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319 Ratings

Silvered Water, Syria Self-Portrait

Ma'a al-Fidda

France, Syrian Arab Republic, 2014
  • Arabic
  • English


A look at first-hand video accounts of violence in modern-day Syria as filmed by activists in the besieged city of Homs.
Warning: Graphic Content

Our take

“1001 images of Syria, shot by 1001 Syrians,” says Mohammed, an exile in Paris following the traces of his country’s war found online. Later, Kurdish director Wiam Simav Bedirxan sends him footage from Homs. An immensely powerful and moving correspondence between exile and home, images and reality.

Silvered Water, Syria Self-Portrait Directed by Ossama Mohammed, Wiam Bedirxan
It very nearly feels like it needs to be seen in pieces, because of the density and extremity of what it records: images of rubble, torture, and death during the Syrian conflict, sometimes meditative and mournful, other times bare and brutal in their depictions of suffering. And—fair warning—if it’s Marker-esque in contemplative outlook, the cats here are in dire shape. Made before today’s rising tide of Syria docs, it has a first-responder unfiltered rawness that is perhaps too much to bear.
March 03, 2017
One of the most essential documentaries of the last few years, Ossama Mohammed and Wiam Simav Bedirxan’s aggressively personal Silvered Water, Syria Self-Portrait stands out for its raw directness and pained indirectness.
March 03, 2017
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Simav is the film’s heart and heroic soul; her courage is palpable and eye opening. But it’s Mohammed’s impressionistic, self-referential structure that allows the film’s central theme: in a world where comfortable Paris (where the filmmaker was exiled) and bombed-out, desperate Syria can somehow co-exist, there is extreme difficulty in making a movie about war and irreconcilable loss. This struggle and need to create amidst the ruins and self-doubt defines us as human beings.
January 09, 2015
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