Sophia Scott is a producer, director, and cinematographer. She has worked extensively as a self-shooting camerawoman across Africa and Asia for various organizations including the UN, PBS, CBC, The New York Times and Human Rights Watch.
Georgia Scott is a producer, director, and editor with a background in production design. Alongside her sister, she is the co-founder of GroundTruth Productions. Their first feature documentary, “In the Shadow of War,” was nominated for various awards at Sheffield Doc Fest and IDFA.
“Lost in Lebanon” will premiere at the 2017 Human Rights Watch Film Festival on June 15.
W&H: Describe the film for us in your own words.
SS&GS: “Lost in Lebanon” offers audiences an intimate view into the worlds of four displaced Syrians. With acute sensitivity, it explores the complex issues of legal status and identity, access to education, and right to work that Syrian refugees — in Lebanon and beyond — are facing. At its heart, the film has a moral imperative relevant to all conflicts: to protect, support the rights of, and provide education to displaced refugee communities.
We wanted to highlight and capture the wonderful Syrian people; we wanted to try to give back some dignity to a people who are, all too often, only portrayed as either extremists or poor, fleeing refugees.
We hope the emotions triggered after watching this film can draw a new portrait of the people who have fled Syrian and the countless lives awaiting a new future.
W&H: What drew you to this story?
SS&GS: Our first feature film, “In the Shadow of War,” follows the lives of four young people in Bosnia as they struggle with the ongoing consequences of war. Following this experience, we felt compelled to capture the Syrian story.
The power of long-format documentary lies in its ability to not only move audiences, but also in how it inspires them to act. Audiences are immersed in the subject matter through relationships that they develop with each character. Due to this intimate relationship, interest, empathy, and a desire for greater understanding extend far beyond the duration of the film. We firmly believe that films have the power to move audiences to action.
We recognized a need to change the narrative and perception of Syrians fleeing a savage war. Our operating style entails spending many months — even years — in the field in order to slowly build the trust and truth necessary for a story. However, it was too dangerous to make a film this way in 2014 Syria. We therefore went to the Lebanon and spent time on the Lebanese/Syrian borders.
Lebanon has the highest number of refugees per capita in the world, so you can imagine how many stories we could have told. The four characters in the film represent the many millions of Syrians — in Lebanon and neighboring countries — who are trying to survive and live in dignity.
W&H: What do you want people to think about when they are leaving the theater?
SS&GS: In our current political climate, refugees from conflict zones are viewed with increasing suspicion and disdain. We want “Lost in Lebanon” to play a significant role in breaking the fear of refugees — not only amongst host communities in Syria’s neighboring states, but also in Europe, North America, and the wider world.
We want audiences to identify with the characters in the film. Sheikh Abdo could be your father, or you could be Reem. This idea gives a huge weight the Syrian story; the world can’t just shake off people who are being indiscriminately killed or driven from their homes. We need to understand and care. We hope that this film makes audiences more aware and compassionate.
We hope the filmmaker’s lens brings home — to policy makers and audiences alike— the importance of providing sustained support to refugee communities. Many aim to be an asset to their host countries and hope to support reconstruction of their war-torn countries when circumstances permit. This requires a strategic vision that emphasizes protection, right to education, and right to work.
W&H: What was the biggest challenge in making the film?
SS&GS: As filmmakers, the biggest challenge is always funding.
The second biggest challenge was the nature of the film itself. We were not always on the ground in Lebanon to capture the unfolding actions, whether it was Sheikh Abdo’s arrested or occasions when residence permits were denied.
Security was also a factor. The security situation in the north of Lebanon — where Sheikh Abdo and Nemr live — is often unstable. We were heavily advised by the British Foreign Office to avoid traveling north due to kidnap risk.
After the first few weeks, we got to know the local communities — both the Lebanese host communities and the Syrian refugees. We were always vigilant, but we often lay in bed at night with nothing but a wooden door between us and the outside. We spent nights awake listening to barking dogs, wondering whether we would be kidnapped.
However, after the first few months, we settled down. We would sit in the local cafes to sip coffee and occasionally smoke cigars with the Lebanese villagers after sharing evening meals together.
Another challenge was the language barrier; we were always in the dark trying to figure out what was happening.
W&H: How did you get your film funded? Share some insights into how you got the film made.
SS&GS: Through our first feature film, we developed a great, yet small network of people who are interested in supporting our films financially. For us, it is key to remain independent, so having the right people involved is paramount.
We had great producers who raised half the budget. This includes Jane Wells from 3Generations, executive producer Nada Velan, and others.
The time frame of most film grants do not allow for the fast paced nature in which our films are made. We experienced crowdfunding with “In the Shadow of War” and successfully raised $25,000. However, for this film, the time and energy needed for it to be successful was just too much for us to handle whilst in the field filming.
We funded each shoot as they came, and we are still paying off post-production!
W&H: What does it mean for you to have your film play at the Human Rights Watch Film Festival?
SS&GS: We are avid supporters of Human Rights Watch. We value their work, and to have the our film selected for their film festival is just the most amazing feeling.
W&H: What’s the best and worst advice you’ve received?
SS&GS: The best advice we have ever received was from Jan Harlan, Stanley Kubrick’s producer. He told us that we need to know every role on a film set to be able to direct. We have stuck by this. Learn all skills to equip yourself!
The worst advice was probably when we were once told to give up on a particular festival submission as we were turned down from a rough cut. However, we persevered and continued editing; the film was then accepted to a major festival.
Never give up if you believe in what you are doing!
W&H: What advice do you have for other female directors?
SS&GS: It’s not a man’s world. It’s just a tough world.
We have huge strengths in being female filmmakers. Be confident in what you do, and respect yourself and the people you are filming.
W&H: Name your favorite woman-directed film and why.
SS&GS: Mai Masri’s “3000 Nights,” “Beirut Diaries: Truth, Lies and Videos,” and “33 Days.” She has the ability to capture true horrors through beautiful and moving creativity. Mai has a way of capturing the human spirit and taking audiences on a journey.
W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
SS&GS: We are optimistic, and we actually rarely identify ourselves as “female” filmmakers. We prefer to just be filmmakers.
SS: I do, however, catch myself correcting people when they say to me, “Do you enjoy being a cameraman?” I say, “Camerawoman, actually.”
SS&GS: We recognize that maybe, as women, we have to be able to identify and create our own opportunities.
