Reconciliation and self-expression: A bold film by Lebanese director Raed Rafei

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Lebanese filmmaker, researcher, and academic Raed Rafei returns to his first city, Tripoli, after years being away. He reconnects with its people and attempts to rediscover it through the lens of his camera.

This return is not just a homecoming—it is also a journey back to the self, embodied in his latest film, “Tripoli, A Tale of Three Cities.” The film captures the director’s presence as he is carried by the wind to distant lands, only to be drawn back to his origins, intertwining his personal journey with the city and its inhabitants. His camera roams the bustling streets, alleyways, and cafés, approaching the city not as a stranger exploring an unfamiliar place but as a lover seeking to understand his beloved who sometimes withdraws and at other times embraces.

The film intimately delves into the lives of Tripoli's people, from ordinary residents to queer artists, revealing through their conversations and experiences how they navigate life amid immense economic and social crises, as well as their resilience in holding onto the fragile thread of existence.

Tripoli, A Tale of Three Cities, film by Lebanese director Raed Rafei

Tripoli, A Tale of Three Cities, film by Lebanese director Raed Rafei

In the film’s booklet, Rafei notes that he has always felt a sense of belonging to Tripoli, no matter how far he traveled or how long he stayed away. This sentiment is evident through his approach, in his conversations, and even during the film’s silences. He believes cinema allows him to articulate this belonging and its challenges without falling into the clichés and unrealistic narratives that often dominate portrayals of the Middle East.

Rafei’s latest documentary also explores the challenges faced by queer individuals in Tripoli’s traditionally conservative society. The film sheds light on the pressures queer people face in this environment, underscoring the importance of intellectual and gender diversity and advocating for the inclusion of marginalized communities as a means to enrich thought, society, and human relationships.

Director Raed Rafei discussing his film at the IDFA Festival

Director Raed Rafei discussing his film at the IDFA Festival

This was one of the key topics Rafei discussed during our conversation at the International Documentary Film Festival Amsterdam (IDFA) (November 14–24, 2024), one of the world’s most prestigious documentary film festivals. Held annually in Amsterdam, IDFA showcases a wide range of documentary films, from feature-length to short films, as well as works aimed at children and young audiences.

Rafei completed the filming and production of his documentary in Tripoli just as war erupted in Lebanon. As he finalized his film, he watched his homeland being ravaged by bombings and flames. At the start of our conversation, he spoke about the pain he felt when witnessing the destruction of Lebanon under Israeli fire.

That pain, which emerged at the end of September, was felt by Rafei, like all Lebanese people. He remembers asking himself: “Can we really celebrate an artistic event, film screening, or a concert while our country—its culture, its people, its beautiful architecture, and its nature—is being bombed and destroyed? Can art serve as a balm for such a deep wound? Can it offer even the slightest solace?”

Rafei began working on this film in 2018. It took him six years to find the cinematic form he felt would allow him to express his perspective and sense of belonging.

In our conversation after the screening in Amsterdam, Rafei spoke about the strange and complex emotions that accompanied him throughout the filmmaking process—emotions that oscillated between anger, confusion, joy, and pride.

Rafei reflected on how, at different stages of life, a person strives to discover themselves and their multiple identities while living in a society that seeks to "discipline" them. As a result, one must revolt against oneself and the painful memories of childhood—memories that he has long attempted to suppress. His return to Tripoli, as he explains, was an effort to confront these mixed emotions and to attempt to understand the city and its rigid structures.

Director Raed Rafei discussing his film at the IDFA Festival

Rafei speaking about his film at the IDFA festival

The feeling of belonging, despite differences, and the "curse" of the person who leaves his birthplace only to live elsewhere—even within the same country—never left Rafei, no matter where he resided. "Wherever I am, there is always a sense of incomplete belonging. But it is essential to always strengthen our connection with places where our memories reside."

Rafei believes that openly discussing taboo topics, as well as the issues and challenges they entail, can only be done by asking questions—questions that lead to better understanding. First and foremost, true freedom can only be achieved when one feels it within themselves. Only then can they pursue it as artists. He believes that the role of an artist and intellectual is to understand society, to pose difficult questions, and to create public discussions about certain issues. This is where the path to societal change and progress begins.

"We cannot be queer and free unless each of us—whether Palestinian, Sudanese, or belonging to any Arab identity, or whether queer or not—feels truly liberated. We must feel connected to one another and struggle for a different world, a world without injustice, where every individual fully enjoys their rights."

These rights should not be granted based on hierarchies or priorities; they are an inherent right to all humans, regardless of differences in race, color, or affiliation.

"Being queer does not mean we are different. The very idea that there is a ‘correct’ model is at the heart of the problem—because difference is what brings us together and creates a unique diversity," he says.

Rafei believes that “as a society, we live in a constant struggle between concepts tied to our authentic Arab heritage and those coming from the West. But in reality, we are a blend of both, and there is a great challenge in documenting the history of Arab queerness.”

For this reason, he sees the necessity of making dedicated efforts to examine this history through a modern lens. He argues that contemporary perspectives must be projected onto it because, naturally, the concept of queerness in the past was different—just as all concepts that humans have engaged with since the beginning of time have evolved over the years.

"We must recognize the evolution of queerness in order to continue this journey, a journey that may require redefinition and reform if we wish for it to persist, so that we can create an advanced Arab society—or societies—that embrace all diversities and differences."

Tripoli, Lebanon

Tripoli, Lebanon

"Queerness is ancient and has existed for a long time in history," Rafei points out. "It is part of nature and of sex, which is not solely about procreation and ensuring human survival. Sexual practices are also a fundamental human need, and we must free them from the constraints of what is deemed ‘natural’ or ‘unnatural.’”

When asked about the most impactful documentary films that have influenced him and that he recommends watching, Rafei mentions the documentary Love Meetings, in which the renowned Italian filmmaker and poet Pier Paolo Pasolini travels across Italy, asking people of different ages and genders about their views on homosexuality—the responses he receives are often shocking. He also highlights the works of Jocelyne Saab, who presents Beirut and its wars through a deeply personal lens, as well as Cameraperson by Kirsten Johnson, a docu-film composed of remarkable behind-the-scenes footage. Another key recommendation is The Gleaners and I (Les Glaneurs et la Glaneuse) by French director Agnès Varda, which features conversations with individuals from various social backgrounds in France.

Director Raed Rafei discussing his film at the IDFA Festival

Rafei speaking about his film at IDFA

The Lebanese director concludes our conversation with a message to the readers of Raseef22, reminding “individuals belonging to and living within Arab societies, [that] we must free ourselves from restraints when expressing who we are and speaking our truths without external pressures.

“We must also rise up against the systems and ideologies we reject in order to build a better society."