The Afterlife of a Sacrifice
"The Afterlife of a Sacrifice" is a documentary that explores the legacy of Hezbollah martyrs—fighters of the Lebanese Shi’a political party, founded in 1982 to resist Israeli occupation. The film delves into the lives of women relatives following the martyrdom of their loved ones, situating their experiences within the broader religious narrative of the battle of Karbala. This battle, which took place 1,600 years ago, saw Al Imam Hussayn murdered, leaving his sister, Al Sayyida Zaynab, to carry forward his legacy. Today, Zaynab’s endurance and patience serve as a powerful symbol for women in Lebanese Shi’a society. The story’s influence remains deeply relevant, particularly in the context of recurring wars. Through archival material, the documentary evokes memories of past wars and occupations, juxtaposed with contemporary footage shot during the ongoing Israeli war on Lebanon, which started on October 8, 2023.
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Rand ChmaitillyDirector
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Rand ChmaitillyWriter
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Rand ChmaitillyProducer
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Fatima JoumaaKey Cast
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Kawkab FaresKey Cast
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Yara MrouehKey Cast
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Salwa MrouehKey Cast
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Project Title (Original Language):حياة ما بعد الاستشهاد
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Project Type:Documentary, Short, Student
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Genres:Poetic Documentary, Expository Documentary
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Runtime:36 minutes 36 seconds
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Completion Date:October 15, 2024
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Production Budget:200 EUR
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Country of Origin:Lebanon
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Country of Filming:Lebanon
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Language:Arabic, English
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Shooting Format:Digital
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:Yes - University of Amsterdam
Rand Chmaitilly is a Lebanese visual anthropologist. She earned her BA in Anthropology and Sociology from the American University of Beirut, where she became deeply involved in a dynamic political community, engaging in organizing efforts both within the university and beyond. Driven by a commitment to make her anthropological work accessible to a broader audience—believing in the power of knowledge to drive social change and revolution—she pursued a Master's in Visual Anthropology at the University of Amsterdam. It was during this time that she created “The Afterlife of a Sacrifice”, a short documentary exploring the lives of the mothers of Lebanese militants.
The Afterlife of a Sacrifice began as my Master’s thesis in Visual Anthropology, but its roots trace back to a lifelong preoccupation with the relationships between the living and the dead. Paradoxically, this fascination stems from a fear of death that has haunted me since childhood. Growing up in an atheist family, I struggled to comprehend the idea of death—how can someone simply cease to exist?
This question has taken on new urgency in light of the events unfolding in my region. Since October 7, I have witnessed mass death surrounding me, from the genocide in Gaza to the escalation of war in South Lebanon. The question persists: how can so many lives simply vanish? Where do they all go? The answer I was drawn to is that they don’t—they remain, in ways that challenge conventional understandings of life and death.
The war brought me to explore contemporary mourning in the world of Hezbollah martyrs. My introduction to this world came through Fatima Joumaa, a Lebanese photographer whose work I began following after October 7. Her images, often centered on women mourning their martyrs, stirred my curiosity. Fatima, who was beginning her own film on the subject, became a collaborator, with her photographs and voice adding depth to the narrative.
The Afterlife of a Sacrifice situates the experience of women relatives of martyrs today within a broader historical and symbolic framework. I incorporate archival footage spanning decades—from the Israeli invasions of the 70s and 80s to the 2006 war—juxtaposed with the present to emphasize the cyclical nature of conflict. The recurring sound of the Microfilm machine, used to access this archival footage, becomes a motif, evoking the relentless continuity of violence.
Beyond modern wars, the film draws on a narrative over 1,400 years old: the Battle of Karbala and the martyrdom of Al Imam Hussayn. Central to this story is Sayyida Zaynab, Hussayn’s sister, whose representation has evolved in Lebanese Shi’a communities, especially after the Iranian Islamic Revolution. Once seen as a figure engulfed by grief, Zaynab has become a revolutionary symbol of endurance and resistance. In the context of Hezbollah, her legacy inspires women to align their personal grief with hers, granting them the ability to endure. This transformation of grief into spiritual and communal strength, aligned with Hezbollah’s ideology, is central to the film.
I approached this world as a Sunni woman, an atheist in practice, a feminist, and a politically engaged leftist critical of Hezbollah. In Lebanon, where political divides over Hezbollah shape both public discourse and private relationships, I sought to move beyond critiques that reinforce these divides. Instead, I aimed to understand this world and find connections with women I had long separated myself from.
I cannot claim to have reached definitive answers. I have learned that a film is only the beginning of a process of endless conversations. These discussions began with my fieldwork and they will continue in the afterlife of this film. My hope is that this work challenges assumptions and inspires reflection on how we understand life, death, and the spaces in between.