grasp his character’s complexities easily. My task was to convey these dimensions to him, adjusting the explanations to suit his age as he is a child.
AM: Given that Hossam and Maro embody the struggles of the current generation in MENA, would you consider this film to be a commentary on society?
Mohamed Rashad: The film has a social dimension, as I want to showcase the societal conditions I live in. However, what intrigues me more are the complex emotions between the characters and the intricate relationship dynamics within a family consisting of a mother and her two sons, one adult and one adolescent. Their expectations of each other, what prevents them from fulfilling each other's needs, their shared past weighing upon them, and their fearful uncertainty about the future—all of this forms the core of the film.
AM: Representing Arab cinema at the Berlin Film Festival is a significant achievement. What do you hope this festival will contribute to your career and to the industry as a whole?
Mohamed Rashad: Screening the film at a prestigious festival like Berlinale is significant—it’s one of the world's most renowned festivals. Participating in it, especially in a competition, is both beautiful and important. It’s the only Arab film in that competition, and I’m eager to express my feelings and thoughts, ensuring we have representation and a voice. Showing the film to a broader audience is what any artist aspires to ultimately, but what concerns me most is the film's longevity and impact.