It´s burning

My film is a reflection of the tragic and cyclical nature of violence and discrimination in our world, inspired by the powerful lyrics of Mordechaj Gebirtig's "S'brent" and the shocking ending of the film "Night of the Living Dead." By Romero. The realization that history repeats itself in different forms, as seen through the story of Amal, was both incredible and alarming.

Mordechaj Gebirtig's most renowned song, "S'brent" ("It's Burning"), was written in 1936 as a response to the increasing anti-Semitic violence in Poland at the time. The song expresses the pain and fear of the Jewish community in the face of these attacks, and sadly, its message proved prophetic as the Nazis invaded Poland just a few years later, leading to the genocide of the Jewish people. Mordechaj Gebirtig himself became a victim of the Holocaust, losing his life in the Kraków Ghetto in 1942. To this day, "S'brent" remains a powerful anthem of Jewish resistance and resilience, performed and recorded by musicians worldwide.

"Night of the Living Dead" is a landmark film that is considered one of the most influential horror movies of all time. At the end of the movie, the main character, Ben, who is played by Duane Jones, survives the night by barricading himself in the basement of a farmhouse. However, when the police arrive in the morning to rescue any survivors, they mistake Ben for one of the zombies and shoot him. The film's bleak and shocking ending serves as a commentary on the senseless violence and racism that permeated American society at the time.

When I first learned about the murder of Marwa El-Sherbini, I was deeply disturbed by the atrocity. As I delved deeper into the topic, I was even more surprised to discover how many people had simply stood by and watched, much like in the Song of Mordechaj Gebirtig. This inspired me to name my film "Es Brennt," where I explore the experiences of a family fully integrated into German society and seemingly content in their world, reflecting our society at large. However, I also raise thought-provoking questions such as whether mere integration is enough to belong and who gets to decide when one is fully integrated into society. Does one need to achieve a certain level of accomplishment to claim German identity? Is being German a prerequisite for belonging in Germany? These are also the questions that my characters, Omar and Amal, grapple with in their lives. Born and raised in Germany of Arab origin, they are raising their child in Germany and believe themselves to be a part of the country. But is that enough? When does one truly own a country, and when does one belong to it? These are the inquiries that continue to occupy my thoughts.

When I arrived in Germany in 2008, I did not speak a word of German. Since then, I have mastered the language, pursued my studies, become a successful actor, obtained a German passport, and gained the right to vote in German elections. Does this mean I am now German? And what of our parents, were they ever German? In "Es Brennt," my two characters also wrestle with these questions.

As someone who is familiar with this subject matter, my intention was to bring our lives into focus. These events continue to occur in various forms, and I feel as if we are trapped in a never-ending cycle. To convey this sense of repetition and circularity, "Es Brennt" uses a monotonous style, with the camera work creating a feeling of observation. I employed repeated and long takes to emphasize the language of the story over its delivery. I focused mainly on "what is being said" rather than "how it is being said." I created scenes that may not have existed in this way before.

As an artist, it is not necessarily my job to present solutions, but I feel a responsibility to ask questions. "Es brennt" is my attempt to address these questions to all of us, and we can work together to find answers.