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Homs a Film by Talal Derki

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Homs a Film by Talal Derki POV Community Engagement & Education DISCUSSION GUIDE Return to Homs A Film by Talal Derki www.pbs.org/pov LETTER FROM THE FILMMAKER The movie is about the Syrian citizen who challenged everything and everyone to demand freedom. It's a movie about war and the pressure of being in a battlefield. When I got to Homs and met Abdul Basset al-Saroot, I was in - spired immediately. I knew it: He was the personality that I had been looking for, a courageous 19-year-old man, full of charac - ter and charisma. He could bring the people closer to him in a second, and everyone loved him and appreciated his energy. Abdul Basset always uses his emotions. He used to do so in soc - cer; he became a famous goalkeeper; and he did the same in the revolution. In the first protests in Homs, Saroot climbed the other guys' shoulders, took his shirt off, and started chanting, "Hey, hey, sniper, here's my neck and my head." His message: "I am Abdul Basset al-Saroot. I don't hide my face; I use my full name; and I am here and against the Syrian regime." What started as peaceful protests in Syria soon evolved into siege in Homs, into the battles and violence around the country, where snipers shot citizens and the regime shelled places killing innocent souls. That's when Saroot started carrying weapons. The character of Ossama in the movie represents the eyes of the viewer. Ossama's camera represents the fictional presence of the viewer in Homs. I wanted to highlight his role as a videographer. We focused on Saroot and Osama's characters. The filming was continuous: even when Saroot and his group were stuck they were being filmed using zoom lenses, a process that lasted for 15 days until they managed to dig a tunnel and return to Khalidiyyeh. So the scenes in the movie shocked many people—the shelling, the death of a fighter who was alive few seconds ago. The crisis changed each and every one of us. The challenges changed us, but mostly it was death. Death left its mark on every one of us: We all changed because of the increasing violence, Filmmaker Talal Derki. the loss of people close to us, the injustice, the fragmentation. Photo courtesy of Proaction Film & Ventana Films However, Abdul Basset was strong and very solid; he was and still is persistent. Talal Derki Director/Writer, Return to Homs DISCUSSION GUIDE Return to Homs |2 TABLE OF CONTENTS CREDITS 2 Letter from the Filmmaker Writer 4 Introduction Faith Rogow, PhD 5 Potential Partners Insighters Educational Consulting 5 Key Issues Background Research and Reporting 5 Using This Guide Margaret Brown 6 A Note About Examining Ongoing Conflicts Guide Producers and Background Research, POV 6 Background Information Eliza Licht 6 Religious Demographics in Syria Vice President, Content Strategy and Engagement , POV 7 Sectarian Divides Aubrey Gallegos Manager, Community Engagement and Education, POV 8 History of Syria, Pre-2011 Alice Quinlan 10 Civil War in Syria, 2011-Present Assistant, Community Engagement and Education, POV 12 Homs in Ruins Camille Borders 13 Journalism Under Fire Intern, Community Engagement and Education, POV 14 Timeline of Events Isaac J. Park 16 Selected People Featured Intern, Community Engagement and Education, POV in Return to Homs Design: 17 General Discussion Questions Rafael Jiménez 18 Discussion Prompts 21 Taking Action Copy Editor: 22 Resources Natalie Danford 24 How to Buy the Film Thanks to those who reviewed this guide: Christa Salamandra Associate Professor of Anthropology, Lehman College and the Graduate Center, The City University of New York DISCUSSION GUIDE Return to Homs |3 INTRODUCTION Basset in a crowd of protesters. Shot between August 2011 and April 2013, Return to Homs Photo courtesy of Proaction Film & Ventana Films (88 min.) provides an unprecedented look at the Syrian regime’s war against its own people—a war largely waged behind a media blackout. Return to Homs takes viewers on a multi-year ride-along with a small group of Syrian insur - Return to Homs pierces the barricades of a besieged city. gents led by Abdul Basset Saroot, a charismatic, 19-year-old Viewers see the maze of hiding places behind the walls of Syrian soccer star. Like many of his peers, Basset began as bombed-out buildings, some of which are the insurgents’ a nonviolent protester seeking an end to the repressive poli - former homes. We see death in real time. And we feel the cies of the Assad government—part of Syria’s Arab Upris - frustration and anger when promises of support are broken ings, also known as the Arab Spring. The military’s lethal and the world seems to be ignoring calls for help. As an out - response ultimately led him to take up arms to defend his reach tool, this extraordinary documentary challenges us to city. ask, “Who is responsible for such suffering and what can we The film’s chronicle of optimism disintegrating into destruc - do to bring it to an end?” tion is a study of the emotional life of a rebellion, alternately hopeful and unbearably sad. Its subjects are reflective, pen - sive, courageous and desperate. DISCUSSION GUIDE Return to Homs |4 POTENTIAL PARTNERS KEY ISSUES Return to Homs is well suited for use in a variety of set - Return to Homs is an excellent tool for outreach and will tings and is especially recommended for use with: be of special interest to people looking to explore the following topics: • Your local PBS station • Groups that have discussed previous PBS and POV • Arab Uprisings/Arab Spring films relating to the Middle East, political protest • armed rebellion and/or armed rebellion, including The Oath, Point • civil war and Shoot, The Act of Killing, A World Not Ours, 5 • foreign policy Broken Cameras, The Brooklyn Connection, Granito: How to Nail a Dictator and Armadillo • Free Syrian Army • Groups focused on any of the issues listed in the • honor Key Issues section • human rights • High school students, youth groups and clubs • insurgents • Faith-based organizations and institutions • Islam • Cultural, art and historical organizations, • manhood institutions and museums • Middle East • Civic, fraternal and community groups • military strategy • Academic departments and student groups at • nonviolent protest colleges, universities and high schools • political change • Community organizations with a mission to • protest movements promote education and learning, such as local libraries • religious and political martyrdom • sectarianism • secularism • Syria • war • war crimes USING THIS GUIDE This guide is an invitation to dialogue. It is based on a belief in the power of human connection, designed for people who want to use Return to Homs to engage family, friends, classmates, colleagues and communities. In contrast to initiatives that foster debates in which participants try to convince others that they are right, this document envisions conversa - tions undertaken in a spirit of openness in which people try to understand one another and expand their thinking by shar - ing viewpoints and listening actively. The discussion prompts are intentionally crafted to help a wide range of audiences think more deeply about the issues in the film. Rather than attempting to address them all, choose one or two that best meet your needs and interests. And be sure to leave time to consider taking action. Planning next steps can help people leave the room feeling energized and optimistic, even in instances when conversations have been difficult. For more detailed event planning and facilitation tips, visit www.pov.org/engage DISCUSSION GUIDE Return to Homs |5 BACKGROUND INFORMATION A NOTE ABOUT EXAMINING ONGOING CONFLICTS It is difficult to analyze a conflict in motion. Return to Homs depicts one story and perspective of many in a tumultuous and multi-layered conflict. As the civil war in Syria continues, the complexities of the issues deepen and positions often shift. This guide is intended as a primer for viewers to continue their own learning, think critically about media depictions of the con - flict and engage in open, thoughtful discussion, taking into consideration all sides of the issues. A government tank drives through ruined Homs. Religious Demographics in Syria Photo courtesy of Proaction Film & Ventana Films To contextualize the conflict in Syria, it’s helpful to under - stand the breakdown of religious groups in the country. Syria is home to a number of religious groups, including Christians, Druze, Alawite Muslims and Sunni Muslims. in Syria has progressed, the violence has taken on sectarian Sunni Muslims: Sunni Muslims account for an estimated undertones. Some opposition activists believe that President 7●4% of Syria’s population of 22 million people. Sunni Mus - Bashar al-Assad intends to create an entirely Alawite state. lims are a majority in most Arab countries. Sources: Alawite Muslims: Alawite Muslims make up an esti - Al Jazeera. “Q&A: Nir Rosen on Syria’s Protest Movement.” m● ated 12% of Syria’s population and hold a great deal of po - http://www.aljazeera.com/indepth/features/2012/02/ litical power; the presidential family, the Assad family, is 20122157654659323.html Alawite. BBC News. “Syria Profile.” Other: Christians make up an estimated 10% of the http://www.bbc.com/news/world-middle-east-14703856 p●opulation, Druze 3% and the remaining 1% consists of Shia Coutts, Adam. “Syria’s Uprising Could Have Been Avoided Through Muslims and other minority groups. Reform.” The Guardian , May 18, 2011. A majority of rebels in the opposition forces in the Syrian http://www.guardian.co.uk/vcommentisfree/2011/may/18/syria- Civil War are Sunni Muslims, whereas the military leadership uprising-reform-bashar-al-assad and government supporters are Alawite Muslims. However, Heneghan, Tom.
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