How did the concept for the film first come to you?
Amel Guellaty: “I wanted to talk about the relationship between women and men that doesn’t involve any kind of sexual tension. I wanted to explore deep connections and friendships. That’s where the movie started in my mind because I grew up surrounded by boy friends, and I didn’t have any kind of romantic relationship with them, just friendship. Those guys were really important in my life, especially at that age— the same age as my characters. That’s why I wanted to write this movie.”
Frida Marzouk: “I’m the cinematographer, so I was trying to translate Amel Guellaty’s vision as the director. She had a very precise idea of what she wanted, so it was pretty easy to get on board and go with her on this journey. We basically talked about almost every single shot of the film before shooting— the colors, the sets, the costumes, everything was discussed in advance. It was a really rich experience.”
Did you feel a certain urgency to tell a story that portrays men and women outside of romance?
A.G: “When you make a movie, there’s always a sense of urgency— that feeling that you need to tell a story. Of course, this one isn’t only about friendship; there’s so much more to it. We talk a lot about the struggles of being young in Tunisia. I think that was really the urgency behind it. I wanted to talk about youth in the Arab world, and especially youth in Tunisia.”
@milleworlddotcom Tunisin director Amel Guellaty shares a bit of information — most notably on the main topics of ‘Where the Wind Comes From’ — ahead of its regional premiere at @ElGounaFilmFestival ♬ original sound – milleworlddotcom
Escapism is one of the theme’s main focal points. Why was that something so important for you to show?
A.G: “I don’t know why all my films end up talking about escape. I probably need to see a shrink about it. It’s not intentional, it’s just a subject that attracts me. When you grow up feeling like you don’t quite fit in and want to go somewhere else, it sticks with you. I’ve always had a soft spot for those kinds of stories.”
What message are you trying to pass onto to the people that will watch the movie?
A.G: “I always say that I don’t like to claim that a movie has a message. Every audience member can understand it in their own way. Do they escape? Do they not? You know what I mean? I don’t like to impose a ‘message’ behind the film— I prefer that people take from it whatever resonates with them.”
F.M: “I would say that people who are around the same age as the protagonists — young adults — will probably connect with the film first. But after showing it in different places, I realized that even older audiences were really touched by the story. So I don’t think it’s limited to a specific age group, though I do believe younger people will especially love it, because it’s still quite rare to see a film that focuses entirely on them.”
Eya Bellagha: “Maybe I can say that if you’re seeking something, sometimes you should go far to find it. Or, maybe you just go inside of yourself, and maybe you can find it there. You don’t need to go miles to find it.”
@milleworlddotcom #Tunisian cinematographer Frida Marsouk shares who she believes ‘Where the Wind Comes From’ speaks to and what the filming process was like with director #AmelGuellaty ♬ original sound – milleworlddotcom
This is your first regional premiere. How does it feel to bring the film home, especially as one of the few North African directors at the festival? Does that come with a sense of pride or pressure?
A.G: “Honestly, I’m super proud to be here. GFF is a festival I really love— it supported my work from the very beginning, and I’m so grateful for that. I can’t wait to show the movie to an Arab audience, because they’ll understand the language, the humor, the characters — they might even see themselves in it. I’m really excited to see their reaction. And yes, being one of the few people here from the Maghreb means a lot. But for me, it’s all the same— it’s an Arab audience, and it’s our film showing at our festival. That makes me really happy.”
E.B: “Finally, it feels like this is really happening — screening the film in the Arab world, in front of an Arab audience, has always been our main goal. I’ve received so much love and respect here, and I’m just so glad to be part of it.”
F.M: “I didn’t expect the film to be shown everywhere like this. I knew it was a good movie and that people would appreciate it, but I have to say I’m a little blown away. It’s gone from North America to Sundance, then Europe, and now the Arab world. It’s incredible.”
View this post on Instagram A post shared by Arab Cinema Center (@arabcinemacenter)
A post shared by Arab Cinema Center (@arabcinemacenter)
Amel, how did you cast the main protagonists? What was it about them that first struck you?
A.G: “I’ve had a lot of criticism about different aspects of my film, but never about the actors. They were incredible. Eya Bellagha and Slim Baccar did such an amazing job, and I’m so proud of them. I actually met Eya during my first short film— she was working as a stunt performer and kind of an extra. That was her first time on a set, and her face just stayed in my mind; she has such a strong gaze. As for Slim, I didn’t know him before. I cast him for this project, and when I saw them together in front of the camera, it was pure magic. That’s how I knew they were the ones.”
E.B: “We rehearsed a lot. We talked about the characters, the story, and even about my own experiences — the things that felt similar to what my character was going through. Working with Amel was great; we had really good chemistry and a clear understanding of each other.
You’re part of a new wave of Arab women filmmakers reshaping the regional film landscape. Do you see this film as contributing a new perspective to that movement?
A.G: “What I think is great is that every director— whether man or woman— in the Arab world today is making films from their own point of view. We’re no longer creating movies for the West or trying to please anyone else. The genres are more diverse now. We have horror, animation, thrillers, all kinds of stories. We’ve moved far away from the era of Orientalism, and that’s what excites me the most as an Arab filmmaker— man or woman.”
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