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Writing about the early start of cinema in Libya isn’t an easy task. Sources are few, with varying dates and conflicting accounts. Sometimes it feels like chasing a thin thread in a maze of memory, but my passion for discovery and the adventure of research kept me going.
The Ottoman Empire and the Italian Invasion
Cinema arrived in Libya in the late years of the Second Ottoman Rule, just before the Italian invasion in 1911. Silent film screenings were held inside the Arch of Marcus Aurelius overlooking the sea, in a hall known as Tograph Bab Al-Bahr Cinema. Audiences included members of the Italian and Greek communities, Jewish merchants, and a small number of Libyans.
Smaller and remote towns never experienced cinema due to the absence of foreign communities, the focus of Libyans on resisting the Italian invasion, and difficult economic and social conditions.
Although Italy referred to Libya as its “Fourth Shore,” it emerged from World War II exhausted and unable to advance development in its colony. By the early 1930s, limited efforts were made to serve the Italian community, including urban expansion in Tripoli and Benghazi, construction of administrative buildings, schools, and shops, and the establishment of cinemas exclusively for settlers.
Bernice Theater in Benghazi was established in 1928 and was demolished in 2023
Press, Culture, and Early Cinematic Venues
At the beginning of the twentieth century, after the Young Turk Revolution of 1908, freedom of expression was allowed. Newspapers and bulletins appeared in the Governorate of Tripoli, revitalizing intellectual and cultural life to some extent until the Italian invasion ended the second Ottoman era (1831-1911). The final years of Ottoman rule were marked by an emphasis on culture and literature, including the establishment of the School of Islamic Arts and Crafts to enrich education and crafts.
The Libyan director Mohamed Al-Farjani, in his book The Story of the Libyan Arab Cavalry 1919-1990, states that the first movie theater in Tripoli dates back to the Second Ottoman Era. This theater, called “Cinematograph Bab Al-Bahr,” had its entrance through the famous Arch of Marcus Aurelius. Later, the Italians demolished it along with neighboring houses to prevent blocking the view of the historic Roman arch. With Italian colonization, cinema halls expanded in Tripoli and Benghazi.
Early shows included shadow plays and “illustrated newspapers,” eventually developing into main cinemas like Al-Rashid, Al-Ghazala, Royal, Al-Nasr, and Al-Qabi. Later, cinemas such as Al-Ghiryani in Tripoli and Old Khoms extended cinematic access beyond major cities. Other notable cinemas of the period included Miramare Theater, Al Hamra, and Berenice Theater in Benghazi.
From Popular Spectacle to Theater
Before the arrival of modern theatre, Libyans enjoyed traditional shadow theatre brought by the Ottomans in the mid-19th century, known as Karakoz. Over time, it became an integral part of festive celebrations, especially during Ramadan and religious holidays. Prominent performers included Hamza Mohamed Al-Wasiti in Tripoli and Salim Al-Makhlal and Bazama in Benghazi. This art form flourished until the early 1950s.
Researcher Abdul Salam Al-Madani, in his study From Theatrical Performances to Emergence of National Cinema, noted that early cinematic attempts were mostly amateur, influenced by Egyptian cinema, which dominated Libyan audiences with dramatic, historical, and religious themes.
He raised the question: why weren’t early pioneers able to contribute to developing Libyan cinema, even in small ways? One example is Fouad Al-Kabbazi, who worked in cinema while studying in Italy and designed the set for The Black Tent, starring Sophia Loren.
A group of young enthusiasts founded the “Libyan Arab Amateur Film Union” in 1968 and produced short 8mm documentary films. However, they faced obstacles such as the policies of the General Organization for Cavalry and a lack of funding.
A still from the film The Black Tent(1961), starring Sophia Loren.
The Beginnings of Cinematic Attempts
During his studies in Italy in the 1930s, Fouad Al-Kabbazi gained firsthand experience in film production. In the late 1940s, he collaborated with Italian directors on documentaries, including a film about the zawiyas in Libya.
Between 1963 and 1970, organized cinematic efforts emerged through the Ministry of Information’s film production department, producing documentaries and “illustrated newspapers.”
Feature Film
In the early 1970s, Libyan cinema expanded from documentaries to feature films. This phase tested the local cinema’s ability to produce long-form narratives, despite limited technical resources.
Al-Mughamar (1971), directed by Taher Omar, is one of the earliest narrative films in Libya, representing a serious attempt to develop feature-length storytelling. Further attempts in the 1970s and 1980s sought to establish Libyan cinema, though the industry never fully matured.
Nevertheless, these efforts uncovered young talent in directing, acting, and cinematography, highlighting the urgent need for cinematic institutions and infrastructure, which were still lacking.
A still from the film The Green Light(1976), starring Taher Al-Qibaili
Local Beginnings of Film Production
After independence in the 1950s, the Ministry of Information established a department to document cultural, political, and social activities. In the 1960s, director Mohamed Al-Farjani, who studied cinema in Egypt, produced his first feature film in 1967, though it was never completed.
The Libyan Arab Film Production Company produced films like When Fate Is Cruel and The Road, addressing challenges such as connecting remote cities with paved roads to facilitate transportation.
According to Abdul Salam Al-Madani, the General Organization for Cavalry, starting in the 1970s, relied on foreign and Arab talent for directing and cinematography. Notable productions included The Ambassadors (Libyan-Tunisian-French), directed by Nasser Al-Qattari, which depicted migrant workers in France. Moroccan director Ali Al-Masbahi also contributed melodramatic musical films, including The Green Light and Where Do They Hide the Sun?.
Conclusion
The history of cinema and the arts in Libya highlights major challenges caused by colonial occupation, politics, and a weak cinematic infrastructure. Nevertheless, early experiences in theater, popular arts, and cinematic experiments laid a foundation for understanding the development of Libyan cultural and cinematic identity.
Cinema isn’t just a means of entertainment; it reflects identity and provides a space that expresses the pulse of societies. In Libya, cinema has not been part of cultural life for years, almost a forgotten chapter in urban life.
Today, the question of cinema’s return goes beyond reopening closed theaters. It is a national issue tied to culture, stability, and building a different future for the coming generations.
A glimpse into the past
Cinema was customary in Libya since the beginning of the twentieth century; it prospered in the fifties and sixties. Cinemas in Tripoli and Benghazi were part of daily life. However, policies adopted in the 1970s, especially nationalization decisions, led to the closure of most cinemas and pushed this art out of the public space. Many theaters were converted into storage facilities or government offices. Meanwhile, an entire generation grew up without experiencing what it felt like to sit in a dark hall watching a movie on a big screen. After 2011, even though theaters were not formally closed, ongoing political and security chaos further hindered any serious attempts to revive cinema.
Challenges restraining the Return of Libyan Cinema
The path to bringing cinema back is crammed with obstacles: infrastructure is completely absent, with neither theaters nor production studios. Funding is also a dilemma, relying on individual initiatives with little institutional support or long-term investments. Political and security instability make investors hesitant to venture. On the audience side, generations have grown up with individual viewing experiences through digital platforms, losing the habit of communal cinema-going. Rebuilding this link is another challenge.
In addition, technical skills are limited, with a lack of specialized institutes to train directors, cameramen, scriptwriters, and technicians, who are the backbone of any film industry.
Omar Khayyam Cinema, Tripoli – 2006
The Way Forward: How Can Libyan Cinema Return?
Despite the bleak outlook, the revival of cinema is not impossible. It starts by recognizing that cinema is a national project requiring comprehensive support rather than individual initiatives. Libya could start by launching strong national film festivals—not just as screening platforms, but as bridges connecting creators and investors. Local and regional digital platforms can serve as transitional spaces while the necessary infrastructure is built. Investing in human resources is crucial, by establishing training institutes and exchanging expertise with successful Arab countries. Encouraging the private sector to establish modern movie theaters could be a practical start, especially if combined with economic support programs and incentives.
Glimpses of Inspiring Arab Experiences
Libya isn’t the only country facing a decline in cinema. Algeria also experienced a long hiatus, but leveraged its revolutionary history to produce films with universal human appeal. Morocco suffered periods of stagnation too, but invested in infrastructure and offered incentives, eventually becoming a top international filming destination. Jordan, despite its young cinema experience, attracted major productions like The Martian and Star Wars through supportive policies.
These examples show that cinema can recover even after decades of inactivity if vision, political will, and institutional support are present.
On location in Jordan, director Ridley Scott supervises actor Matt Damon’s performance in The Martian.
Photo credit: Aidan Monaghan
Cinema is part of a national project
In Libya, cinema should not be considered a luxury, but rather an aid in rebuilding society. A theater isn’t just a place for screenings; it is a civic space that restores trust among people. It is a cultural outlet opposing violence and division. Cinema is a tool for strengthening national identity; Libyan films can present a different image to the world, beyond the usual conflict-driven images.
Economically, the film industry can contribute to diversifying the national economy by opening job opportunities in technical and creative fields. Reviving cinema in this sense is not merely a cultural issue, but a pivotal national project as crucial as infrastructure and education projects.
Conclusion
Libyan cinema has been absent for decades, but its absence does not mean the end. What was closed in the 1970s can be reopened with a clear vision and strong will.
The challenges are clear, but the solutions are not far. With political will, community support, and investment in youth, the return of cinema can move from dream to reality.
When the screens are lit again across the country, it will not only be a cultural event, but also a declaration of the revival of art and culture in Libyan cities, demonstrating Libya’s determination to show that art is not a luxury, but a necessity for building a better, conscious future.
We met with the Libyan filmmaker Muhannad Lamin to discuss his films that have been screened at major festivals, such as the International Documentary Film Festival (IDFA) in Amsterdam, the Locarno Film Festival, and the Clermont-Ferrand International Short Film Festival, as well as Arab festivals including the Carthage Film Festival (JCC) and the Red Sea Film Festival.
The discussion grazed on several topics, including Muhannad Lamin’s first cinematic experience, the most prominent challenges facing Libyan filmmakers given the lack of funds and obtaining support grants from Arab and foreign funds including the importance of thorough preparation before applying for these grants.
The question is, do these grants impact the film’s concept or the director’s vision, especially since they are sponsored by foreign entities?
1- You’ve previously spoken about your experience producing a short film uploaded to Vimeo. Do you think you’d become a filmmaker without this experience?
“Before this experience, the idea of directing or pursuing a career in cinema never crossed my mind. I don’t think I would have become a director without it, the reason being the society and culture in Libya does not support film direction or the field of cinema.”
“This film motivated me to seek academic cinema training in Tripoli. I chose The Advanced Institute of Art Techniques – Tripoli, that’s when I started developing my skills in the world of cinematography and directing.”
“From 2011 to 2014, Libya witnessed growth in the field of cinema, with activities and workshops led by specialists from various countries. Attending these workshops polished my cinematic concepts and deepened my understanding of creative directing techniques. I worked to produce awareness films that provided practical experience in filming and production, thus, marking the real beginning of my cinematic career.”
2- The experience that was the first spark which pushed you into the world of cinema. Can you tell us more about your subsequent work?
“I still consider myself at the beginning of my career. I remember my first project; I entered into a competition held by the Tropfest Festival in 2012, a short film festival with strict conditions for production and participation. It was a simple experience, but it strongly motivated me to continue and helped build confidence in my abilities.”
“In 2018, I completed my first short narrative film, “The Prisoner and the Jailer,” which tells the story of two opposing Libyan figures: one a senior official in the former regime, and the other a prominent figure in the post-revolution period.”
“Then, in 2021, I completed my feature documentary Donga, which tells the story of a fighter amidst the conflict in Libya who chose the camera as his weapon. Growing up under a dictatorial regime that glorified Gaddafi, the film Donga captured everything, covering war and daily life for nearly ten years. Currently, I’m working on a new feature film inspired by the novel The Bleeding of the Stone by the renowned Libyan writer Ibrahim Al-Koni.”
3- Has the war influenced your choice of films?
“My root interest in cinema initiated prior to the war, but Libya’s situation has been unstable ever since, which is why the films are on war-related themes. It’s inevitable for war to be one of the themes that are addressed by Libyan cinema.”
4- Your films always relate to political and real-life issues from Libyan society. How can cinema be a tool for human rights advocacy or social issues?
“Films can be a tool that encourages viewers to discuss various topics and ideas related to humanitarian, cultural, and social issues, in an objective and intellectual manner.”
“For example, in The Prisoner and the jailer, the two main characters are contradictory, each with a different ideology. As a director, I did not pick sides or choose who was right; I tried to let each character present their perspective, leaving the decision up to the viewers.”
“In my opinion, a film that becomes an ideological discourse loses its artistic value. The director must respect the viewer’s intelligence and not impose a specific perspective.”
5- Libya’s film infrastructure is fragile and has almost no theatres. How can films still aid to raise and discuss issues?
“This indeed is a relevant yet a complicated question, working in the film industry in a country without a single cinema hall is odd. How can you reach audiences and get them to watch films?”
“In my opinion, the only way to reach an audience inside and outside the country is by telling the stories of Libyans, Libya, narratives inspired by Libyan folklore and literature. The only way to do so is through online platforms.”
“We also need cinemas, film production facilities, and festivals. This requires work space, strong state governance, and active civil society institutions. For example, Saudi Arabia became a country producing cinema both domestically and internationally in less than a year, which confirms that political will is the key to creating a cinematic culture in Libya.”
“The state isn’t the only one to be held responsible for the field’s deficit. Businessmen too, play a vital role in supporting culture and cinema, especially when authorities (politics) fail to provide support. Early 20th-century, Egypt is a clear example: investors and businessmen played a pivotal role in establishing cinemas and building an integrated film industry, turning Egypt into a hub of Arab cinema. Unfortunately, Libyan businessmen have shown no real interest in culture or cinema support, except for limited individual attempts that do not meet the real needs.”
6- What are the most prominent challenges you face as a filmmaker in Libya?
“Working in Libya is not easy; filmmakers face several challenges, such as production and support aspects that aid in bringing ideas to life in an artistic manner in order to reach audiences creatively. The biggest challenge today is not funding but the difficulty of filming within Libya due to security conditions and almost absent infrastructure. Local fundings are non- existent, as there isn’t a national cinema fund. Ironically, the Ministry of Culture, despite its large number of employees, produces little to nothing, so the only options that remain are outside of Libya, through development programs, support funds, and film festivals. This requires filmmakers and producers to search seriously, understand exactly what they need, and build relationships with funding bodies through direct communication, asking questions, and careful preparation.”
“Despite these difficulties, they remain necessary challenges on the path to achieving our dreams and making films that reflect real human issues and resemble us Libyans, to present a truer image of our society.”
7- How were you able to secure funding for your films, especially since many filmmakers consider obtaining grants nearly impossible?
“Applying for these grants requires work and producers that we lack. It requires effort and time, and our situation isn’t as flexible as in other countries that have their own funds to help filmmakers apply for these grants.”
“I believe that participating in Arab and international festivals allowed me to meet producers, expand my network, and work based on the advice of experts. I recall meeting a producer in 2013 at a foreign festival. He asked if there were any producers in my country. I answered no, and he advised me to open a production company and produce my own films, since I wouldn’t find anyone to produce my films—he added. “you are not in Hollywood.'”
8- Based on your experience in funding, what advice do you have for the new generation seeking support for their projects?
“Firstly, you have to learn to apply for these grants on your own. Many Libyan filmmakers find the application process complicated and time-consuming. The process requires time and patience. In simple words, if you don’t put in the effort, you won’t make a film.”
“Applying for these grants isn’t that hard, especially for Arab grants, which don’t require a second language and offer easy and simple communication methods. The main criterion is the film’s idea, not the script or the resources. You have to explain the idea while applying for the grant. The second most important aspect is your motivation behind making the film, which requires a two page explanation of your reason behind choosing a film.”
9- Do grants influence a film’s idea or the director’s vision, especially if they come from specific foreign entities?
“Regarding Arab grants, such as AFAC and Culture Resource and based on my personal experience, none of them interfered with the film’s concept nor the direction or its presentation. Primarily, if the evaluation committee selects the film, they will provide support. If not, it will be rejected.”
“These funds support a vast number of films; therefore, they aren’t interested in intervening in every project. On the contrary, they aspire to ensure the success of each film. We must keep in mind that these institutions are independent of the state. Generally, foreign entities are also included in deciding on either selecting or rejecting a film. They then refrain from interfering in its content, leaving complete freedom to the director.”
Libya, a country with rare visual features: vast desert touching the blue sea, Roman cities that still bear witness to history, mountains and oases that gush oddities. This land, which has dazzled the world, never truly found its place in cinema, even though Hollywood cameras once poised here.
For decades, international production teams have come to Libya to shoot films that later became classics. However, these encounters were never the product of a local industry or a long-term vision, rather temporary stops for filmmakers who found Libya’s visual environment serving to their stories.
The setback isn’t that they came, filmed, and left, but that we weren’t the ones telling the story. Every film shot here was an opportunity to engrave our image into the world’s cinematic memory, but it remained a transient moment that never translated into an industry or a future vision.
Actual films shot in Libya:
1- The Black Tent (1956):
The Black Tent was filmed in Sabratha, Libya, and is one of the first English-language films actually shot in Libya.
The film tells the story of a British officer who believes his brother has died in war. He travels to Libya to search for his brother, only to discover that his brother is alive and living with a local tribe. Despite its critical success in Britain, the film did not spark any sustainable cinematic movement in Libya. Alongside Benghazi (1955), it remains one of the few dramas set in the twilight of British military administration in Libya (1945–1951).
2- Bitter Victory (1957):
A French-American production on a commando mission lead in Benghazi, filmed in the Libyan desert with the support of the British Army. The story revolves around two allied officers carrying out a mission behind enemy lines, entangled in their personal and psychological conflicts whilst being in a real Libyan environment.
3- Legend of the Lost (1957):
This film was shot in Ghadames, Leptis Magna and Zliten, mostly in the ruins of Leptis Magna.
The film tells the story of a treasure hunt, staring Oscar-winning Western legend John Wayne and the famous Italian actress Sophia Loren. Director Robert Siodmak exploited the harsh terrain to heighten the psychological tension between characters, cementing Libya’s desert and shoreline into the global cinematic imagination.
4- Sea of Sand (1958):
A British war drama filmed in Tripoli and its southern deserts. It portrayed the harsh, unfiltered reality of reconnaissance units during World War II. Nominated for BAFTAs in Best Film and Best Actor, it remains a humane and enduring portrait of desert warfare.
5- Ice Cold in Alex (1958):
The film was shot in Tripoli and the southern desert, telling the story of a British ambulance crew trying to return to Alexandria during World War II. It presents a vivid, humane portrayal of the soldiers’ suffering. The film was critically acclaimed and held a 96% rating on the international critics’ website Rotten Tomatoes.
6- The Message (1976):
“The Message” directed by the late Moustapha Akkad shot across multiple locations in Libya, depicting the dawn of Islam. Starring the legendary Anthony Quinn and a host of Arab actors, the film was screened internationally and proved its cultural impact. It was also nominated for an Academy Award for Best Original Score. Despite its striking global portrayal of Libyan sites on screen, it failed to establish a sustainable local industry.
7- Lion of the Desert (1979–1981):
“Lion of the Desert” directed by the late Moustapha Akkad, tells the epic story of Omar Mukhtar’s rebellion against the Italian occupation. Filmed between March and October 1979 in the Green Mountains and eastern Libya, the production took place in massive camps with a $35 million budget—a staggering sum at the time. The film featured a stellar international cast, including Anthony Quinn, Oliver Reed, and American actor Rod Steiger. It was banned in Italy for decades due to its uncompromising portrayal of fascist crimes. The film remains proof that cinema can transcend politics and convey a universal message.
Between Image and Reality: Where do we stand?
What’s the point of having these international films shot in Libya if they don’t contribute to building a local film industry? Our country has become a backdrop for other’s stories, without us investing in creating a national production movement. No archive was established to preserve them, thus the history of those films shot is now stored in foreign archives, forcing us to search foreign records for fragments of our own past.
On the other hand, Arab countries like Morocco and Jordan have proven that having world-class filming locations can serve as an economic and cultural lever. Morocco has invested in infrastructure to attract film productions, creating jobs and enhancing its international standing. Similarly, Jordan has established a film commission and leveraged natural sites like Wadi Rum to become a destination for blockbuster films like The Martian and Star War.
Libya, despite its unparalleled beauty and history, has yet to adopt any coherent vision for a sustainable cinema industry. It remains a transient backdrop—an echo rather than a voice—on the world’s silver screen.
Conclusion:
Cinema is not just strips of light projected in a dark hall, rather memories of people and their means of telling their story to the world.
Every historical site that we haven’t framed ourselves will be narrated by others in their context, and every undocumented scene will gradually fade from our memory. Libya doesn’t lack beauty, history, or stories worth telling; it only lacks the conviction that its image is too important to be left for others to define.
The question today is not about the past, rather the future: Will we stand behind the lenses or will we hold it to tell our own story?
From the curiosity about Arab productions to the news of “Freedom Fields”
In recent years, I’ve become interested in Arab production especially after the international recognition of some, entering major competitions and nominations at the Oscars and Venice Film Festivals. There were films from Egypt, Lebanon, Jordan, and other countries that got nominated as well which made me curious to learn more about the Arab institutions and companies producing this type of cinema, a genre that—even with grants—maintains its independence, where the director can bring their ideas to life, without restrictions.
In 2018, the Doha Film Institute announced the films to be featured at the Ajyal Film Festival. Among them, a Libyan documentary titled ‘Freedom Fields’ directed by Naziha Arebi was selected to open the festival. This was news worth celebrating—not only for the story itself but also because it reflected a long-held dream of mine: for a Libyan film to reach the world, with characters and struggles that resemble our own.
I contacted my friend Sufian Arara, a member of the film’s cinematography team to share my joy. He conveyed the director’s greetings, who thanked me for my support. Since then, we’ve been eager to watch the film.
Libyan Girls Playing Football Resisting Barriers
The film is about Libyan girls united by the dream of forming Libya’s first women’s national football team post revolution. However, this dream faces multiple social and security obstacles. The films narrative is divided into three separate storylines of Fadwa, Halima, and Namaa, along with the story of the team’s formation.
The documentary captures this story during a sensitive and transformative period in Libya, addressing a subject often overlooked or dismissed by society.
Three stories… three battles…
Each girl fights her own battle:
Fadwa struggles with the tension between wearing a hijab and the pressure of marriage, saying, “We are born and then grow up just to get married!” Her family’s support ends at the threshold of marriage, which her mother believes every girl must go through.
Halima, a goalkeeper and doctor, has a sincere passion for football, inspired by stars such as Lionel Messi and Xavi. She strives to balance her profession and her love for the sport, demonstrating immense dedication and sacrifice for what she loves.
Namaa, from Tawergha, faces the misfortune of displacement while raising a child, despite her struggles she continues to play football to express her resistance, while lacking many rights, including returning to her city.
These three stories portray the struggles of Libyan girls upon choosing their own paths in life.
When a Documentary Is Told Like a Narrative
Naziha Arebi distinguished herself in the storytelling approach, making some dialogues and scenes feel as if they were scripted, or at least crafted intentionally. This gives the film a narrative quality, enhanced by cinematic photography and strong performances, particularly by Fadwa, who seems chosen as the voice of the film and its core messages.
The dialogues were honest and moving, including one of the players’ lines to Halima after the loss: “Don’t be upset. We Libyans are always unlucky!” This type of narrative loads the film with an internal message that transcends the time of its production while remaining relevant to Libya’s current reality, given the changing times.
Exceptional documentation and Well-deserved success.
Freedom Fields has won several awards, including Best Film at the 2018 Joburg Film Festival and the Feather Award for Best Feature Documentary at the 2018 Karama Human Rights Film Festival. It was also screened at major festivals including Toronto and is part of the Criterion Collection. One remarkable event was the film’s screening at the invitation of Spanish club Atlético Bilbao, where the director attended to discuss the film.
To conclude, the film delivers a Libyan experience in depth and professionalism, encouraging Libyan filmmakers to convey a message with their work.
Running in Barren Fields
It seems that director Naziha Arebi didn’t enter filmmaking by coincidence or merely to experiment. Rather, she’s a cinephile. Some scenes of Namaa running recall moments from Frances Ha and Forrest Gump. These cinematic touches enrich the film, transforming it beyond mere documentation into a work of art with a true cinematic spirit.
Freedom Fields, a space that isn’t easily accessible, embodies the truth of freedom in our country and its high cost, forcing a person to sacrifice their dreams, or what remains of life.
Today, we will talk about art and cinema, with the creative Libyan director Osama Rezg, who has acclaimed around 14 drama series and many short and feature films. He began his career studying filmmaking and presented his first documentary ‘Al Nihom’ (Master of Words) in 2008, followed by several dramas that got high views. One of the most prominent of these is the series ‘Banat Al-Am,’ which aired on the leading platform Shahid. His name has become a powerful presence in the Libyan and Arab drama scene despite the difficulties he faced.
We will be exploring his cinematic credits and discuss his diverse artistic career, delving into the reality of cinema in Libya, which he described to Libya Film Institute as “a bleak present, but an optimistic future.” In this interview, Rezg discusses the importance of artistic production and the actual challenges faced by Libyan filmmakers.
1- Could you tell our readers about your cinematic experience?
My first cinematic experience was through a series of documentaries. At first, it was more of reporting films than documentary films, as it was documentation of public projects but I tried scripting them in the style of documentary films, while using an interesting dialect to engage viewers. Moreover, I was amongst the first that used voiceovers by celebrities like Jihad Al-Atrash and Mahmoud Saeed.
In 2008, I directed Al-Nihom (Master of Words), about the Libyan writer Al-Sadiq Al-Nihom. It was filmed between Tripoli, Benghazi, and Beirut, and it was my first documentary film.
After that, I worked on the short film The Random, which was featured in 16 international festivals, winning the bronze award at the Gabes Maghreb Film Festival, a special mention from the jury at the Oujda Arab Film Festival, and the Best African Film award at the “Art” Festival in Cameroon.
I directed “Al-Barony” in 2021, a biopic of a Libyan activist Suleiman Al-Barony. It was the first feature- historical film. It won Best Director, Best Screenplay, and Best Actor at the Oujda Film Festival in Morocco, but only shown in a few festivals, perhaps due to the film’s historical nature.
My latest experience was my second short film, “Rise,” which is 16 minutes long and discusses the issue of administrative corruption in Arab countries, and how officials are chosen based on personal contacts. The film criticizes the theme of favoritism and corruption in Arab countries. The film first participated in the Khouribga African Film Festival, where we won the African Film Award from the African Federation of Filmmakers. The film will be participating in other festivals soon. I wish my cinematic portfolio was larger, but certainly, future opportunities will expand it.
Behind the scenes of the series ‘Banat Al-Am’, Libyan director Osama Rezg appears with actors Ahmed Ammar and Aya Shou
2- Do you have any new film projects?
Yes, I do have projects that are under study and are seeking support, trying to establish a large cinematic base. Unfortunately, the situation in Libya isn’t favorable for filmmakers.
3- Is the diversity of your work between drama and cinema a deliberate approach, or is it due to the reasons and difficulties crossing film production in Libya?
I hate repetition. I do not like redoing the same style and parts and it’s obvious in my work. I only have the ‘Al-Saraya’ series in two parts, because my plan along with Siraj Al-Hawaidi, and producer Walid Al-Lafi – was for a trilogy. However, the second part featured a difference in the directorial vision, the cinematography, even the series’ style.
Ultimately, I don’t want to stick to the same tone but sometimes the decision is or isn’t yours, rather the circumstances. That’s why I try to present diversity in terms of story, cinematography, and even editing. I don’t want to be remembered as a director with a “one-size-fits-all” style.
4- Are there particular subjects you can address in cinema but not in drama?
Absolutely! Drama reaches every household and various social groups, so one must be cautious in addressing topics, whether social or political. Cinema, however, has a selective audience. The moviegoers chose to go and watch a film; they must accept the director’s vision, even if they disagree. Cinema allows you to present topics globally, unlike drama, which is more confined. In cinema, you are freer to express your perception without being influenced by other opinions.
A shot from the film ‘Rise’ by director Osama Rezg, featuring actors Abdel Baset Abouqanda and Mohamed Ben Nasser.
5- How can intellectuals and directors contribute to addressing societal issues?
Frankly, my opinion is contradictory. I believe that art plays the role in addressing the issue and presenting it in an artistic way. It is my duty to present an issue using my creative vision in an attempt to probe it, but addressing it is on the other parties, including the state, institutions and society.
6- How do you assess the current state of Libyan cinema?
It is poor. The current reality is rough, but I am optimistic about the youth who are eager to create films in Libya. Most efforts are individual, as the state provides no financial support for cinema. Arab and international funding agencies largely ignore Libyan cinema. While young directors apply for grants and festival support, Libya rarely receives funding, unlike countries like Tunisia, Morocco, Sudan, or Egypt. Nonetheless, I remain hopeful for the future, the youth, and creators with a vision, and I am optimistic that state support will come soon.
7- What are the most prominent challenges facing Libyan filmmakers, given the absence of institutional support and the weak infrastructure?
Honestly, the infrastructure isn’t just weak, it is nonexistent in Libya. There isn’t a single movie theater in the entire country. Before 2011, there were around 15 movie theaters. We lack comprehensive cinematic equipment, whether public or private. For instance, if we decided to produce a full-length film in Libya, we would have to ship in equipment. Moreover, there aren’t enough skilled technicians to produce a film with a full Libyan crew. The state should establish theaters and a supportive production environment.
8- How do you see the development of film production in Libya in recent years?
There are few successful projects, including the film ‘Prisoner and Jailer’ by director Muhannad Lamin, a remarkable film that participated in the Carthage Film Festival, along with the film ‘Athar’ by director Faraj Maayouf, director Mouayed Zabtia’s film called Emirate,’ the short documentary ‘Champion’ by Mohamed Masli, and ‘Freedom Fields’ by Naziha Arebi. Yet these remain small steps in establishing Libyan cinema.
Behind the scenes of ‘Zanqat Al Reeh’: Osama Rezg with Mohamed Othman and Khaled Kafo
9- Is it possible to transform a society by influential cinema?
At the present it is almost impossible as there aren’t any screening venues that welcome citizens to watch and discuss the issues raised in films. This is where the problem lies: we are raising issues and topics that touch us and express who we are. Unfortunately, we cannot convey them to the audience.
10- Who is your targeted audience?
I focus on universal human issues, not only Libyan viewers. For instance, the protagonist in ‘The Random’ could exist anywhere in the world where rights are denied. Similarly, the minister character in Rise represents officials found in many developing countries. Our themes are human, addressing both Libyan and international audiences.
11- Can Libyan cinema regain its status and effectiveness in society?
The real problem we face is the lack of cinemas. A film must be screened under excellent technical conditions to ensure its impact. But I hope for a flourishing film sector, with support from inside and outside Libya. I also hope that you play a role in raising awareness about the importance of cinema, so that cinema culture can grow and screening venues in the country can once again showcase our work.
