{"id":4998,"date":"2026-08-06T09:05:42","date_gmt":"2026-08-06T09:05:42","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=4998"},"modified":"2026-08-06T09:05:42","modified_gmt":"2026-08-06T09:05:42","slug":"revolutionaries-never-die-is-a-cinematic-homage-to-lebanese-filmmaking-pioneer-jocelyne-saab","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=4998","title":{"rendered":"\u2018Revolutionaries Never Die\u2019 Is a Cinematic Homage to Lebanese Filmmaking Pioneer Jocelyne Saab"},"content":{"rendered":"
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\n\tIn late Lebanese filmmaker and war reporter Jocelyne Saab\u2019s 1982 film Beirut My City<\/em>, she can be seen standing in front of her house after it was bombed and destroyed. Belgium-based Palestinian filmmaker Mohanad Yaqubi (R21 AKA Restoring Solidarity<\/em>, Off Frame AKA Revolution Until Victory<\/em>) can relate \u2014\u00a0his family\u2019s house in Gaza was bombed in April 2024.\u00a0It is just one connection between the two. Another is an invitation that Yaqubi received from the female pioneer to collaborate just two months before she died, which he didn\u2019t answer at the time.<\/p>\n

Read more Busan Film Festival to Honor Michelle Yeoh as Asian Filmmaker of the Year<\/a><\/p>\n

\n\tSo it\u2019s perhaps fitting that Yaqubi decided to explore the work of Saab\u00a0during her first decade of filmmaking, from 1973 to 1983. And he does so in his new film Revolutionaries Never Die<\/em>, which will premiere in the Filmmakers of the Present competition program of the\u00a079th edition\u00a0of the\u00a0Locarno\u00a0Film Festival on Aug. 9.<\/p>\n

\n\tYaqubi, who is also the Palestine Film Institute\u2019s public programmer\u00a0and whose company Idioms Film produced Revolutionaries Never Die<\/em>, describes the film, a cinematic letter to Saab, this way: \u201cJocelyne Saab\u2019s film archive from 1973 to 1983 brought forward several questions about the striking resonance between her historical depictions and our contemporary realities five decades later, when no answers can ever be given.\u201d Square Eyes is handling international sales.<\/p>\n

\n\tLocarno artistic director Giona A. Nazzaro, in an interview with THR<\/em>, lauded the film as paying homage to \u201cthe legacy of the magnificent Lebanese filmmaker,\u201d and Saab for documenting \u201cwith an uncanny eye for the future the onset of the Iranian revolution\u201d and more. \u201cShe was this living memory of what was going on, and the film is basically about the work and the life of Jocelyne Saab as a living archive,\u201d he concluded.<\/p>\n

\n\tYaqubi never met Saab. Before diving into his new archive film, he wasn\u2019t even too familiar with much of her work. \u201cI knew a bit about her work, some of the famous films, like Letter From Beirut<\/em> and others, before she passed away,\u201d Yaqubi tells THR<\/em>. \u201cMy work is really focused on this militant cinema period in the \u201860s and \u201870s. Her name always comes up, but I was more focused on what is considered Palestinian and on the topic of militant cinema itself. There was nothing much written about her. So, I really didn\u2019t know much about her until we did a film program with the collective I work with and with the Courtisane Film Festival. The program was called \u2018Out of the Shadows,\u2019 and it was about five female filmmakers from the Arab world, with the others [being] Heiny Srour, Atteyat Al-Abnoudy, Selma Baccar and Assia Djebar. These are filmmakers from the Arab world, pioneers, politically committed, making films beside their male colleagues.\u201d<\/p>\n

\n\tYaqubi recalls wondering why Saab and her work, as well as others, weren\u2019t more widely known and recognized. \u201cThe question is always: Why don\u2019t we know about these things and these people?\u201d he shares. \u201cIt\u2019s also related to this society that is based on the male gaze at the end of the day, even when it comes to topics of liberation.\u201d<\/p>\n

\n\tAt first, his dive into Saab\u2019s archive was \u201ca restoration project,\u201d he explains. \u201cMathilde Rouxel, who was her assistant in the last seven, eight years before she passed away, approached me, and because I had a film scanner in my office, we said, let\u2019s do the scanning,\u201d Yaqubi shares. \u201cThis is how I got to know her work.\u201d <\/p>\n

\n\tAnd then, shared experiences became obvious. \u201cThe parallels started to show up after my house in Gaza was destroyed,\u201d Yaqubi tells THR<\/em>. \u201cAnd I was invited by the Cinematek in Brussels to present this film, and it was three or four days after our house was destroyed in Gaza. And I saw this on the screen, and suddenly I couldn\u2019t take it. And I thought, let me check out these parallels.\u201d<\/p>\n

\n\tThe filmmaker also felt he had to think about how to continue Saab\u2019s work. \u201cShe made all these films and then somehow condensed all of her experience in one film, so for me the question was how do I continue that?\u201d Yaqubi says. \u201cIt\u2019s still only my third film. I\u2019m working on cinema, but at the same time, I\u2019m carrying this heavy feeling. What does it mean to be a committed filmmaker? It\u2019s as if a decision has been made that I can\u2019t make anything unless I\u2019m committed to films for liberation, in a sense. But how do you do that? Where do you learn that? If you go to any film schools, they will not teach you these things. This is something that you have to explore and research. I feel that this film, even though it\u2019s my third feature, is really my first film.\u201d<\/p>\n

Read more Busan Film Festival to Honor Michelle Yeoh as Asian Filmmaker of the Year<\/a><\/p>\n

\n\tThe question of whether he wanted to or could even continue making films weighed on Yaqubi amid the latest escalations in the Middle East. \u201cI made a decision on how I\u2019m going to continue making films,\u201d he tells THR<\/em>. \u201cBut after October 7 and these whole atrocities that happened, why do we make films? I teach my students about the Frankfurt School, [the group of philosophers, sociologists and other thinkers who created Critical Theory and analyzed Nazism and more]. They all talked about the genocide, the Holocaust, violence and all of those things and Western ideologies. It is the same ideologies that enable these atrocities. So how are we going to move on from here?\u201d<\/p>\n

\n\tConcludes the filmmaker: \u201cSo there was a real need to reconstruct and re-deal with everything in a way that makes sense somehow. And this film is my answer for this beginning.\u201d<\/p>\n

\nRevolutionaries Never Die<\/em> indeed sees Yaqubi call his cinematic letter to Saab his attempt to \u201ccut through the repetition and disrupt it,\u201d while not losing the belief that you can make films.<\/p>\n

\n\t\u201cIt\u2019s this idea of time as a loop, and everything is looping,\u201d he explains to THR<\/em>. \u201cThe same images keep coming again, even inside the same film. So, in my film, I felt that these repeating images, such as some scenes of Jocelyne writing, capture this feeling. Time and space collapse. This is our feeling as filmmakers today. So a chronology of shot after shot doesn\u2019t work anymore.\u201d<\/p>\n

\nRevolutionaries Never Die<\/em> highlights how there was always a positive outlook in Saab\u2019s work. \u201cWhat is very special about her is that hope she always has,\u201d Yaqubi says. \u201cEven with her house destroyed, she\u2019s like, \u2018It\u2019s okay. At least nobody has died. We can continue. We can rebuild. And I think this is the feeling and the sense that I wanted to get across, and I want to project that hope to audiences.\u201d<\/p>\n

\n\tThe filmmaker had the title Revolutionaries Never Die<\/em> from the first minute. \u201cI never changed it,\u201d says Yaqubi. \u201cIt comes from [an autobiographical] book of conversations between Palestinian political leader George Habash and French journalist Georges Malbrunot about the revolutionary practices in the Palestinian struggle. My idea was that we always have to keep on making or thinking of revolution, even in the darkest times, because that\u2019s the only way for us not to disappear.\u201d<\/p>\n

\n\tConcludes the filmmaker: \u201cJocelyne Saab was a revolutionary not only in the classical sense, but she\u2019s also a revolutionary on a social level. And she is also a revolutionary for being a woman film pioneer. She was a revolutionary in many senses. That makes her \u2014 I don\u2019t want to say eternal \u2014 but it makes her somebody who never dies. I heard this Arab proverb: You die three times. You die when you die. You die when you\u2019re buried. And the third time you die when nobody remembers you.\u201d<\/p>\n

Read more Former Walt Disney Imagineering President Bob Weis Signs With WME for Representation<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

'Revolutionaries Never Die,' a Locarno 2026 film by Palestinian director Mohanad Yaqubi, pays homage to Lebanon filmmaker pioneer Jocelyne Saab.<\/p>\n","protected":false},"author":1,"featured_media":4997,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[2,3129,904,905],"class_list":["post-4998","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-international","tag-israel-gaza-conflict","tag-locarno-2026","tag-locarno-film-festival"],"yoast_head":"\n\u2018Revolutionaries Never Die\u2019 Is a Cinematic Homage to Lebanese Filmmaking Pioneer Jocelyne Saab - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=4998\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Revolutionaries Never Die\u2019 Is a Cinematic Homage to Lebanese Filmmaking Pioneer Jocelyne Saab - 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