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If you want to source images showing the 20s, 30s and 40, you have to look hard.ĭEADLINE: Lina, there’s a shot when your mother returns to Tiberias and a group of Israeli soldiers stream past her as she looks out at Lake Galilee. British Pathé, French archives and private collections… There are no centralized archives or national policy around gathering this material in one place.

#Was obama sworn in with a bible archive#

As in my first film, I tried to always have the two layers in mind, the intimate layer and the collective memory-political layer, because our lives have been affected by the political context.ĭEADLINE: The home videos and contemporary interviews are intercut with archive footage of pre-1948 Palestine, as well as images of the flight of Palestinians during the 1948 war, where did you find the footage? And of course, for me, I don’t see our existence as apolitical. The ruptures in their lives are linked with a political context. But I couldn’t erase this from the story because the lives of all these women are linked to the political context in which they lived. It’s not something that I was looking for. SOUALEM: Even if it’s not intentional, we cannot avoid it in the sense that every Palestinian existence is political. I couldn’t see myself advancing in life without tackling that.ĭEADLINE: The film is also a very political film, was that intentional? This is what makes it vital and essential. It’s like part of your identity is denied so it’s harder to find your place, to exist. SOUALEM: The countries of my maternal and paternal backgrounds are countries marked by erasure. She was born as Algerian from her father, Palestinian from her mother and French from the society she’s in.ĭEADLINE: On that basis, why is there this longing, or nostalgia for Palestine?ĪBBASS: I don’t think it’s about nostalgia… I think one of the riches of Lina today is her multicultural situation.

I wanted to show these women are a mix of everything.ĭEADLINE: When you look back at the old home videos and photos of Lina visiting the family home as a small child, and then look at your relationship with that place today, do you ever regret that you built a life elsewhere?ĪBBASS: My point of departure in life is always no regrets. Arab characters, especially women, are often portrayed in a very binary way, either as very rebellious, or very conservative. The most important thing was to be able to give them back their memory and allow them to exist in their complexity, which is not always something we see. Initially, I wanted to talk about the journeys of the women in my family, but while doing that I understood that I couldn’t do that without including my relationship with them and my mother’s journey as the connection between all four generations. I didn’t think of the film as an intimate film at first.

LINA SOUALEM: It’s a continuation of what I started doing with Their Algeria. Why did you decide to lay bare your personal stories in this way?

The documentary makes its North American premiere at Toronto, having world premiered at Venice parallel section Giornate degli Autori.ĭeadline talked to Abbass and Soualem in Venice.ĭEADLINE: It’s a very intimate film. Her international renown has expanded beyond film in recent years thanks to her role opposite Brian Cox in Succession, as Logan Roy’s third and final wife Marcia Roy, as well as her appearance as the mother in Hulu hit Ramy.īye Bye Tiberias is the second feature-length documentary by Soualem, who previously distinguished herself with the award-winning debut Their Algeria, exploring the impact of France’s colonization of Algeria on its population though the lives of her French-Algerian grandparents on her father’s side. Watch Jessica Chastain Deliver A Perfect Explanation Of SAG-AFTRA Interim Agreements In Less Than 30 SecondsĪbbass’s near-100 credits have included Tunisian drama Red Satin, Moroccan hit Rock The Casbah, Israeli productions The Syrian Bride and Lemon Tree Syria civil war-set Insyriated, Palestinian dramas Degradé and Gaza Mon Amour as well as parts in Steven Spielberg’s Munich and Jim Jarmusch’s The Limits Of Control.