“Home of Gods,” a Matchbox Photos six-part sequence, boasting a completely Arab Australian forged, presents a perspective seldom seen on display screen, a Muslim neighborhood in Fairfield, Australia. 

“You may’t manufacture authenticity. Audiences are so intuitive and adept, they will odor if one thing is off a mile away. So for us, having actors who understood the idiosyncrasies of Arab/Muslim tradition added an intangible layer of soul to the present,” defined Osamah Sami, co-creator and one of many stars of the present. 

“We each have been raised in a non secular setting the place tradition, traditions and religious beliefs govern each day lives. Immigration typically reinforces our need to cling on to our motherland customs even tighter” Shahin Shafaei co-creator shared with Selection. “As storytellers, we have now each beforehand highlighted the lived experiences of our neighborhood in movie and theater. However with ‘Home of Gods’ we discovered a possibility to discover this “dwelling organism” which is the neighborhood in a deeper approach. ”

Osamah Sami’s childhood was marked by displacement in Iran amidst the Iran-Iraq battle, a story he later recounted in his award-winning novel, “Good Muslim Boy.” 

Equally, Shahin Shafaei’s artistic expression together with his play in Iran led to dire penalties, forcing him to flee. His perilous journey to Australia culminated in a prolonged detention, together with a big interval in solitary confinement, after being intercepted at Ashmore Reef.

The narrative of “Home of Gods” begins deep in suburban Fairfield, with an electoral contest for head cleric of the native mosque. It’s a duel between the progressive Sheikh Mohammad, portrayed by the magnetic Kamel El Basha, and the conservative Seyyed Shaaker (Simon Elrahi). A contentious {photograph} threatens Sheikh Mohammad’s marketing campaign, but he secures a slim 4-3 victory, a win corruptedly secured by his son, Isa (Osamah Sami), by means of vote manipulation—a naive cope with penalties.

The sequence casts a wealthy portrayal of the neighborhood, too typically overly simplified on display screen. “For a very long time now, Muslims have been talked about however are not often heard or listened to. ‘Home of Gods’ is a narrative in regards to the internal workings of a neighborhood by no means seen on this approach; and the hope, God-willing, is that diasporic communities will lastly really feel seen in all their colours.” Sami says. 

“This isn’t a sanitized portrayal of Muslims, neither is it a narrative meant to feed offensive stereotypes. It’s an genuine depiction of a neighborhood, which I genuinely consider is relatable to anybody. Love, betrayal, and a way of responsibility to at least one’s household are common human experiences in any case.” 

A very putting and contemporary facet of “Home of Gods” is its deal with feminine Muslim experiences, with Maia Abbas as Batul the assured and assertive daughter of Sheik Mohammad. “These are the ladies we all know, love and grew up with. We’re simply highlighting the very important function they play in our neighborhood.” says Shahin. 

Osamah Sami agrees: “They helped us with our schoolwork, answered our foolish questions, cuddled us once we have been afraid. Sadly, the narrative we frequently digest about Muslim or Arab ladies is certainly one of oppression and voicelessness. However ladies in our societies are lionesses. And it was our responsibility to showcase this reality. Additionally, how superior is it to see uniquely particular person ladies in hijabs kick ass on display screen?”

There’s an overarching theme of coexistence embedded right here, “We will respect others’ tradition with out adopting them. We may be pleased with our new residence however nonetheless pleased with who we’re,” Kamel El Basha’s character preaches at one level in his bid for management.

“We needed to say, sure, we could come from totally different locations and have totally different customs or cultures, however why not rejoice these variations? Why select to see them as thorns pricking at our personal identities?” Sami says.

With initiatives corresponding to Emmy winner “Protected Harbour,” and Cate Blanchett starrer “Stateless,” Matchbox Photos has constantly aimed to raise Australian manufacturing to enchantment internationally. 

“Producing reveals from views and voices not often represented is a part of the Matchbox Photos DNA.” Debbie Lee, govt producer and director of scripted at Matchbox Photos, informed Selection including “We’re so pleased with ‘Home of Gods’ as a chief instance of introducing audiences to an unfamiliar world from the within—a world with advanced, particular, and relatable characters. I genuinely consider that the extra particular you make one thing, the extra common it turns into, and completely suppose it’s what makes a present like this globally interesting. Telling these tales is significant, however with out the help of our companions on the ABC in Australia, ‘Home of Gods’ merely wouldn’t have been potential.”

Shahin sums up “Home of Gods” as “finally a household drama that occurs to be set in a Mosque. It’s an entertaining present crammed with sophisticated household dynamics, energy struggles, and office conflicts. It’s all this stuff, and an exploration into the cultural nuances of a neighborhood attempting to name a brand new nation residence.” 

It has its worldwide premiere at France’s Collection Mania this week, having not too long ago broadcast on ABC Australia. With Matchbox Photos being a part of Common Worldwide Studios, a division of Common Studio Group, worldwide gross sales are dealt with by NBCUniversal World TV Distribution.