Drama “ Happy Holidays ” marks the long in the works solo directing debut of Palestinian director Scandar Copti, an Oscar nominee as co-director of “Ajami” (2009). Opening with prime slots in Venice Horizons and TIFF Centrepiece, the film follows an extended family of Palestinian citizens of Israel living in Haifa, allowing viewers to experience firsthand how cultural and societal perceptions are shaped. Moreover, it also highlights the efficacy of his “singular drama” method, a process for working with actors that he developed while filming “Ajami.”

Copti says his artistic process always starts with a personal annoyance. The spark for “Happy Holidays” grew from a conversation he overheard as a teenager. He recalls, “A female relative of mine told her son, ‘Don’t ever let a woman tell you what to do,’ referring to his wife. This paradox made me realize just how deeply rooted patriarchal values are in our society.”

“Happy Holidays” is structured into four segments, each spanning the same period but centered around a distinct individual. As viewers become engrossed in the individual characters' narratives, they are drawn into their stories. However, just as the action reaches a pivotal moment or resolution, the audience is redirected from that character and launched into a new journey with someone else. “The emotional shift is deliberate,” Copti explains. “As we transition from one perspective to another, the events we witness acquire new and sometimes unsettling interpretations.”

The remarkable authenticity of the characters and events is achieved through a fairly time-consuming process, although Copti begins with a script. “I collaborated with a full cast of non-actors utilizing the singular drama method. This approach leverages the paradoxical nature of fiction, which is the human capacity to respond emotionally to fictional characters and events.”

Copti selected cast members based on their resemblance to the personalities and professions of the characters he had developed. “These non-actors embarked on a psychological journey through intensive singular drama workshops that I led over the course of a year,” Copti says. “In the workshops, the participants didn’t focus on text, objectives, or mise-en-scene, or acting techniques. Instead, they explored their characters’ personal histories through role-playing and discussions, building relationships through experiences in the actual filming locations before filming commenced.”

Copti notes that over time, the cast deeply identified with their characters, perceiving them as extensions of their own personalities. “In the film, the non-actors responded spontaneously to unfolding events without ever viewing the script or knowing the plot details. Their dialogue and behaviors stemmed from their hearts, based on their comprehension of the reality that unfolded before them.”

To align with his chosen method, Copti filmed chronologically, employing two handheld cameras to closely follow the characters and capture unfolding situations naturally, akin to an observational documentary. This approach eliminated the need for blocking, establishing a logical sequence in the actors' minds, charging them with the appropriate emotions from one scene to the next and making each take unique and impossible to replicate.

Employing the singular drama method, which involves shooting improvised scenes in real time, resulted in a massive amount of footage – approximately 200 hours. Copti spent a considerable 15 months meticulously editing this raw material. “This process was a significant challenge as I had to juggle my family, my full-time job, and the editing work,” he explains. Fortunately, his day job as a teacher of the singular drama method at NYU Abu Dhabi and in extensive workshops around the globe provided him with invaluable experience and knowledge.

As a collaborative production involving Palestine, Germany, France, Qatar, and Italy, “Happy Holidays” received substantial support from Arab funding organizations and film festivals. “The Doha Film Institute and the Arab Fund for Arts and Culture play a crucial role in supporting and promoting Arab cinema,” Copti emphasizes. “Their financial contributions and mentorship have been instrumental in enabling Arab filmmakers to share their stories and develop their craft.”

He continues, “The Final Cut program in Venice has been a transformative force. By providing post-production grants and opportunities for filmmakers to present their unfinished works to industry professionals, it empowers Arab filmmakers to complete their projects and gain global recognition. ‘Happy Holidays’ was awarded two post-production prizes at the 2023 edition of Final Cut in Venice, which significantly aided us in finalizing our film and reaching audiences worldwide. We are deeply grateful for this invaluable assistance.”

Copti's next endeavor is a project titled “A Childhood.” This documentary delves into the lives of Palestinian children living under Israeli occupation, with a particular focus on the issue of child imprisonment. He notes, “The film will incorporate testimonies gathered by non-governmental organizations and mobile phone footage to expose human rights violations. Furthermore, we will utilize animation to recreate the children's verbal testimonies and emotional states, bringing their experiences to life in a powerful and impactful manner.”