Exclusive Interview: Elias Matar (What Is Buried Must Remain)

Exclusive Interview: Elias Matar (What Is Buried Must Remain)

What was the first film that you saw that made you want to get into filmmaking and how did you go from film fan to filmmaker?

I was born in California but raised in Syria. The flickering images at my local theater provided an escape from the harsh realities of my daily life. Hong Kong action flicks, French New Wave, Russian dramas, and the Spaghetti Westerns of Sergio Leone would all come to inspire my work.

In 1973 during the six-day war, my dad gave me a Russian 8mm camera and a roll of film. Naturally, I filmed everyday life in Syria at the time, which was the war. I developed the film and kept watching it with family and friends. However, having footage of the tanks and military personnel didn’t sit well with local authorities and my film was confiscated by the secret service. I was nine.

Fast forward 25 years and my first claim to fame was the short film CHINGASO THE CLOWN, an explosive mix of color and sound, where badass Clowns rule the streets with an iron fist, while their mortal enemies, the Mimes, silently stalk the shadows with murderous intent.

You have worked on various different genre of film, what is your favourite genre of film to work on and why?

I’m not sure if I have a favorite genre, but I tend to write and direct horror and psychological thrillers more often than not. I guess that says something about my preference.

Later this year VIPCO and BayView Entertainment will be releasing your latest film WHAT IS BURIED MUST REMAIN (2022). Without giving away too much of the film what can you tell us about it to intrigue movie fans?

I would urge the audience to pay attention to subtle changes in camera movements and sounds. It’s all been laid out very meticulously, first in the script and then in the execution for a specific effect. Also, the foundation of the film is based on true historical events that took place in the region. Of course, we embellished it for our purpose. And finally, every actor in the film is a Syrian refugee currently living in Lebanon.

What separates WHAT IS BURIED MUST REMAIN (2022) from other horror films?

First off, it’s an Arabic horror flick. This is something that hardly exists in cinema today. It also takes a new approach to the sub-genre of found footage movies. Judging reactions at film festivals and screenings, WHAT IS BURIED MUST REMAIN does something that the audience doesn’t expect and by the time they figure out the twist, the movie is over.

What for you is the biggest difference between working on a feature film and a short film?

This might seem obvious, but to me the advantage of a short film is the time that it takes from concept to completion. Also, it’s easier to keep the audience engaged with a shorter run-time. The advantage of a feature is, of course, the ability to tell a bigger story with a broader vision.

As a filmmaker you are tasked with many potential challenges not just on set but throughout the whole filmmaking journey. What for you is the biggest challenge?

I think the biggest challenge for me was the actual production. We were shooting during COVID, with an economic meltdown in Lebanon, including riots and civil disorder. It was hard to even get to the sets some days. Another problem was that we were using Syrian refugees as both actors and crew as well as local professional filmmakers neither had ever worked together before, and it definitely caused some friction on set. But I think that is also what made WHAT IS BURIED MUST REMAIN so special. At the end of the day, it deepened the understanding of each other, and friendships were made that would have otherwise been impossible.

What would you say is your dream project that you have created or perhaps is still waiting to happen?

My dream project is the feature film version of CHINGASO THE CLOWN. This project, it’s been in development for 20 years. The script is written. It expands the world and the characters from the short film and the original comic. It’s a juggernaut. I want to make it before I get too old to ride in a clown car.

What are your Top 3 horror films and 3 other genre films from any decade?

For horror, I’ll go with the infinitely watchable 28 Days later, Alien and Jacob’s Ladder.

As to other genre’s, that’s tough, but let’s go with the masterful Miller’s Crossing, Pan’s Labyrinth, Winter’s Bone.

For any budding filmmakers out there, what is the best piece of advice that you could give them?

Make the movie that speaks to you. Don’t compromise your vision. Don’t wait for someone else’s permission to make your movie. Listening to your cast and crew and glean what magic they might bring to your vision.

Finally, what film projects do you have coming up that you can tell us about?

The next two films in pre-production are The Latin Lords, a contained horror script, where a Latino gang takes on an ancient monster beneath the streets of Detroit. And Amani, a creepy thriller about a young woman in an abusive relationship, who looks to the dark arts for a remedy. I’m not sure which one will be first, but I’m looking forward to working on both.