“Learning to prioritize elements—guided by a critical perspective—adds more weight and depth to your film.”
Maisam Kaanan, a graduate of İstinye University's Communication Faculty, Department of Radio, Television, and Cinema, has had his film Sacred Hole selected for the "Official Selection" at the 12th International Silk Road Film Festival in Istanbul, the First-Time Filmmaker Sessions London in the United Kingdom, the Barbados Independent Film Festival, and the Metropolis Film Festival Milan. We conducted an interview with our student, who has achieved significant success with his meaningful film.
- What was your main motivation and vision while creating Sacred Hole?
Initially, I was preparing for my graduation project and had many ideas in mind. However, what I learned from experienced professionals was that the best choice comes from listening to your inner voice and current emotions, as that creates an authentic film. Given the ongoing war in Gaza, my constant following of the news, and my identity as a Palestinian, the decision to pursue this project became inevitable. My main goal was to craft a non-documentary narrative capable of provoking critical questions and addressing crucial issues relevant to this moment in history.
- The title of the film is striking and thought-provoking. Can you tell us about the meaning of this title for you?
Yes, I love the film's title very much, even though I wasn’t the one who came up with it. Interestingly, it was suggested by someone outside the production team who, upon understanding the film’s philosophy and concept, offered a title that perfectly encapsulated the story. For me, it holds multiple meanings. Firstly, the term "sacred" is closely connected to the holy land of Palestine. Secondly, it symbolizes the "hole" as a place of death and the sanctity of souls. The title elegantly weaves together the themes explored in the film.
- As a Palestinian student, how have you been affected by the ongoing war process, and how has it shaped your worldview and perspective as a communications student?
It has been an incredibly challenging personal experience. As a Palestinian, your awareness and identity are continuously shaped by the ongoing cycle of war in its various forms—not necessarily confined to armed conflict. This shapes your understanding of the world.
However, this war felt different for me on a personal level, as I was more mature, aware, and capable of analyzing and understanding the situation. What struck me most was the blatant bias in Western media against our just cause, the suppression of truths, and the deliberate attempt to frame this war as if it had no historical roots in violence. Through my studies in media, I began to recognize and fight against these distortions early on. The film became a part of my response to the narrative the media seeks to impose.
- The symbolic language in the film creates a powerful and captivating visual narrative. What does it mean to you that the characters who kill and are killed awaken within the same "Sacred Hole" in the film?
It was crucial to place the characters in similar positions—both competing for the same land but coming from different backgrounds and ideologies. Equally important was highlighting their similarities, such as being of the same age and bearing similar physical characteristics, as well as having comparable, albeit different, backgrounds. This reflects a harsh reality: young soldiers, often in their early twenties, are too young to fully understand the world and are trained to follow orders without question. Ultimately, the strongest symbol of human similarity is the grave or death itself. This parallel drives the film into challenging territories of debate and provokes challenging questions about the issue at hand.
- How has your educational experience at İstinye University contributed to the creation of Sacred Hole?
One of the standout features of studying at İstinye University is the tradition of producing a film project at the end of each semester or year. This process encourages growth and fosters a healthy sense of competition as students observe and learn from each other. The continuous feedback and monitoring from the screenplay stage to the final screening ensures that each project is better and more refined than the last. Personally, what impacted me most was how the courses taught me to view films differently. I started appreciating ideas and symbols with greater clarity and depth, which directly influenced the creative process behind Sacred Hole.
- Are there any specific details in the visual and artistic language of the film that you would like the audience to notice? If so, can you elaborate?
There are numerous intriguing details embedded in almost every scene. For instance, the opening of the film features a depiction of my hometown, Majd al-Krum, under bombardment. This choice was far from random and carried significant meaning. First, the town’s high population density relative to its small area mirrors the situation of many Palestinian villages under occupation and, more broadly, that of Gaza. Geographically, Majd al-Krum once encompassed vast green lands that were gradually taken by the occupation, leaving it a small, overcrowded area. This comparison underscores the idea that war is not just about weapons; it’s an ongoing process that has persisted for a long time.
Another notable detail lies in the contrast between the characters’ sizes and equipment. For example, in the chase scene, when the protagonist lifts a stone while hiding, it encapsulates the stark disparity in resources and power in this conflict. The stone, deeply symbolic in Palestinian culture, speaks volumes about resilience and struggle.
The well, which becomes more apparent later as a metaphor for the grave, also carries profound symbolism. The final scene, in particular, reflects my personal attempt to imagine how one perceives the world after death and within what temporal dimension—a purely imaginative perspective of mine.
- How does it feel to have Sacred Hole showcased at international film festivals?
It’s a strange yet beautiful feeling, akin to receiving recognition for your effort and validation of your talent. It’s incredible to think that professionals who don’t know you and don’t speak your language can connect with you through your film, understand its message, and support it by selecting and showcasing it. Festivals offer a wonderful opportunity to open doors for discussions with other filmmakers and to gain valuable insights from their feedback. I’ve learned a great deal from these conversations, and the journey continues, as we still have screenings ahead.
- How does Sacred Hole reflect your growth as a filmmaker?
To be honest, I wasn’t initially interested in studying cinema within an academic framework; I preferred a more hands-on workshop approach. However, university education offers a deeper kind of awareness and cultural depth. It teaches you to see through the eyes of a critic, which, in turn, helps you craft your film more thoughtfully. I believe Sacred Hole is a product of this academic shaping. When you’re younger, you tend to focus on visually impressing the audience with vibrant shots, colors, and fast-paced editing. But learning to prioritize elements—guided by a critical perspective—adds more weight and depth to your film.
- Have you received any feedback from audiences or critics that surprised you?
Yes, during the London Film Festival, which spanned over a week, nominated filmmakers had the chance to engage in discussions. My film sparked extensive conversations due to its relevance to current events, and I was delighted by this. It felt like the mission I set out to accomplish had been successfully achieved. One memorable moment was when an African filmmaker wrote, “I want to tell my story in such a captivating way.” It was inspiring and deeply rewarding to see how the film resonated with others.
- What’s next for you on your journey? Are you currently working on any new projects?
Our festival journey is far from over, with many events lined up for 2025. The most immediate one is in Istanbul, where we’ve recently been nominated for a festival taking place from December 13–16. There’s also a possibility of future nominations, as the results so far have been remarkable.
As for new projects, I am currently working on a story for a feature film, collaborating with the same team from Sacred Hole alongside more experienced professionals. Participating in festivals has not only broadened my network but also attracted seasoned individuals eager to work together.
While I initially had several plans, my experience with festivals has prompted me to reassess some of them. I feel like I now better understand the system and patterns within these events, which will influence how I approach filmmaking moving forward. My aim is to always create something better than the last, and I am now focusing on a longer film— one with a story that justifies its length. My team and I are currently exploring how to bring this vision to life.
- Thank you so much for sincerely sharing this inspiring journey with us. Your insights will surely inspire our readers as well. As the İstinye University family, we wish you continued success.
Thank you.
