Five years ago, Lebanese filmmaker Ahmad Ghossein captivated audiences with his feature debut “All This Victory,” which not only snagged the Grand Prize but also won the audience award at Venice’s Critics’ Week. Now, he is poised to embark on a new cinematic venture, as his anticipated sophomore film, “The Side Effects of Trusting Life,” has garnered attention by being selected for this year’s Thessaloniki Film Festival’s esteemed Agora Crossroads Co-Production Forum, where it was honored with the Midpoint Consulting Award.
Ghossein candidly shared his concerns regarding the challenges his new film faces amidst the ongoing conflict in Lebanon, remarking, “The new film is challenging because of what is going on in Lebanon but I wrote it before it all.” He elaborated on the severe hardships Lebanon has faced over the past five years, including the recent war with Israel. “In 2019, Lebanon collapsed completely — economically, politically and socially. It was an example of how capitalism and the new liberalism failed. If you want to look at the banking system and how it is failing worldwide, just look at Beirut. That image was very strong and I found myself in survival mode, which inspired the dark humor.”
“The Side Effects of Trusting Life” intricately follows the journey of Lama, a young woman grappling with hearing issues triggered by panic attacks ignited by the loss of her job during Lebanon’s economic turmoil. Under medical guidance to steer clear of anxiety-inducing settings, she relocates to her childhood village, yet quickly finds herself pulled back into the chaotic streets of Beirut, where a swirl of frenetic events unravels before her. Produced by Lebanon’s Abbout Productions, the film will collaborate with Germany’s Twenty Twenty Vision Filmproduktion and Norway’s DUO film for co-production.
In his director’s statement, Ghossein revealed a profound connection to his protagonist, stating, “Lama, like me, becomes powerless after losing her job, witnessing the city’s deterioration while others seek an escape. In Beirut, nothing works—there’s no electricity, water or money. We are prisoners of that incapacity.” He promises that the film will be “heavily choreographed,” aiming to provide audiences with a gripping and tangible insight into the bedlam of a fictionalized Beirut.
Following his exploration of the Hezbollah-Israel war in “All That Victory,” Ghossein had pledged to avoid making another film about war. However, he found the compelling situation in his homeland impossible to overlook. “The reality is that two months after I left Venice, the revolution started, then COVID, then the war, so I didn’t have the space to digest what was going on. We need time as filmmakers and we need space. I need to live to write.”
Despite the ongoing and escalating conflicts between Lebanon and Israel, Ghossein admitted uncertainty regarding his readiness to begin filming. “The situation is still so intense and sometimes you feel like making films is not important. If you ask me now: is cinema important? No. There is a war in my country. The priority is to help people.”
Ghossein reflected on the societal expectations surrounding Arab filmmakers, noting, “People want topics from us, not cinema. They want social drama stories, they see us as subjects. They want to see a Middle East that the West understands.”
Elaborating on the challenges of funding and artistic freedom, Ghossein shared, “Cinema is an international language but you have this pressure because, in the end, the money is coming from Europe. Things are changing in the Arab world, we have a lot of co-productions and new funds and grants, but there is still no freedom. Nowadays there are producers in the European market who want to understand more, even if the word ‘understand’ makes me a little angry.”
Discussing his experience at Thessaloniki, Ghossein expressed excitement about the synergy between Greece and Lebanon. He appreciates the opportunity to collaborate with local partners who comprehend the nuances of working on Arab projects. He noted that “The Side Effects of Trusting Life” would reunite him with the Greek editor of “All This Victory,” Yannis Chalkiadakis, and he is also open to the possibility of shooting scenes in Greece to represent Beirut effectively.
Ghossein revealed that Greek producers offered an alternative if circumstances prevent shooting in Lebanon next year. “But if there is a war in Lebanon, I am not going to shoot anything because I cannot shift my focus and film in Greece as if nothing is happening in my home country. It’s impossible.”
The acclaimed director emphasized the significance of co-production as a desirable pathway due to the potential benefits of “grants, rebates and producers interested in working together.” While considering the prospect of filming half the project in Lebanon and half in Greece, he expressed sadness at the thought of relocating production away from his homeland, stating, “A space will tell you something, it will talk to you in a different way. In the end, I am loyal to the space and to my country.”
**Interview with Ahmad Ghossein: Navigating the Challenges of Filmmaking in Lebanon**
**Editor**: Ahmad, it’s great to have you with us. Your debut film, “All This Victory,” made a significant impact at Venice. Can you tell us about your new film, “The Side Effects of Trusting Life,” and what inspired you to create it?
**Ahmad Ghossein**: Thank you for having me. “The Side Effects of Trusting Life” is a deeply personal project for me. It follows a young woman named Lama, who, like many in Beirut, is struggling with the consequences of the economic collapse and associated anxieties. I began writing it before the escalation of the current conflicts, but it reflects the environment we live in — the chaos and fragility of daily life in Lebanon.
**Editor**: You mentioned the challenges of filming in Lebanon amidst the ongoing conflict. How has the socio-political landscape influenced your work?
**Ahmad Ghossein**: The situation is extremely challenging. Since 2019, Lebanon has faced dire economic and political crises that have influenced everyone’s lives, including mine. The feeling of powerlessness can be overwhelming — we are literally prisoners of this incapacity. For artists, creating during such times can feel trivial, but it’s also a way to make sense of our reality.
**Editor**: Your character, Lama, experiences anxiety triggered by job loss and Beirut’s chaotic environment. How does her story resonate with your own experiences?
**Ahmad Ghossein**: Lama’s journey mirrors my feelings of helplessness; we both witness the deterioration of our city. The daily struggles are all too real, and I aim for the film to offer a tangible insight into what many people are going through. I want the audience to understand this through her eyes amidst a heavily choreographed depiction of Beirut’s turmoil.
**Editor**: You’ve expressed hesitation about focusing on war themes again after your previous film. What led you back to this topic?
**Ahmad Ghossein**: It was unavoidable. After leaving Venice, Lebanon erupted in revolution, faced a pandemic, and then renewed conflict. I had no time to process everything happening around me. It’s a complex reality we live in — I need to live and feel before I can write, yet life often pulls me into these heavy narratives.
**Editor**: In light of the ongoing war, do you feel your film is still relevant, and should you proceed with production?
**Ahmad Ghossein**: This is the hardest question. There’s a nagging feeling that other priorities should take precedence over cinema when communities are suffering. Right now, my primary concern is helping those in need. At the same time, I believe that storytelling has immense value and can foster empathy and understanding.
**Editor**: Many Arab filmmakers feel pressure to meet certain societal expectations. How do you navigate these dynamics in your work?
**Ahmad Ghossein**: There’s often a desire for social dramas that reflect Western perspectives of the Middle East. However, I strive to present a more nuanced view of our experiences, beyond just being subjects of hardship. Cinema is a powerful international language, yet the funding often comes with strings attached that can constrain our artistic freedom.
**Editor**: Ahmad, thank you for your insights. We look forward to seeing how your vision unfolds in “The Side Effects of Trusting Life.”
**Ahmad Ghossein**: Thank you. I appreciate the opportunity to share my thoughts and the story we’re trying to tell.