Lara Abou Saifan is a Lebanese producer with over 25 years of experience in the audiovisual industry. A graduate of the Lebanese American University in Communication Arts, she began her career interning on films by renowned directors Randa Chahal and Jean Chamoun. She later worked in television in various roles, including directing, producing, and writing, before focusing on independent feature films and documentaries.
At the 43rd Fajr International Film Festival, she presents the Canada-Lebanon co-production “Valley of Exile”, directed by Iranian-Canadian filmmaker Anna Fahr. Filmed in Lebanon, the film tells the story of two sisters fleeing war-torn Damascus: Rima, pregnant, hopes to build a new life with her husband, while Nour searches for their missing brother.
In an exclusive interview, Abou Saifan discusses her perspective on this year’s theme of poetic cinema, her motivation as a producer, and her approach to telling human stories.
As you know, the main focus of this edition of FIFF is poetic cinema. What do you think about that, and do you think Iranian movies are poetic in general?
It depends on how you define “poetic.” When I think of Iranian cinema, the first image that comes to mind is its aesthetic – not only the framing of shots, but the country itself: the countryside, the landscapes. The pace of the films often tends to be slow, with long, lingering shots. However, some films, like Asghar Farhadi’s “A Separation,” capture many details in a single frame – the conversations, the never-ending yet engaging dialogue that fully draws you into the scene’s mood.
When I heard the festival opening speech, the speaker linked poetic cinema not only to aesthetic elements but also to certain themes and storytelling approaches, describing it as “not glamorous.” I appreciate that perspective. To me, cinema is art, and its poetic dimension lies in the way it conveys human experiences and emotions, rather than relying on spectacle or glamour.
What personally motivates you to become the producer of a film? What qualities must a project have for you to take it on?
Becoming a producer wasn’t something I planned – it just happened, and I realized I could do it well. What drives me most are human and social stories – tales about our communities and their experiences. The first thing that draws me to a project is the perspective from which the story is told, rather than the plot itself. It’s about how characters live through their experiences and backgrounds. These are real human stories, often with unique twists. If I had to pinpoint one element, it’s the human perspective – the way a story allows us to see the world through the eyes of its characters – that attracts me above all else.
As a producer, how do you finance a movie in your country?
Financing a film in Lebanon is extremely challenging. The country has very limited resources for cinema, and independent films rarely attract commercial funding. Most of the support comes from regional grants, such as the Arab Fund for Arts and Culture (AFAC), the Doha Film Institute, and the Red Sea Film Foundation. Co-productions are another key strategy, especially with France, with which Lebanon has an official treaty, and sometimes with Germany or Belgium. Sponsorships and local brands are rarely an option, so producing films often happens with very limited budgets, requiring creativity and persistence.
Have you faced challenges in getting your films distributed locally or internationally?
Yes, distribution is very difficult. Independent films in Lebanon are rarely commercially viable, and exhibitors are not eager to screen them. Grants and co-productions often help open international markets, but local distribution remains limited.
Does the limited budget affect the creative choices in your films?
Absolutely. Producing films with minimal funding requires careful planning and creative problem-solving. The constraints are visible on screen, but they also push filmmakers to find innovative ways to tell their stories.
How has the recent crisis in Lebanon impacted film production?
The ongoing crisis has made financing films even harder. Cinema is not a priority in a country struggling with social and economic issues, so filmmakers must rely heavily on regional grants and international collaborations to bring their projects to life.
Are you familiar with any Iranian movies? Can you name some of your favorites?
Back in the day, when Lebanon hosted many film festivals, I had the chance to watch a lot of Iranian cinema. A few films have stayed with me over the years. One is “The Day I Became a Woman,” which portrays three stages in the lives of Iranian women. I also remember “Children of Heaven,” Abbas Kiarostami’s “Through the Olive Trees,” which was screened on the first day here, and, of course, “A Separation,” which left a lasting impression on me.
Is this your first time at FIFF?
Yes, this is my first time attending FIFF. I had heard about the festival before, but then, for some reason, it faded from my radar. When Anna submitted our film and it was invited, she was excited to attend but couldn’t make it due to work commitments. She asked if I was interested, and I was – very much so.
I’ve always been curious to visit Iran and discover it for myself. You hear so many things about the country, but much of it is a mixture of different narratives. I wanted to see it with my own eyes, so I told Anna, “Iran is already on my travel list – I would really love to go.”
Does your presence here at FIFF help you finance another project?
I’m not sure if it will directly help me finance a new project, but one of the main reasons I was excited to come was to connect with like-minded people. In Europe or the U.S., there is often an expectation that filmmakers from our region must tell certain stories – for example, about Muslim women seeking liberation or LGBTQ characters. They say, “This is what we want to hear.”
But those are not the only stories we want to tell. There are countless others, including stories about war, which has shaped our lives. I don’t want to show only war; I want to tell the full range of our experiences. Coming here gives me a chance to explore settings and connections where I can tell my own narratives rather than those imposed by external expectations. I’m still discovering if I’ll find that here, but it’s an important part of why I wanted to be at FIFF.
