Award-winning Syrian filmmaker Waad Al-Kateab says ‘chapter of Assad has finished’

Syrian filmmaker Waad Al-Kateab with her husband Hamza Al-Kateab and daughter Sama Al-Kateab at the 92nd Oscars in 2020. (AFP)
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Updated 12 December 2024
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Award-winning Syrian filmmaker Waad Al-Kateab says ‘chapter of Assad has finished’

DUBAI: Waad Al-Kateab, activist and award-winning Syrian director of the film, “For Sama,” has spoken out since the fall of former Syrian President Bashar Assad.

“The past couple of days have been so emotional for me and so many other Syrians,” Al-Kateab said in an Instagram post.

She continued: “We carry a pain bigger than this world, and because of our trauma, we don’t know how to celebrate, and we cannot believe that tomorrow might really hold something better.

“Today, there’s a huge joy but it doesn’t feel real.”

Her film, “For Sama,” won several awards at the BAFTA and British Independent Film Awards and was nominated at multiple prestigious international film festivals including the Oscars.

The film documents her family life in Aleppo over five years, including her marriage and the birth of her first child, Sama, who the film is named after.

“The greatest heartbreak of my life is that I can’t take my daughters to live in or even visit the place where they should belong to; the place where they should grow up,” Al-Kateab said.

“For Sama” was a “promise to myself and my daughters that I will never forget Aleppo.”

In 2016, Al-Kateab and her husband fled to the UK.

She said: “Before we left, we said goodbye to everything. We left our hearts and moved forward, terrified that we might not even make it out.”

The collapse of Assad’s regime is a monumental event for many Syrians living abroad.

Al-Kateab has been disconnected from her family in Syria because contacting them could put them at risk, but now she looks forward to visiting her home country, she told The Times.

She said: “This was the first time I called my auntie (and) uncle. I managed to talk to my cousins, who were five or six years old when I left, and now they are teenagers.

“We are waiting to get British citizenship — without the British passport I won’t be able to travel for that.”

Looking forward, Al-Kateab added: “The chapter of Assad has finished and I don’t want anything for his system or mentality or rules to be taken with us to the next chapter.”

She called for foreign powers to leave Syria saying: “I really hope to see the minimizing of outside intervention.”

Al-Kateab also appealed to the international community to implement a no-fly zone to protect civilians.

“Everyone who has different fears agrees that the biggest risk and the threat is coming from the sky — the Syrian and Russian airstrike attacks. And for that, the international community needs to prioritize protecting civilians from such attacks,” she said on Instagram.

Al-Kateab’s other work includes “We Dare to Dream” and “Death Without Mercy”.


Paris exhibition marks 200 years of Le Figaro and the enduring power of the press

Updated 17 January 2026
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Paris exhibition marks 200 years of Le Figaro and the enduring power of the press

  • The exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive

PARIS: One of France’s most influential newspapers marked a major milestone this month with a landmark exhibition beneath the soaring glass nave of the Grand Palais, tracing two centuries of journalism, literature and political debate.
Titled 1826–2026: 200 years of freedom, the exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive. Held over three days in mid-January, the free exhibition drew large crowds eager to explore how the title has both chronicled and shaped modern French history.
More than 300 original items were displayed, including historic front pages, photographs, illustrations and handwritten manuscripts. Together, they charted Le Figaro’s evolution from a 19th-century satirical publication into a leading national daily, reflecting eras of revolution, war, cultural change and technological disruption.
The exhibition unfolded across a series of thematic spaces, guiding visitors through defining moments in the paper’s past — from its literary golden age to its role in political debate and its transition into the digital era. Particular attention was paid to the newspaper’s long association with prominent writers and intellectuals, underscoring the close relationship between journalism and cultural life in France.
Beyond the displays, the program extended into live journalism. Public editorial meetings, panel discussions and film screenings invited audiences to engage directly with editors, writers and media figures, turning the exhibition into a forum for debate about the future of the press and freedom of expression.
Hosted at the Grand Palais, the setting itself reinforced the exhibition’s ambition: to place journalism firmly within the country’s cultural heritage. While the exhibition has now concluded, the bicentennial celebrations continue through special publications and broadcasts, reaffirming Le Figaro’s place in France’s public life — and the enduring relevance of a free and questioning press in an age of rapid change.