Cold Blood (Volume I)
Ten years after sailing his way out of his country, Bob (Ibrahim) returns to hide the evidence of the origins of his immigration. To rearrange things, to return with clean hands and a white heart. But it only takes him one night to realize that there is nothing to come back to, but more trouble.
A trilogy of crime/thriller films that documents the traces and bits and pieces of the unexposed gangster/crime scene in Beirut.
This series of films is the end product of a fictional story based on true events that took place in Beirut between 2004 and 2016. The trilogy is all about character, mood and dialogue and non-linear storytelling.
Through 7 years of experience and practical training in addition to a vivid passion to the art of motion picture, I have found myself in various positions and achieved many different tasks perfectly in the Filmmaking and Audio-Visual Production field.
I have always put myself in the shoes of other members of each crew I have collaborated with, even switched roles. I have worked as a Camera Assistant, Director of Photography, Producer, and also as an executive segment director and editor with prestigious media outlets and professional independent filmmakers from the Arab World and Europe.
Currently just finished the production of my first fiction short film titled "Cold Blood - Volume I" as part of a trilogy of films that unfolds the untold stories of a dystopic gangster/crime scene in Beirut, Lebanon.
Imagination is the only generator that only blocks, when it’s “over-supplied”. A “writer’s block” is usually described as a “somehow negative” condition in which an author loses the ability to write for a “lengthy” period of time, no matter how short it is. For me a “writer’s block” is all you need sometimes. Sometimes you might observe how white a wall is and just keep on telling yourself: “I can’t think of anything!” Although the answer is just there waiting for you. “What is the origin of the color white? The origins of walls, cement, rocks, papers, scissors, hammers, workers, politicians, architects, Pink Floyd …” This is Imagination. It’s a life engine that supplies you with your material as an author. And I will make sure to always feed it, use it, and take care of it.
I chose to start my letter with this statement. Because I really think that it’s one of the most essential tools in cinema. And I really am amazed by the power of imagination and creativity in the creation of endless hours of cinematic trips. Imagination hits deep without any words, and if there happens to be a dialogue, it’s definitely “imaginative”. Now you see, I have a strong relationship with my imagination. It saves me from a lot of awkward situations. Like when I’m struggling, while writing a crime scene, I tend to stand up and look at the white wall and repeat “the punch line”. I put myself in the shoes of all characters that carry the guns and the ones that have them pointed at them, I design them with my own flesh and thoughts and running words. And then I find the most challenging individual to embody this new creation of a character, and we dive together.
You see, it makes me anxious sometimes to dive deep in my imagination; this is when I try to see things in a scientific way, a realistic way, in the most rational way. This is when I carry my camera and go ask questions and collect the pieces of a puzzle that I have been hired to film. When imagination takes over me I go for documentaries. Which is where I started. Since 2013, I worked in all departments of documentary execution from pre-production, production to post-production. But today, I don’t find myself willing to stay there. I don’t deny that I don’t have any treatments and stories ready to be documented in an original style. I don’t deny that I can work in Documentary production. But honestly, I am 25 years old today, and if I take the risk in killing what I’m building in 10 years of additional documentary experience. I’ll lose the essence of the young and well-built stories that I have grown in me for years now.
After watching thousands of films, from tens and hundreds of schools and genres in cinema, after loving, hating, desiring, and getting disgusted tens of thousands of times while watching millions of shorts, features, fiction and non-fiction, films and episodes and seasons of series, after understanding the human condition from its different aspects through the languages of dialogue and cinematography and the sounds of orchestral soundtracks and the minimalistic ambient devilish tunes being recorded on hundreds and hundreds and thousands of tapes, after day-dreaming of Broadway, Bollywood, and Emir Kusturica, after 2001, after all space odysseys, after CGI, after millions of hours of visual satisfaction, I decided that I want to pursue not just a career in writing films, but in living as a filmmaker, to have it as my only job and only life goal.
And allow everything to be a part of what saves me every time: “Imagination”.