STORIES OF A SAUDI ACTRESS AND FILMMAKER
Via Dell'Olmata, 33 - ROME
Metro B (Cavour)
Sunday June, 14 at 7 PM
Screening of the short movie “Sanctity” followed by a talk with Ahd Kamel
(Movie in English with French Subtitles)
Ahd Kamel will share her personal and professional experiences on her journey to becoming an award winning filmmaker and actress. Starting with how she made the decision to pursue this career path to trying to find her place in a culture that doesn't recognize filmmaking as a traditional role for a Saudi woman.
BIOGRAPHY OF AHD KAMEL:
Ahd is most well known for her starring role in 2012's high profile festival favourite and Venice winner, 'Wadjda'. Ahd launched her film career in 2005 with a string of internationally successful short films; all three which have won prestigious festival awards. Ahd moved to New York City in 1998 to study Law at Columbia University, then completed her BFA in Animation & Communication from Parsons School of Design, after which, she further diversified her education, obtaining a Directing degree from the New York Film Academy.
Still not satiated, Ahd then went on to study Acting under the personal tutelage of William Esper at the Esper Studio. Her first lead role earned her the Golden Gate Award for Best Actress at the San Francisco International Film Festival. The first film she produced, short 'Where To', was an Official Selection at Rotterdam and Slamdance. Her second directing effort, 'Sanctity', in which she also starred, received a Golden Bear nomination at the Berlinale in 2013.
Her move into the world of English language features began with a position as technical advisor on Peter Berg's Hollywood movie 'The Kingdom'. Ahd was presented by Spike lee with the Cloeween Connection Award, an award granted by the Abu Dhabi Authority of Culture and Heritage to emerging Arab filmmakers. Ahd is a board member of the Global Fund of Women and Girls.
Areej, a pregnant widow in Saudi Arabia will endure anything to protect her unborn child.
The law forbids this young pregnant widow to see another man for two months. Her brother-in-law tells her he is owed money. What money? She didn’t know anything about it, she says. Her brother-in-law responds through the door that separates them: how could she? It is not a woman’s place to know her husband’s business. That is not her role. He wants the money; she wants to protect her unborn child. She allows the outside world inside, and in doing so transgresses the boundaries of a society in which segregation of the sexes is the norm.
Sanctity shows a young woman pushed to the edge of her possibilities, in all her vulnerability and sensuality, and with all her desires.