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There is a strange eagerness in the Arab world to crawl to Europe. All age groups want to come to Europe as if it became the Promised Land in the Old Testament. Such a thing makes seeking refuge goes beyond merely seeking to improve the living conditions.
All the illegal methods of immigration to the old continent have almost been exhausted. However, there are still means of persuasion that may seem feasible and effective in the European west, which is trying to balance its humanitarian duty on the one hand, and its economic and social reality on the other, according to the political parties that control the scene.
Homosexuality, for example, is a card that can be played and used to obtain the right to human asylum and escape from countries where human dignity is nonexistent. That dignity cannot be maintained only by food, but by living as individuals desire to be, away from the harsh social outlook and religious inquisitions.
I decided to write a cinematic work on this topic, and I am still waiting for the opportunity to complete it after I registered its script with the Copyright Center, of course.
The events take place in Tunisia after January 14, 2011. The two main characters are the Tunisian Shazly and the Palestinian Nasri. The two lived through the siege of Beirut 82 and were comrades in the resistance in the days of the left-wing outburst, but a series of individual and collective setbacks made them live on a rooftop room in Tunis, where they raised birds and sold them.
The two middle-aged friends have a dream: they want to travel to Europe. To make that real, they find an idea that suits their age. They submit their file to the Dutch embassy as humanitarian asylum seekers under the flag of homosexuality.
Inspired by the wretch poet Delladj, the trick dragged the two friends into more confusion. They live in a psychological conflict in a society that views homosexuality with some intolerance.
The irony is that this same poet loves an Israeli girl, and he cannot marry her because he is afraid of how others will look at him.
This plan makes Shazly and Nasri delve into the world of homosexuality. They discover what they live in and suffer from through very dark examples, which do not resemble the stereotypical view in which society sees these people.
The idea of hiding behind homosexuality is nothing but a pretext for revealing many secrets. These are secrets of a society experiencing crises and confronting them through black comedy, which I liked to adopt as a method of display, dissection, and processing.
Through such an effort, I tried not to lose sight of many issues our society suffers from in a comic style. By this approach, I believe that the best ways to address crises are sarcasm and purposeful laughter away from the technical complexities of processing to reach the broadest group of the audience in an equation that combines the popular and the elite.
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