Watching Sara Fattahi’s films is reminiscent of the experience of reading the stories of Gabriel García Márquez, the Colombian novelist known for his multi-generational family tales told through a magical realist lens. Sara’s films are intimately told narrative accounts from inside the households of her female relatives and female friends. The penetrating shots and closely-lensed framing of the faces of Sara’s subjects—all women—and the daily household rituals of making Turkish coffee, smoking, talking, praying, and watching soap operas, present a circumscribed, mundane existence residing side by side with the world of Sara’s imagination. Hallucinatory aspects of shock and displacement take hold. The once-familiar surroundings of her native city of Damascus are under siege and memories from the past and present collapse against one another.

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