Mahmoud Atassi does not have the typical filmmaker’s profile. He was studying engineering in his native Syria when the war began, and somewhat naturally, he turned to filmmaking because he realised that no one was telling the ordinary people’s side of the story — only the government’s narrative was being presented.
His first film was about the Ghouta chemical attack in 2014. One of his main characters lost his entire family — around 400 people — and he was the only survivor.
Atassi connected deeply with the subject and felt a responsibility to share people’s stories. For him, filmmaking became not just a passion but a duty, a mission. His films are about the human suffering caused by war and its consequences.
Mostly produced with the support of Al Jazeera or other Arabic channels (since there are few festivals or funding bodies for documentaries in the Middle East), Atassi’s films, made in Arabic and not translated into English, remain largely unknown to Western audiences.
Eyes of Gaza is his first film to travel to the West. Last November, it was first presented at the International Documentary Film Festival Amsterdam and is now showing at the Thessaloniki International Documentary Film Festival, where its first screening was met with a full house.
With more than 200 journalists killed during Israel’s genocide in Gaza, Eyes of Gaza follows three who survived while doing their work: Abdul Qadir Abdul QadirSabbah, Mahmoud Sabbah, and Mohammed Ahmed.
Sleeping on folded sheets, far from their families, and working with poor phone connections under constant threat of their lives, they talk with desperate locals who are openly questioning the point of their work.
“It’s the fourth power,” they respond. “Journalism is a weapon against injustice.”
Mahmoud Atassi was not physically in Gaza during the filming of Eyes of Gaza, but he explained how the process unfolded under the most challenging circumstances: “It all started with finding journalists who were settled in northern Gaza, as it was difficult to get to,” he tells The New Arab.
“The second stage was trying to reach Gaza, but it was impossible. We communicated through the internet whenever they had access.”
He explained that after two weeks of efforts, his team found a cameraman, but finding the necessary equipment was another hurdle.
“We couldn’t find cameras. After another two weeks, we found old cameras and worked with them,” Atassi recalled.
The difficulties didn’t end there — without a sound engineer, Atassi’s daily communication with the journalists was critical.
“I would ask them about their day, what they faced, and how they worked. I built files that reflected the hardships they faced,” he said.
Having lived his own experiences of war, Atassi could relate to the journalists’ plight.
“Since I’m Syrian and experienced war, I could understand what they were going through. We made the film this way, communicating whenever they had internet; otherwise, they were on their own.” The entire filming process spanned eight months, from December to the end of July.
When asked if he knew the journalists before starting the project, Atassi revealed, “No, the film idea came from Al Jazeera’s team. They suggested covering the war, and one idea was to look for journalists. It was a standard documentary, but I felt it didn’t reflect what was happening. I wanted to see what they were seeing. I wanted to live with them for eight months and experience what they were going through.”
For Atassi, it wasn’t enough to merely hear about the danger these journalists faced; he wanted to immerse himself in their world, to live alongside them in the midst of the destruction.
Two of his characters — Abdul Qadir Sabbah and Mahmoud Sabbah — are brothers and this bond became a cornerstone of the story.
“They worked together, going to areas that were damaged or had airstrikes, covering the news. I decided to work with them because they never left northern Gaza, even when threatened with death and accused of being terrorists,” Atassi said.
“Abdul Qadir was a correspondent for the BBC, CNN, and Al Arabiya but was fired from all three because of these false accusations. He had never carried a gun but this was a way to silence him. The Israeli army understands that journalism is powerful, so they target journalists in any way — through killings, harm to their image, evicting them, or firing them,” Atassi added.
Following his firing from major outlets, Abdul Qadir’s journey became a story of survival. Atassi said, “After being fired, Abdul Qadir didn’t find work for about a month and a half. He just uploaded material on Instagram. Then he got a freelance contract with an Arab channel for which he is now the main correspondent. It was hard for him and his family, though. He couldn’t find a place to publish his videos except Instagram.”
Western media, Atassi emphasised, was largely out of reach for these journalists. “The Israeli army doesn’t want Western media to know the reality on the ground in Gaza. When Abdul Qadir was fired, the Israeli army took journalists on a ‘tour,’ showing them only what they wanted them to see. This was to control the narrative,” Atassi explained.
He was adamant that the narrative presented by the Israeli army was an illusion — one carefully constructed to shape the global perception of the conflict.
“The Israeli army has built an image of being peaceful and protective, marketing themselves as soldiers who like to live and dance. They spend millions on this image. But when you see videos from Gaza showing the destruction and the suffering of the people, the truth is exposed.”
This gap in narratives, Atassi believed, was part of a larger, calculated plan. “It’s part of a broader plan, not just for Palestine, but for Syria as well. Israel wants to create areas with no people, so they can take control of the land. They’re bombing areas, demolishing them, and then taking over the land.”
When discussing the role of press vests in protecting journalists, Atassi was realistic. “Two of the journalists didn’t wear vests at first, but then we thought it was important. It’s not that the vests protect them, it’s just to indicate they are journalists. Without them, people might not realise they’re journalists, and if something happens, they could be blamed.”
Sadly, Atassi added, there is no immunity for journalists in the region. “Since the war began, Palestine has seen the highest number of journalists killed in history. Over 170 have died, and that number is still growing. No one is there to protect them.”
The changing tides in Western media coverage also caught Atassi’s attention. “There’s been a shift. Before, it was mostly the Israeli side. But now, BBC and CNN are starting to shed light on Palestinian lives as well,” he observed. However, he was quick to point out that the shift, while positive, was still far from equitable. “Israel has the money and resources to promote their image through marketing, which is why they get more coverage.”
Reflecting on the impact of his film, Atassi shared, “The response has been positive. People understand the message. Some Jewish viewers even told me they would renounce their Israeli citizenship. There have been rare attacks on the film, but mostly, people appreciate that it shows the truth from the ground.”
Atassi’s conversation with audiences at the screenings in Thessaloniki highlighted the disconnect many still had with the true events. “A person asked what to say to those who don’t believe what’s happening in Gaza and only believe the Israeli narrative. I answered that they’ve been lied to for years, so it’s hard to change their perspective. But I encourage them to open their horizons, investigate, and listen to other stories, especially from Gaza.”
Atassi’s deep commitment to his work, and to the stories of the people he films, becomes clear when he speaks about his own motivations. “I don’t want to link this film to my personal success. Eyes of Gaza is about people who have lost their lives. I’m not happy about reaching an audience because of their suffering. But I do feel a responsibility to deliver their message.”
It was this sense of duty that guided his work, particularly in his previous projects like For Her, which dealt with the trauma of women prisoners in Syria who had hard times after being released as they faced family rejections; some committed suicide.
As for his future project, Mahmoud Atassi is planning to go back to Syria and keep digging in local atrocities: “I want to explore how the people who tortured others can go back to their lives, live with their families, and act like nothing happened.”
His next film would focus on this groundbreaking question, but he knows it would not be easy to get to speak to the right people.
“It will be a big challenge. I don’t know how yet, but I’m planning to go to Syria and try to reach those involved,” he explained.
“I live in Istanbul now, but I plan to return to my country in a few months after the festival tour of Eyes of Gaza,” he concluded, speaking of his longing for home and his desire for his son to grow up there.
“I want my family to be in Syria, and I want my son, who’s six months old, to grow up in our land.”
Mariana Hristova is a freelance film critic, cultural journalist, and programmer. She contributes to national and international outlets and has curated programs for Filmoteca De Catalunya, Arxiu Xcèntric, goEast Wiesbaden, etc. Her professional interests include cinema from the European peripheries and archival and amateur films
