Jamil - Script

My first experience in the Middle East was in 2009. At that time, I was a soldier in Afghanistan. We have done reconstruction, supported schools with school supplies, we built playgrounds for kindergartens and drilled wells. I started filming this work with my camera - my first documentary "On Mission in Kabul".

One year later, I met documentary filmmaker Marcus Vetter. He invited me to his peace project "Cinema Jenin" in Palestine and I took over the project management. Within this framework, I drove together with my grandmother by car to the West Bank. Our trip also took us through Syria. At that time we visited the thriving metropolis of Aleppo. Impressive streets, markets, and world monuments. The pictures you see in the news today seems bizarre.

The thoughts about that only parts of the remnants of humanity's oldest cities are left today are almost unbearable for me. I always imagined how awful it must be when the home becomes a war zone, the house becomes a grave and all those known become refugees or even get killed. Most of all, I did not get over the idea of what it must be like, to be buried under rubble. Without much hope or the certainty that one is wanted or missing.

Exactly this situation I would like to tell. Kind of "burry" the viewer. To give the feeling when you run out of air and time starts to run out. The only hope is an alien voice in the distance, but speaking a different language, belonging to a different culture and maybe even a political "adversary".

The film tells the reduction to the minimum. No light, trapped and in absolute silence. Alone with the worries about relatives, fear and the feeling of not being able to escape. And yet there is a connection and something hopeful that gives you the power to stay alive. In such a situation, everything else takes a back seat and finally, humanity ends up.

But how do I authentically tell this situation? A movie in complete black?

In 2014 I followed the work of the war photographer Anja Niedringhaus. Her pictures and her passion for her job have been with me for many years. She brought things to light, got involved with the military, and made the world a witness to the indescribable.

Anja Niedringhaus's story and her motivation inspired me to write the parallel story. Although this script is not representing Anja Niedringhaus's personal story.

For me, especially Anja's husband Leo is important. He is older than Anja, down to earth and music teacher. The fact that he remains behind gets the strongest focus for me. The understanding on his part and the respect he has for her work seem to be easy and self-evident. But those who read between the lines recognize the concern and the messages behind the loose phrases and the preparation rituals.

When I flew to Afghanistan for the mission in 2009, I did not know what to expect, but it was even worse for my parents and family. I myself had my stake a bit in the hand. For them, however, I was gone and everything was uncertain. I would like to bring their concern and anxiety closer to the viewer through the figure of Leo.

Two extreme situations, two storylines that eventually come together. My intention is that JAMIL captivates the viewers, buries them in the dark, scares them and at the same time raises the questions: What would you do in this situation? Do you appreciate the every-day and self-evident circumstances in life? Do you live consciously and use the time for the really important things?

Of course I am also aware that a story in the dark is a kind of experiment, how will the transitions of the two stories be shaped? The sound design is a real challenge and how does the claustrophobia come out in the dark movie theater? To get a first feel for it, we shot the teaser.

I sincerely hope that this story captivates you just as much as it does me.

Thank you for your attention!