In Search of an Invisible City: interview in White Fungus

“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.”

Read the full interview here. 

Excerpts from Usama’s notebook for Baghdad, Iowa (featuring drawings, collage, and a short story) will be featured in MIDWASTE, a forthcoming publication.


New City Film 50 2014: Chicago’s Screen Gems

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:

Usama Alshaibi interview in Film Yap

usama-alshaibi-insideThe Film Yap:  “American Arab” is obviously a very personal film; can you tell us how you got started on this project and what your vision for it was at that time?

Alshaibi:  I was noticing that there was this rising hate and hostility toward Arabs and Muslims in the United States and it was typically based on racists ideas– so I wanted to make a film that exposed these racist sentiments and also exposed who Arab Americans really are. The United States of America is home to almost 4 million Arab-Americans that are very much part of the fabric of this country. But the media and the movies in the United States depict us like crazed, inhuman terrorists. Those depictions make it easier for Americans to dehumanize us and bomb our homelands. I’m saying Arabs are not only part of the United States but we are part of the formation of America. Can you imagine the United States without Casey Kassim, Ralph Nader, Danny Thomas or even Steve Jobs? All of them are Arab Americans.  So I wanted to talk about that, but also tell the human story of who we are. Like Amal Abusumayah in my film. She was born in Chicago and raised by Palestinian parents. She has the right to live freely and wear her hijab if she wants to. That is her right as an American. So when a bigot tries to pull off her head scarf and tell her to go back to where she came from, that is the dark spot of America I’m discussing. Every Arab in the United States has experienced this type of harassment and racism in the United States and we are sick of it.

One of the challenges for a documentary filmmaker is adapting to the story as it evolves and goes in unexpected directions. What would you say was the most surprising development over the course of this project?

Alshaibi: When I started the project, I was mainly focused on other people and wanted my own personal story to be more of a secondary narrative. But life moves on even if you are working on a documentary. I moved away from Chicago and had a baby girl with my wife in Iowa; these elements became part of the narrative of the film. My story became part of the bigger story. And I’m OK with that. In a way, it was easier for me to show more of my life and be very open about it.

What is your favorite memory from working on “American Arab?”

Alshaibi: My favorite memory is part of my life and the film: That would be the birth of my daughter, Muneera.

You’ve described this film as a “Coming of Arab story” and, as it shows, much of the Arab American experience is influenced by events in the Middle East. With the increasing violence in the region given the Syrian Civil War and the withdrawal of U.S. troops in Iraq, what are your thoughts on how this will influence the “Coming of Arab story” of the next generation of Arab Americans depicted in your film, such as the young Jassar girls or your own daughter?

Alshaibi: Well, the younger generation needs to know what we went through as Arabs in America. They need to understand that after the attacks on the Twin Towers, that Arabs and Muslims were targeted, questioned, put in jails and abused. Hate crimes went up, and the media and the general American population was indifferent to it. So they need to see this and realize that the United States is their country and to speak out and be vocal about injustice. I want the younger generation to realize that they have a right to be angry. They have a right to speak up and speak out for their human rights and dignity.

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