On 23 April, 2025 OMCT made public this interview with Armel Niyongere, exiled Burundian lawyer and Secretary General of SOS-Torture Burundi, a member of the World Organization Against Torture (OMCT) SOS-Torture network. He continues to denounce human rights violations in his home country. Despite 10 years of threats and intimidation from the authorities, Mr. Niyongere continues his fight to promote and protect human rights. In this interview he talks about the difficulties of exile, the challenges facing those who defend human rights, and the role of the international community.
Born in Damascus, Syria, Lina is a filmmaker, journalist, and human rights defender, who in 2011 decided to pick up her camera and start filming, without a plan, but with the knowledge that she has a story to tell. What ensued are five years of conflict, arbitrary arrests, as well as torture and ill-treatment in detention, but also of hope that things would get better, despite a veto. Five Seasons of Revolution was recently screened at the International Film Festival and Forum on Human Rights in Geneva, in an event co-hosted by OMCT, partner of the festival. In this interview, Lina tells us more about her process and the challenges she encountered in the making of the film, as well as her hopes for the future of Syria.
What made you decide to start filming?
We started shooting in the summer of 2011, and a lot was already happening in Syria, but it was not clear how things were going to go. I was optimistic, thinking it would be over in six months, maybe a year, with a release within two years. It took 12 years.
It took more than five years of filming, and then many more to edit, because the country hadn’t stabilised, and the characters’ decision to participate in the film shifted with every new development, for their own safety. We had to go back, take characters out, then put them back in, and make amendments to the storyline. But it wasn’t all negative. During this time, deepfake technology improved and gave us a solution for the anonymity issue of some of the characters who chose to stay in Syria in a way that is safe and does not interfere with the visual narrative.
What was the most challenging part about the filming process?
Not knowing where it’s heading. As a filmmaker, you have, even in documentaries, a rough script, or an idea of where you are heading, but we couldn’t. It was like surfing, we just had to keep up with weird twists and turns. At some point, there were so many arrests in the group that I was filming, the characters just kept going in and out of jail, and at any given moment, we would lose one of them. I was arrested several times and the rest of the film crew had to come up with plan Bs for ‘what if we lose the director, who also happens to be the camera person and the sole contact to all the other characters, how do we finish the film?’ There was even one editing session that was held in my absence because I was detained, and they didn’t know when I would be released. It was really challenging.
What was the most challenging part about having to change your identity several times throughout filming?
It was very confusing, but it was also very necessary. In order to make it work, you have to internalise it to a certain extent, which was challenging. This confuses your relationships with the people you’re working with, with the people you’re socialising with, with the people that trust you, despite only knowing your fake name. Very strong bonds are formed under extremely difficult conditions and something always felt wrong about not being able to be fully honest with people. it also created these compartments of who I am because different parts of me had different names in different places… and they didn’t always get along. Walking out of it was also a challenge. Normalising being one person and only using one name, only answering to one name. It was quite a journey.
Towards the end of the documentary, you talk about your experience with your arrest. Did what you experienced in custody change your approach to the film, or your activism?
I did not encounter anything during my arrest that I did not previously know exists and happens. What was detrimental was the repetition of detentions because you know you might get away with it once, maybe twice, if you’re lucky three times. But when I was released for the third time, I realised I did not know anybody that survived a fourth arrest. I felt like a cat with seven lives and I was really running out of them. I think this affected not only my decision-making in the film, but decision-making in my life in general, which obviously had consequences.
What are three things you hope people remember after watching your film?
Number one is that simplistic reductionist scenarios of war into black and white, good and bad are never true. Number two is that nobody has a blueprint for what to do in these cases. People improvise, people try to find solutions on the spot under pressure, and these are not always ideal. But also, people can be much braver than they think, because at the end of the day we are survivors, all of us, and there is a lot more to us than we sometimes give ourselves credit for. And number three, friendship is really important.
You are a filmmaker, but also a human rights defender. What are your hopes now for Syria and its people?
I hope people will be able to recover. I hope people will be given a break, given a chance to process everything they went through, given a bit of time to find a way out of this gigantic mess. It will take generations to rebuild the country. I understand that people have endured so much for so long that they cannot take one more day of it, so there is understandably also a lot of emotions. I just hope that we have the ability to open our hearts a bit more, understand each other a bit more and that people will in return give us the chance to process everything….
Comedian Noam Shuster-Eliassi speaks at the Thessaloniki International Documentary Festival awards. Looking on (in striped sweater) is ‘Coexistence, My Ass!’ director Amber Fares. Matthew Carey
Shuster-Eliassi attended the awards ceremony in the Greek port city, along with director Amber Fares and fellow members of the production. The comedian, whose one-woman show became the basis for the documentary, acknowledged her parents who were on hand for the event.
“My first political teacher, my father, is up there [in the balcony]. The first memory I have of my father is him going in and out of Israeli military prison for refusing to serve in the occupied Palestinian Territories,” Shuster-Eliassi noted. “Our activism and how we demonstrate equality, and freedom, and liberation is not just in one protest or one activity or one thing or one joke. It’s demonstrating what we envision the alternative is with your body, with your languages… using our privilege to make sure that my Palestinian friends will be free.”
“Two weeks ago, a Palestinian comedian, a colleague of mine, made jokes in Israel and the police showed up in at his home and took him and arrested him for telling jokes,” Shuster-Eliassi said. “And I’m here because there is still a little crack of freedom of speech that I get because of my privilege as an Israeli Jew.”
On a more humorous note, Shuster-Eliassi also brought up the president of Ukraine, Volodymyr Zelenskyy. “When I changed from political activism into comedy, it was because I heard that in The Ukraine, a Jewish comedian wrote a sitcom about becoming the president and he became the president!” she said. “So, I thought if I want to take my political career seriously, I need to start writing jokes because I know that when you’re laughing, you’re listening.”
Winning the Golden Alexander automatically qualifies Coexistence, My Ass! for consideration as Best Documentary Feature at the Academy Awards. In addition to the Golden Alexander, Fares’s film also won the Human Rights in Motion Award, presented by the Council of Europe.
While in Geneva the 23rd FIFDH announced its winners:
The documentary The Brink of Dreams by Nada Riyadh and Ayman El Amir and the crime-drama Santosh by Sandhya Suri have received the Grand Prizes at the Geneva-based human rights gathering
The Brink of Dreams by Nada Riyadh and Ayman El Amir (left) and Santosh by Sandhya Suri
The 23rd Geneva International Film Festival and Forum on Human Rights (FIFDH) has concluded its 7-16 March run, drawing in over 31,000 attendees and hosting experts to dissect current affairs, move beyond shock and inspire collective action. Showcasing global films that highlight human rights, the festival reaffirmed its status as a key event for audiences and professionals alike, fostering dialogue on pressing geopolitical and social challenges.
At the closing ceremony, Laila Alonso Huarte and Laura Longobardi, the festival’s co-editorial directors, mentioned: “We’re proud to see that the winning films are not only powerful and innovative in cinematic terms, but also warrant international support given the filmmakers’ commitment to and courage in confronting the many social, political and economic challenges in their countries.”
In the International Documentary Competition, the jury awarded the Geneva Grand Prix, valued at CHF 10,000 (€10,300) and sponsored by the city of Geneva, to The Brink of Dreams [+] by Nada Riyadh and Ayman El Amir. Highlighting their decision, the jury stated, “This poignant film follows the aspirations of five young Egyptian women seeking freedom – a freedom threatened by traditions and restrictions imposed in their village. Rich in cinematic creativity, it tackles sensitive issues such as forced marriage and sexual harassment, exposing how women’s rights remain precarious in the region.”
Here is the full list of award winners at the 23rd FIFDH:
International Documentary Competition
Geneva Grand Prix The Brink of Dreams [+] – Nada Riyadh, Ayman El Amir (Egypt/France/Denmark/Qatar/Saudi Arabia)
FIFDH Gilda Vieira de Mello Prize Khartoum [+] – Anas Saeed, Rawia Alhag, Ibrahim Snoopy Ahmad, Timeea Mohamed Ahmed, Phil Cox (Sudan/UK/Germany/Qatar)
Fiction Grand Award Santosh [+] – Sandhya Suri (UK/Germany/France/India) Special Mentions Cosmos – Germinal Roaux (Switzerland/France/Mexico) Sugar Island [+] – Johanné Gómez Terrero (Dominican Republic/Spain)
Youth Jury Prize – Fiction In the Land of Brothers [+] – Raha Amirfazli, Alireza Ghasemi (Iran/France/Netherlands)
Focus Competition
Vision for Human Rights Award There Is Another Way – Stephen Apkon (USA/Palestine/Israel)
Special Jury – In Hospitals/Convergences Award Flying Hands [+] – Paula Iglesias, Marta Gómez (Spain)
Special Jury – In Correctional Facilities/La Brenaz Jury Award Life Is Beautiful [+] – Mohamed Jabaly (Norway/Palestine)
Champ-Dollon Jury Award Riverboom – Claude Baechtold (Switzerland)
A screening of the feature documentary “Dissidents” will take place on Sunday, Feb. 2, 2025, at 2:00 p.m. EST. The event location is Firehouse Cinema, 87 Lafayette Street, New York. “Dissidents” tells the story of three Chinese dissidents who continue to fight for democracy against the Chinese Communist Party (CCP) through art, protest, and grassroots organizing despite being exiled from their own home and despite the CCP’s transnational attempts to threaten them with violence, criminal charges, and arson. The film features Juntao Wang, a primary organizer of the 1989 Tiananmen Square protests; Weiming Chen, a human rights artist whose sculpture criticizing Xi Jinping was burnt down; and asylum seeker Chunyan Wang, who was arrested for attempting to deliver a petition letter to Chinese vice premiers during the US-China trade talks.
After the film, there will be a panel discussion featuring: Yaqiu Wang, research director for China, Hong Kong, and Taiwan at Freedom House Joey Siu, Hong Kong activist and executive council member at the World Liberty Congress Weiming Chen, human rights artist known for the Liberty Sculpture Park in CaliforniaYi Chen, director of “Dissidents” at C35 FilmsPema Doma, Executive Director, Students For a Free Tibet The event is free and open to the public, but registration is required. Please be sure to RSVP on Eventbrite as soon as possible, as reservations are granted on a first come, first serve basis.
on 31 December 2024 the UN Human Rights Podcast showcases the stories of five of the members of the Youth Advisory Board. The board is made up of young people who work on issues that mobilize and empower others to stand up for human rights. The Board is in partnership with Education Above All and Silatech, to empower young people, especially those in conflict and vulnerable situations.
Jalal Abukhater works as an advocacy manager for 7amleh, a digital rights and human rights organisation based in Palestine.
He spoke to ISHR about what drove him to take action for the digital rights of his fellow Palestinians and about the responsibility of big technology companies and online platforms in the suppression of Palestinian rights and voices.
‘There is a responsibility for big tech companies to uphold human rights to make sure that they are not complicit in the violation of human rights, especially in the context of genocide.’
One of Fasky’s photographs at sn exhibition showcasing his work during the Récréâtrales festival. In this photo, a young woman is weaving a traditional Burkinabe loincloth. Photo by Joel Hevi, used with permission.
Across Africa, art events serve as powerful platforms for activists seeking to raise awareness about social issues and human rights.
Zerbo Siaka, also known as Fasky, is a photographic artist from Burkina Faso operating at the intersection of artistic expression and activist movements. The artist is also the director of the association Photo’age. Through this association, he is dedicated to passing on his photographic expertise to the next generation. His exhibition at the 13th edition of the cultural festival ‘Les Récréâtrales’ — a pan-African space for writing, creation, research, and theatrical dissemination — exemplifies the positive impact art can have on society.
A long-time participant in this significant gathering, Fasky shared his perspectives with Global Voices during Les Récréâtrales, explaining how he uses his photography as a tool to foster resilience and encourage social engagement.
Fasky. Photo by Joel Hevi, used with permission.
Joel Hevi (JH): Could you tell us about what inspired your journey into photography and your role within the Photo’Age association?
Fasky (F): I am Zerbo Siaka, also known as Fasky, a photographer from Bobo-Dioulasso in Burkina Faso. My journey into photography happened by chance. Initially, I aspired to be a rapper, but my path changed when I discovered photography while accompanying some French friends who were part of an association in Burkina Faso. They gifted me a camera, and that’s when photography became my passion. Today, through Photo’Age, I share this art with the younger generation, including internally displaced children, helping them to express themselves and showcase their realities.
JH: You presented a series of portraits of women at Les Récréâtrales. What message are you hoping to share through these woman-centric pieces?
F: For four years now, I have taken part in Les Récréâtrales. During this time, I have been fortunate to build strong connections with the women I photograph, most of whom are internally displaced [due to the widespread violence caused by terrorist attacks]. The theme of my exhibition, ‘We Shall Overcome,’ reflects their resilience in the face of crisis. These are women who, despite everything, hold on to hope and fight for their dignity. Through their portraits, I invite visitors to witness their strength and vulnerability. My hope is that beyond their faces, one can see a moving and inspiring humanity.
JH: Do you hope to initiate a dialogue about gender equality? What potential impacts could arise beyond the aesthetic appeal of your work?
F: Definitely, photography is for me a political and social act. These portraits are a statement advocating for gender equality and a tribute to these strong women and their struggles. I hope to raise awareness, to showcase their strength, and to emphasize the urgency of achieving equality. If my photographs can spark a debate and motivate others to stand up for these women’s rights, they will have achieved their goal.
JH: Your photographic style conveys an intimate connection with your subjects. How do you manage to establish this trust, especially in often challenging situations?
F: Trust is at the heart of my work. The women I photograph know me; we have built relationships over time. The Terre Ceinte project allowed me to understand their lives and earn their trust. Before taking their pictures, I listen and respect their stories. This bond is reflected in their expressions in my photos — a sincerity that only patience and attentive listening can bring to life.
‘The Egyptian authorities must open the civic space for civil society to play its role. They must stop persecuting human rights defenders, political opponents, and journalists simply for doing their jobs. The UN and the international community must maintain pressure on them to comply with human rights standards.’
Basma Mostafa is an Egyptian investigative journalist and co-founder of the Law and Democracy Support Foundation. She began her journalism career amid the Egyptian revolution, focusing on sensitive issues such as torture, enforced disappearances, and extrajudicial killings.
Basma’s commitment to exposing human rights violations in Egypt came at a high personal cost. Over the years, she faced numerous threats and severe reprisals for her work, including being detained three times, forcibly disappeared, and accused of ‘affiliation with a terrorist organisation’ and of ‘spreading false information’. Following a sustained campaign of intimidation, Basma was forced to leave Egypt in 2020.
What happened during the Egyptian revolution strengthened my commitment to the principles of human rights and to defending them.
Hans Thoolen on Human Rights Defenders and their awards 