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NOUVEAU CINÉMA MONTRÉAL 2024 Nouveau Marché

Ariel Nasr, Yanick Létourneau • Regista e produttore di Daudistan

“L'obiettivo principale è garantire che la storia e i personaggi risuonino fortemente con il pubblico”

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- Il regista e il produttore del progetto selezionato per il Nouveau Marché di Montréal raccontano le motivazioni che li hanno spinti a raccontare questa storia particolare e le sfide che essa pone

Ariel Nasr, Yanick Létourneau • Regista e produttore di Daudistan
Ariel Nasr (a sinistra) e Yanick Létourneau

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Ariel Nasr and Yanick Létourneau, the director and the producer of Daudistan, a project selected for the Nouveau Marché in Montreal (see the report), detail their motivations for telling this particular story as well as the challenges it poses.

Cineuropa: Could you tell us about the plot of the film and what motivated you to make it?
Ariel Nasr:
Our project centres on an Afghan star runner who finds himself in the USA at an athletic meet. He escapes in the hope of finding sanctuary in Canada but ends up in a detention centre. By the end of the first act, he is sent back to Afghanistan. This reversal of the expected immigrant story leads him to return just as the government is about to fall to the Taliban. He goes back to help his mother and brother, who are facing dire circumstances. As the story unfolds, he and his younger brother must heal their relationship. He had lied to his family about his life in Canada, and now they need to rebuild trust and find a way to escape Afghanistan together. This narrative is deeply inspired by my own family history.

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My experience living in Afghanistan between 2008 and 2012 exposed me to both the struggles and the extraordinary achievements of individuals in a tumultuous context. Despite the challenges, there was always a sense of hope represented by athletes, like the Afghan cricket team, who achieved remarkable success against the odds.

Yanick, what motivated you to produce this film?
Yanick Létourneau:
I’ve known Ariel for about eight years, and we were looking for a project to collaborate on. When he pitched the initial story, it was quite different. However, owing to the events in Afghanistan and the Taliban's return to power, he decided to rework the narrative to reflect the urgent situation.

All of the stories I hear from my family and friends revolve around themes of displacement. In August 2021, as the situation in Afghanistan worsened, I noticed that everyone I knew was again sharing their stories of seeking help and safety. This new reality made the original story we were developing feel outdated; I realised we needed to incorporate these recent events. I was drawn to Ariel's strong point of view and extensive experience as a documentary filmmaker. His Oscar-nominated short film Bush Gassy Boys impressed me with its production value and storytelling, which made me confident in his ability to convey meaningful narratives.

What are the main challenges you're facing with this film?
YL:
The primary challenge is location. Shooting in Afghanistan poses significant logistical issues owing to the current context. Therefore, we're exploring alternative locations, such as Pakistan, India, Turkey and Morocco, while also seeking co-production partners in these regions and Europe.

What stage are you at in the production process?
YL:
We are in the financing and packaging phase. We plan to submit it to Telefilm Canada, a major Canadian funding body, in November. We’re also engaging with potential Canadian distributors, as having one is a prerequisite for funding applications. In addition, we’re exploring partnerships with co-producers in the UK, France, Turkey and India, aiming to start shooting around September or October 2025.

What feedback have you received at the Nouveau Marché?
AN:
The feedback has been very positive. While it’s still early, many people are curious about how the story unfolds. We received a script award from the Toronto International Film Festival earlier this year, which allowed us to work with an excellent writing coach. This has strengthened the script, which is my main focus: ensuring the story and characters resonate powerfully with the audience.

What advice would you give to a European producer about working with Canada?
YL:
Working with the right Canadian producer can make a significant difference. However, Canada can also present administrative challenges. Based on my experience, working in Canada is somewhat similar to Germany; however, France tends to be more straightforward. There is a wealth of funding available for minority co-productions in Canada, especially for Quebecois producers, which can be leveraged through various funding agencies. Historically, there were regulations requiring films to be in English, French or an indigenous language, but that has changed. Now, we can collaborate on international stories without needing to shoot in one of those languages or include Canadian elements, provided the narrative is compelling.

It is worth mentioning that Canada ranks third globally for the number of co-production treaties, following France and Germany. We have signed approximately 60 treaties, which opens up numerous opportunities for international collaboration.

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