Palestinian Filmmaker Rakan Mayasi on His Search for Unconventional Stories and Portraying ‘Communities That Have Not Been on Film Before’

Palestinian Filmmaker Rakan Mayasi on His Search for Unconventional Stories and Portraying ‘Communities That Have Not Been on Film Before’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 20, 2026 6:31am PT Palestinian Filmmaker Rakan Mayasi on His Search for Unconventional Stories and Portraying ‘Communities That Have Not Been on Film Before’ By Jay Weissberg Plus Icon Jay Weissberg Latest ‘Safe Exit’ Director Mohammed Hammad on Staying True to His Vision: ‘I Need to Be Free as a Filmmaker’ 4 days ago ‘Back to Buenos Aires’ Review: Marco Bechis’ Return to the Screen Covers Similar Ground to Earlier Works but is Only Fitfully Effective 1 month ago ‘One Minute to Midnight’ Review: A Stellar Cast Deliver Interesting but Overly Preachy Disquisitions on the Changing Nature of Male-Female Relations 1 month ago See All Add us as a Google Preferred Source Comments Iconoclastic Palestinian filmmaker Rakan Mayasi ’s debut feature “ Yesterday the Eye Didn’t Sleep ” made a splash in this year’s Un Certain Regard in Cannes with its powerful, poetic treatment of a Bedouin community in Lebanon’s Bekaa Valley. This week it plays in a competition slot at the El Gouna Film Festival , where Variety spoke to the director.

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Inspired by Mayasi’s grandmother, it’s a story of two women who become pawns in a tribal blood feud, played out in a visionary style that owes much to Mayasi’s mentor Abbas Kiarostami, yet has its own rhythm and sensorial, at times almost feverish, point of view. Following its Cannes premiere the film has been warmly received at other festivals, and will be screening at Montpellier’s CineMed followed immediately by the Rome Film Festival, in their Best First Feature section.

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International sales are being handled by Salaud Morisset . Popular on Variety Related Stories Israel’s Oscar Contender ‘Tell Me Everything’ Dropped From Swiss Queer Film Festival After Palestinian Groups’ Boycott Threats Oscar Predictions: Supporting Actor — How Many Men Can be Nominated From ‘The Odyssey’?

The film has several exceptional set pieces: it opens with a car in flames, in the middle there’s a stunningly hallucinatory wedding sequence, and it ends with an evocative longshot that plays with visual space. When you and your cinematographer Pôl Seif were conceiving the film, did you have these already in mind?

Some of it was already set and ready in our minds. For example, for sure the fire, it was there since the beginning.

I’m interested in metaphors and how to translate that visually, so with Pôl we had the idea that we zoom in so you feel that the car is getting closer to you and the fire is spreading. We were trying to translate what the metaphor could possibly look like.

Whereas the end was rewritten, by the two of us, because it’s a very visual scene. So we blocked it again three days before the shoot ended, and we rewrote it entirely.

The wedding scene has been singled out by many critics for its visual beauty and the emotional shift it conveys. In that scene I allowed myself to get out of the narrative, so to speak, to change the rhythm and play with a kind of psychedelic approach.

It’s never really stated that this was the actual wedding, and when the one sister, Jawahir, is revealed as a bride, it is very theatrical. The idea was kind of like zooming into her subconscious, into her imagination of a celebration.

It allowed me to play around. For example, the whole scene was improvised.

I never met any of these dancers before. We made a call for the biggest number of people to join, and we were very lucky because a lot of people came and they were very, very energetic.

My job was to just have a microphone and make

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