Shot in Jordan and Saudi Arabia, the film faced some major challenges not only due to the U.S.-Iran conflict but also due to pushback against a feel-good family film from the region In making “Jo of Montreal,” Ameen Nayfeh, director of the award-winning Palestinian drama “200 Meters,” embarked on a very different kind of project than his debut feature, namely a feel-good family film that kids could enjoy. After forming an unlikely bond with a Abu Khalil (Kamel El Basha), a retired teacher-turned-shepherd, however, he rediscovers his roots and develops a passion for the community’s ancient heritage and its famous crusader-era castle known as Montreal. While Nayfeh has had the idea for years, it wasn’t until he made “200 Meters,” about a Palestinian family separated by the wall dividing Israel from the Occupied Territories, that he felt the need to tell a story that would also appeal to younger viewers.
His two young nieces appeared in “200 Meters” and were eager to watch it when it was completed, but it’s not exactly a film for children, Nayfeh noted, adding that he found it difficult to recommend films they could watch on their own. That’s where I saw a great potential to tell a story from that region,” he adds. The film follows young Yusuf as he arrives in Shoubak feeling disconnected from his homeland and absorbed by his screen.
A village rivalry leaves him stranded in the mountains, where Abu Khalil and his wife, Fatima, take him in. As Yusuf helps Abu Khalil with his historical reenactment and builds his public profile through social media, the three become an improvised family. When a development scheme threatens Abu Khalil’s home and the old village, Yusuf brings together his former rivals to protect Montreal’s heritage.
Described as “‘Theeb’ meets ‘The Karate Kid’ — but with no karate,” the adventurous coming-of-age story is built around mentorship, belonging and the imagination of a young Arab boy. Nayfeh approached producer Bassam Alasad of Dubai-based Creative Media Solutions (CMS) with the project and he happily agreed. I should only make films about Palestine.
That was told to us, to both of us as a team, in my face. And we heard from friends, from juries and decision makers: ‘What is Ameen mean trying to do? Why is he telling this story?’” Nayfeh did struggle with the question in the aftermath of Israel’s war on Gaza, however.
And that was a very difficult time,” he says. Should I continue with telling the story or not? But we wanted to make a feel-good film.
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