Check out this podcast interview I did with Chris Bell for The Playlist.. We had a very intense discussion on films and Arab identity in America.
American Arab: Why is being an Arab suddenly the opposite of being a decent man? Click here to listen.
Host Janaan Hashim interviews me on Radio Islam on my broadcast premiere of American Arab and the identity of Arabs in America today.
An Interview with Usama Hameed Alshaibi بحثا عن مدينة غير مرئية: مقابلة مع أسامة حميد الشيبي
“When I was born there were dead bodies hanging off nooses in the streets of downtown Baghdad.”
“I feel it necessary to say here…that the two basic sentiments of my childhood which stayed with me well into adolescence, are those of a profound eroticism, at first sublimated in a great religious faith, and a permanent consciousness of death.” – Luis Buñuel
So begins the “Forced Artist Statement” of underground filmmaker Usama Alshaibi, whose brilliant new work Baghdad, Iowa depicts a dreamlike search for a liminal, mythical homeland amidst an autobiographical tangle of grief and lust and the director’s divergent roots in the Midwest and the Mideast. Usama has made around 75 films to date, ranging from wild erotic shorts to experimental narratives to the documentaries for which he is perhaps most widely renowned. His work tends to be predicated on the concept of the “other”, the immigrant, the outsider, and how this position relates to fetishization or violence- often utilizing his lived experience as an Arab American; and a singular style bursting with lysergic irreverence as well as a deeply genuine, intimate, vérité.
Alshaibi appears onscreen in many of his films. He also appears in two very different books: In 2003, Baghdad born Usama Alshaibi is interviewed in Pulitzer Prize winning author Studs Terkel’s Hope Dies Last, a strident oral history of contemporary American perseverance. Here he speaks lucidly about his childhood between Iraq and Iowa, his loving relationship with his all-American wife Kristie, the struggles facing Arab-Americans after 9/11, and his own path to becoming a US citizen. Conversely, Deathtripping: The Extreme Underground, Jack Sargeant’s landmark paean to the Cinema of Transgression, paints a very different portrait as it details the content of Usama’s short films (often produced with his wife Kristie), “characterized by a combination of dark humor and a gleeful celebration of what is deemed by mainstream culture to be ‘deviant’ behavior, this includes rectal masturbation, bloody violence, male prostitution and fake porno film auditions.”
The stark contrast of these two mentions depicts an irreducible artist. Usama is fascinated with the paradox that occupies the conceptual space between dualities: Iraqi and American, activist and libertine, repulsion and attraction, Eros and Thanatos- dualities which find vibrant concert in his work. By his own estimation, the 2011 experimental narrative Profane is the most complete in this regard: in the film documentary and narrative footage interweave, as do twin itineraries of sexual transgression and religious transcendence.
His widely acclaimed 2006 documentary Nice Bombs details Usama’s 2004 return to Baghdad during of the US invasion with his father and wife. The Alshaibi’s literal home videos in Iraq depict a people not at some ideological remove, but in their living rooms; having dinner, conversations, dances, and voicing everyday concerns; intermittently, impersonally (and sometimes finally) interrupted by “nice bombs”. Even in the context of such political extremes and abstract violence, Alshaibi illuminates how through the concept of home an authentic shared subjectivity emerges that withstands the deterritorializing force of the war machine, even if the structural home may not:
His other homeland, its epicenter somewhere around Iowa City, became the focal point of an amorphous multimedia project that would intermittently obsess Usama after his return to the United States. Amid the grief following his younger brother’s untimely passing from a drug overdose, he began to explore their childhood home in America. Glimpses could be found online of the project, christened Baghdad, Iowa, as it began to coalesce into a film.
“The origin, or the seed, of this invisible city was planted shortly after my brother died at the age of 28. He was a writer, a religious man, a husband, a criminal and drug addict. When they were preparing my brother’s tombstone they asked my mother where he was born, and she said he was born in Iraq. Even though he was born in Iowa. Where are we? Perhaps his death birthed this place.
It’s that spell that has lit up the cornfields.”
The nascent film was violently sidelined when Alshaibi was assaulted during a visit to his home state, the impetus for the attack being his ethnic name. The hate crime would serve as a catalyst for his acclaimed tour de force documentary American Arab, autobiographical examination of family, racism, and Arab/Muslim identity in post 9/11 United States:
Usama since resumed his search for Baghdad, Iowa, and his years of work have culminated in a otherworldly poetic narrative, 34 of the most haunting and beautiful minutes he has yet produced. Here, in a conversation from last year during production, the director delivers a report on the expedition, and shares generous insight into his life and work.
N: In your earlier work it was clear you were making do with whatever you could get your hands on. Now it seems like you have a crew and some equipment. Could you talk about your trajectory as it relates to being able to produce films, and where you started?
U: I began making work at a certain time in the mid 90’s. I came up at a time when the Dogme 95 movement was popular, and that was an interesting philosophy. I also come from a tradition of underground filmmaking. I always get annoyed when I meet other filmmakers who just took so long to get one film, or even one shot off the ground because they needed money, crew, or cast. It’s like “look, we have the equipment. What’s the problem?”
Read the rest of the interview at whitefungus.com
I’m really happy to be on this list. I know many of these fine talented folks and honored to be included with you all. I’m number 21!
From Film 50, 2014: Chicago’s Screen Gems:
Usama Alshaibi is studying for his MFA in the “mellow college town” of Boulder, Colorado, along with the likes of filmmakers Phil Solomon and Alex Cox, but the director of “Nice Bombs” and “Muhammad and Jane” is still in the midst of promoting his fine, fierce long-in-the-making family history “American Arab.” “Oh man,” he says when asked about any lessons from its ongoing release. “Identity is fluid and Arabs are still having a tough time in America. But, I also learned that I am comfortable in my own skin. I don’t need to apologize or answer to anyone.” While Alshaibi’s experimental shorts and features can readily be described as transgressive, his current work, co-produced with Kartemquin, earns that label in its own right. “Every time the United States bombs Iraq, it triggers these impulses in me. Of course these triggers have always been there, and much of my early work came from that primal place. There has to be some desire, some rage, some passion that makes me want to pick up the camera and start creating something. I never saw there being a line between my more experimental, transgressive work and the documentaries. A real Muslim Imam in Iowa and his story, in contrast to a fictional Muslim sex worker in Chicago—both of these narratives are interesting to me. In one, I may take a more straightforward approach and, on the other side, I can let go and dive into a psychedelic realm. I can explore moods and tones, something more poetic. I’m comfortable with being called a transgressive filmmaker. It’s who I am. I’ll wear that badge with honor.” Alshaibi’s current projects include “Baghdad, Iowa,” “my nightmare-love project. A fictional home. A place that cannot be found but is. It’s based in real events but dipped in LSD and death.” And Usama and his filmmaker wife Kristie are working on a doc called “American Dominatrix.” Still, despite the identity issues his work is steeped in, Chicago is key. “I would not be who I am today without Chicago. I’ve made life-long friendships in Chicago. From my days at Columbia College to the Chicago History Museum and Chicago Public Radio and my cinema family at Kartemquin Films. And of course the community around the Chicago Underground Film Festival. We all have our tough days in Chitown, but it is the city where I met my wife and really figured out how to live and make it. Chicago lives in my blood.” – See more at:http://newcityfilm.com/2014/10/02/film-50-2014-chicagos-screen-gems/3/