Written & Directed by Hamza Pool
Produced by Elena Queally & Daisy Ward
A victim of Israel’s use of administrative detention, a Palestinian detainee goes on a hunger strike after being separated from his daughter and incarcerated without trial or charge.
Inspired by recent cases, "Jahannam" tackles the issue of administrative detention and Israel's use of this practice to imprison thousands of Palestinians for lengthy periods of time. The film also explores the use of hunger strikes by detainees as a form of protest, and how the Israeli prison system punishes such resistance.
READ OUR INTERVIEW WITH HAMZA
Tell us a bit about yourself and your filmmaking background.
I grew up council housed in a middle-to-upper class area. So because everything around us was quite expensive, while we were poor, I spent a lot of my time indoors with my eyes glued to the TV. I knew I wanted to work in film when I was a kid, but it wasn’t until the age of 9 that I figured out the function and role of a director.
Since then, I’ve been honing my skills, expanding my taste, and defining my style with every single project.
We know the unfortunate real life inspiration behind Jahannam, but why were you personally inspired to make a film on this topic?
When it comes to picking my projects, I’m always drawn to people and topics that aren’t given the attention they deserve. At the time I felt the issue of administrative detention fit into that category, and unfortunately, it still does.
I’d known about the Palestinian occupation for years, but never found a topic that I could do justice within a 10-minute limit at university. It wasn’t until my friend Leila made me aware of this issue that I got inspired, as I felt the topic cinematically could communicate the wider implications and issues related to the conflict, while also being achievable within a small budget and runtime.
What obstacles did you overcome while in the making of this film?
Far too many to mention, but the one that stuck with me the most was the editing process. Me and co-editor Tyrone had to do post-production remotely as Covid had just hit, and because of this, the process as arduous. I was living with my (large) family at the time, which is perhaps the most distracting environment to edit in. And I was stuck there. It wasn’t actually until the film was submitted to university in a rough and longer form (that was good enough just for the grade), that the film fully started to take shape.
Tell us about the journey of getting your film to audiences.
We did a small festival run and now that the film is publicly posted will try charity organisations and public film events.
We had some financial backing which was incredibly helpful.
Words of wisdom. What advice would you give to other filmmakers?
Film is all about collaboration. The most important skill to learn if you want to be a filmmaker is being easy to work with. Especially as a young filmmaker.
Keep watching films (of all decades, nationalities, and styles) and soak in all the inspiration possible. If you just watch the basics / what they tell you “need to see”, your films will feel like lesser versions of other famous directors' films and you won’t find your own lane and style. Expand your taste.
What are you working on now?
Right now, I’m producing an album for a rapper called Reckz Capo based out of West London: I’m also planning to direct music videos for the album.
I’m going to be pitching a television show too so hopefully, all goes well with that!
Any film recommendations that we should add to our watchlist?
No particular film. But please start watching films outside the confines of Western media. And not just the big films either. Mubi, Kino Lorber and Criterion are incredible sources of lesser-known films from around the world that could have a huge impact on your style.