One of the hottest button issues for a modern woman concerns her ability to have a child. Depending on which society you are born into, it ranges from being a duty to a God-given right, with all shades of grey in between.

In her haunting, beautifully shot (by Benoît Chamaillard) and perfectly sound designed (by Israel Bañuelos) short film ‘Give Up the Ghost’, Jordanian filmmaker Zain Duraie explores the consequences on a marriage around the ability or inability to have a child. Is it her fault? Should he remarry? Can they adopt? And because this story takes place within the Arab world, in all its greatness and issues, a matter than should be handled by a couple and could be solved between them after lengthy conversations and with care, becomes a war — a battle where self esteem is defeated and no one comes out the winner.

Salam, played by the beautiful Maria Zreik and Ammar, played by the edgy Ziad Bakri, are a married couple who seem unable to conceive. But instead of being able to solve the issue on their own, and possibly even adopt, Ammar’s parents have another solution, one that leaves Salam with no choice. The title of this short film, yes this wondrous, fully fleshed story takes place in around 15 minutes, does and doesn’t give the ending away. You’ll have to watch it for yourself.

The film premiered to great success at the 2019 Venice Film Festival in their Orizzonti section, and is now on its way to the Oscar-qualifying Palm Springs International Shortfest 2020, which this year can be viewed online for free from June 16th to the 22nd. You can find out more on the film’s FB page.

Following is my interview with filmmaker Zain Duraie, where she talks about the inspiration for this story, the courage to love and why she identifies with her lead character.

So the phrase “give up the ghost” is a way to say “die” or give up. Why did you choose that title?

Zain Duraie: I came across the title because I feel Ammar, the husband moves about like a ghost in his society. And also because Salam herself ends up being a ghost in this society as well, since she appears to have no say in her own rights. She also may have to give up the life she lives, and give up on her husband, to find a new way… So “giving up on the ghost” within as well as the ghost she lives with.  

What inspired this film — I read it was a story your aunt told you — but could you be more specific?

ZD: Well, yes, I did hear the story from my aunt but then it became more complicated in my head as I know someone in my own life who also suffered from the same issue. Once I started doing more research into this topic, I got more and more passionate about it and felt I would not rest fighting for women — fight to make a change in our societies that still think of women as just a means to make children. And that a woman is always expected to be perfect. That’s what we need to change. In Salam’s case she was willing to sacrifice a child, but Ammar couldn’t say no to society and had to betray her, thinking he had no choice.

You tackle quite a few themes in your short 15 minute film. Did you ever think of making this into a feature?

ZD: No it was just a short, and i think it will stay that way. My current development of a feature is a very different film than my shorts actually. And very radical this time.

Salam has some difficult choices to make. Particularly, whether or not to obey society, those around her or listen to her own heart. What in your life has been such an important, essential decision you’ve had to make? 

ZD: Well, this is a deep and beautiful question indeed, I don’t think anyone ever asked it from all the press interviews I had about the film. It really touched me.

I would say I am very much like Salam, in the way she deals with things. Like a quiet wind that slowly begins to howl and exits through a very obvious door in front of you — you never think that this person is capable of doing it or will do it, but then they do. That is cinema to me as well. Like a very subtle wind slowly building into your insides and questioning every single thing you have done in your life, if it was right or wrong and if you are happy with the person you have become today.

As far as the second part of your question — Yes of course I have. I am only 30 years old now, and maybe you would think I haven’t had much life experience, but when you live in our societies, you begin to feel like you are instantly older, and that, also, you could have better opportunities in the advanced world. I do love my country and my city, but I always feel like I don’t belong here and the choices I had to make were not easy. We never get this sense of freedom as women here, instead you turn into an image that your parents want you to be instead of letting you just be who you are, with all your flaws and all your radical ideas. What if I don’t want a cliche life of marriage and kids? What if I ache for a different life? So it can be a dangerous life, mostly toxic for your inner peace. 

I for sure have made a choice to refuse to be a victim of circumstance, and to live the life that I want, not what my family or anyone else wants. Just like Salam gets her victory, we all should. And I want everyone to know that being a woman is the most honorable and beautiful thing you can ever be. So honor yourself, your body and your pride and who you are and don’t pretend to be something you are not, because you will suffer in the end. Do not be afraid. 

Choose love over fear, always.

Your DoP Benoît Chamaillard has shot some of my favorite films with some incredible directors. How did you approach him to ask him to help you tell your story?

ZD: Benoit is great, I loved every single minute with him. He is so talented and passionate, he came for a very symbolic fee but mostly because he cared about the project. Of course, Annemarie Jacir introduced us for my first short 8 years ago, and he couldn’t do it back then.  So big thanks to her always, she mentored me for a while and was the creative producer on this short and my debut short.

This time, we tried him again and he loved the script. He was incredible, and we had an incredible working relationship. He trusted me a lot and I was happy he did, considering he finds me young and upcoming. It was lovely. He understood me, and understood my vision so well. And he also disclosed the secret of why it's working between us — because he truly believes that I know what I want from every shot and from my actors. I was happy to hear that from someone so experienced. 

What would you like an audience member to take away from your film?

ZD: Empathy, and feeling. To re-examine themselves, to think of their own morals and values. To think of life not just in terms of black or white, but to think of life as a whole and for them to embrace the feeling they feel when they watch the film, even if it provokes them. And to have the courage to step out of anything that makes them unhappy in their own lives.

How did you benefit from being in Venice, professionally?

ZD: Of course being in a prestigious A-class festival automatically helps you a lot, and first of all because you become more known for your work, and people will support you on your next film. Also it means getting funding for your feature will be much easier, because you made a short that went to an A-festival. It gets you money much easier than if you didn't have a good portfolio. I mean, we make shorts so we can make a solid feature later and so people know you through your shorts first. I personally felt a lot more appreciated and known, and it kind of got me a little bit of fame which felt nice after all this hard work. So right now, I know that we will get funded much easier for my feature, and I'm really excited to go into the next step — I’ve never felt more ready than I do now.