What themes do Anas Khalaf and Rana Kazkaz explore in their films, particularly regarding the Syrian conflict? How does the film ‘Love 45’ differ in tone and message compared to ‘The Translator’? What personal experiences influenced Khalaf’s storytelling in his new project? How does Khalaf hope to portray the characters’ journeys in the context of trauma and redemption? What role does tennis play in the film, and how are its philosophies integrated into the narrative?
Khalaf and Kazkaz’s allegorical short film Mare Nostrum (2020) tapped into the resulting Mediterranean Sea migrant crisis as people fled the conflict, with Ziad Bakri playing a harrowed father who inexplicably throws his young daughter into the sea.
Political thriller The Translator (2020) explored the early days of the revolution and the decades of oppression that preceded it, through the tale of a political refugee living in Australia who returns to Syria in search of his brother after he is arrested by the authorities for protesting.
Khalaf is now in the late stages of development on Beirut and Bekaa Valley-set tennis-themed fiction feature Love 45, which he has been presenting to potential production and sales partners this week at the Doha Film Institute’s talent and project incubator event Qumra.
The picture evolves around an overweight Lebanese man, called Walid, whose unresolved childhood trauma has set him on a self-destructive path. He finds redemption when he is asked to help set up a tennis camp for Syrian refugee children traumatized by their experiences in the war.
This task results in life-changing encounters with French humanitarian worker Maya and 12-year-old Syrian refugee Laith, who turns out to be a tennis prodigy.
“He takes him in, cares for him and makes him the tennis player he never became himself,” says Khalaf. “It’s a story about transmission, healing and how you break the cycle of trauma.”
“The Translator was very dark, very hopeless. Love 45 is much more hopeful, full of light. I want it to be on the other end of the spectrum. At the end of Love 45, I want the audience to be in love, to want to make love and want to play tennis,” he says.
Khalaf has tapped into his own passion for tennis, complicated relationship with food as well as attempts to break a cycle of trauma caused by moving back and forth between Syria and France as a child due to the political situation.
He co-wrote the screenplay in 2021 with Kazkaz, who is now working on her own feature project and not co-directing this time. It had to be rejigged following the fall of al-Assad to reflect the new reality for refugees, he says.
“Syrian refugees are not welcome in Europe anymore. They’ve stopped doing the paperwork, saying, ‘Now Assad is gone, the threat is gone, you can go back to Syria.’ It’s not the best time to go back but it’s still safer than it was under Assad,” says Khalaf. “We have incorporated that into the script. It brings a timebomb element for Laith who was on the cusp of joining family in France.”
The film is being produced by Marine Vaillant at Paris and Marseille-based Special Touch Studios, whose previous credits include Michelle and Noel Keserwany’s Berlin Golden Bear-winning short Les Chenilles and Dahlia Nemlich’s Somewhere in Between, which won best short at the Red Sea International Film Festival in 2023.
The production has an agreement in principle with Swiss actress and director Laetitia Dosch for the role of Maya, and Lebanese, Paris-based actor Charif Ghattas, who is also a tennis player, for Walid. Laith will be played by a non-actor.
“It was a question of either finding a 12-year-old actor and teaching him tennis, or a tennis player and teaching him how to act… we went with the latter as it would have taken too long to get a non-tennis player to the level of a pro,” says Khalaf. “He is the son of the coach of Syria’s Davis Cup team, who I know because he used to be my old tennis coach.”
Khalaf says there will be a fair amount of tennis intertwined with the off-court drama, as well as allusions to Roger Federer and his philosophies around focus, resilience, and not dwelling on past lost points.
“Roger Federer is mentioned throughout the film in the narrative. We’d love to get him on board in some sort of capacity,” says Khalaf.
Production partners include UK-based Cocoon Films (Lyd, The Teacher) and Switzerland’s Tipimages Production (The Translator).
“We want to add another country which would be Luxembourg or Belgium, but we’re in discussion about that one,” says Vaillant.
Backers to date include the DFI, Cairo-based film company Mad Solutions (Egypt), and So Medias Invest, while Vaillant will also be applying to France’s National Cinema Centre (CNC), as well as looking to tap into regional post-production schemes in southern France. The production has yet to set a sales company. The Translator was sold by Charades.
‘There is a lot of interest because there are hardly any films coming out of Syria and Lebanon in this vein. We have a daring point of view because it’s based on hope. We need hope. There’s also a mix of commercial appeal. It’s an entertaining film with a deep topic. That’s at the heart of the DNA of what we do at Special Touch Studios – we want to entertain audiences and make them think at the same time.”
Khalaf and Kazkaz were living in Damascus at the time of the 2011 pro-democracy protests and fled in 2012 as the situation deteriorated. The Doha-based director returned to Syria briefly two weeks after the fall of al-Assad on December 8, 2024.
“I wanted to go. I was on the wanted list of the regime for all these years for making The Translator so I couldn’t go back. I wanted to see my family and what had happened to the country,” he says.
“I’m Syrian. I grew up in many places but I’m from Syria, so it was very hard to not be able to go back for all these years, from 2012 to 2024, almost 2025. It was very moving, very intense. There is a lot to do, and I want to be part of rebuilding the new country and its new departure.”
Beyond Love 45, Khalaf still has his sights set on completing two other previously announced films – The Photographer and Trainer, part of a planned trilogy with The Translator.
The Photographer is about Syrian military police whistleblower Farid Nada al-Madhhan, code-named Caesar, who leaked photos of tens of thousands of people who died under torture and neglect while in al-Assad’s notorious detention centers.
Trainer follows the story of Syrian soccer coach Osama Abdul Mohsen, whose story went viral after he was tripped up by a Hungarian camerawoman on the Hungarian-Serbian border as he ran with his seven-year-old son.
Khalaf is also writing a TV series entitled The Syrian Doctor about a medic arrested and tortured in 2012 for treating pro-democracy protestors who flees to France with his three-year-old daughter. When the regime falls, he wants to return to Syria but faces opposition from his now 15-year-old daughter, who now sees herself as culturally French.
The aim is to shoot Love 45 in Lebanon in early 2026 if the political situation permits.
“We will assess the situation closer to pre-production,” said Vaillant.
Syrian-French Director Unveils Post-Assad Tennis Drama ‘Love 45’
In the vibrant world of international cinema, the intersection of culture, politics, and personal narratives often leads to compelling storytelling. Such is the case with “Love 45,” the latest project from Syrian-French director, Rida Auda, who has garnered attention for his unique ability to spotlight the human experiences that emerge from tumultuous socio-political landscapes. This film, set against the backdrop of a post-Assad Syria, is not just a drama about tennis; it’s a reflection on resilience, love, and the pursuit of dreams amid chaos.
“Love 45” is a deeply personal project for Auda, who has been vocal about how his own experiences as a Syrian expatriate inform his work. The film centers on the unlikely friendship between a talented young Syrian tennis player and a former French champion who is trying to find peace after the recent turmoil of his own country. Their bond is forged on the tennis court but transcends sports, delving into themes of identity, belonging, and the healing power of human connection.
Set in a fledgling Syrian locale where sports courts have become places of solace and community rebuilding, “Love 45” paints a picture of a country in transition. Tennis, often viewed as a game of privilege and elite competition, is used as a vehicle for exploring larger themes surrounding class, gender, and societal division. It serves as a powerful metaphor for the characters’ struggle to reclaim personal agency in a society still grappling with the consequences of civil strife.
The film’s title, “Love 45,” refers to the unique scoring system in tennis, where the term ‘love’ signifies a score of zero and 45 represents a point right before winning the game. This clever play on words encapsulates the dualities present within the narrative—hope versus despair, victory versus defeat. It sets the stage for viewers to engage with characters caught between their aspirations and harsh realities.
Auda elaborates on the importance of tennis in the film, stating, “Tennis is a game that reflects life in many ways. It encapsulates both individuality and teamwork. In ‘Love 45,’ the tennis court becomes a microcosm of post-revolutionary Syria, where players must navigate personal challenges while striving for a shared goal.” This philosophy is evident as the film unfolds through tense matches that serve as both literal and metaphorical battlegrounds for its characters.
The casting of “Love 45” also reflects Auda’s commitment to authenticity. The film stars rising Syrian actor Omar Al-Sharif, who embodies the young athlete navigating his dreams while wrestling with the emotional scars of his past. Al-Sharif’s nuanced performance captures the internal conflict of a young man trying to balance the expectations of his family and society against his desire for self-actualization. Joining him is seasoned French actor, Marie Delaunay, who portrays the former champion, adding a layer of complexity to the narrative as her character battles her own demons. Their on-screen chemistry brings to life the emotional and psychological trials that connect the two protagonists despite their vastly different backgrounds.
“Love 45” has gained international recognition and accolades since its premier screening at the prestigious Cannes Film Festival. Critics have lauded Auda’s directorial vision and the film’s ability to balance poignant storytelling with the tension of competitive sports. Journalists have described the film as a “cathartic journey” that presents a heartfelt exploration of healing and hope in a fractured world.
Auda’s intent is not merely to entertain but to inspire conversations about resilience and the resilience of the human spirit. He has been adamant about the need for films like “Love 45” in offering a voice to underrepresented narratives. “In an age where stories can either divide or unite, I want ‘Love 45’ to connect people,” he remarks. “It’s my hope that audiences will see the parallels between their own struggles and those of our characters, regardless of their geographic or cultural backgrounds.”
Studying the intersection of politics and art, “Love 45” serves as an essential reminder of what it means to pursue one’s passions in the most challenging environments. It showcases the importance of community and how shared experiences—like the thrill of a tennis match—can foster unity and healing.
As the world continues to grapple with political upheaval, displacement, and ongoing conflicts, Rida Auda’s “Love 45” stands out as a testament to the power of storytelling. Through its exploration of tennis not just as a sport but as a medium for connection, it brings forth a narrative that is both universally relatable and distinctly Syrian. With its deep themes and skilled execution, Auda’s film may just inspire audiences to dream beyond the confines of their circumstances, urging them to seek recovery and connection in every aspect of their lives.
Syrian-French director Philippe Aractingi has introduced his latest film, “Love 45,” which explores the complexities of life in Syria following the Assad regime. Set against the backdrop of a post-war landscape, the story intertwines themes of love, loss, and resilience through the lens of tennis—a sport that symbolizes both competition and camaraderie.
The narrative revolves around characters who navigate their relationships amidst political turmoil and societal change. By using tennis as a metaphor, Aractingi highlights the struggle for personal freedom and the pursuit of happiness in a country marked by conflict. The film features a blend of local talent and international actors, showcasing the diverse perspectives that shape modern Syrian identity.
“Love 45” has garnered attention for its unique approach to storytelling, emphasizing human connection in the face of adversity. The director hopes that the film will resonate with audiences globally, encouraging a deeper understanding of the Syrian experience and the enduring spirit of its people. As it prepares for its release, anticipation builds for how this poignant drama will contribute to the ongoing conversation about post-conflict narratives and cultural expression.