by Dov Kornits
In The Judgment, from writer/director Marwan Mokbel, US based couple Mo (Junes Zahdi) and Hisham (Freddy Shahin) return to Egypt to reconnect with family, though both are understandably in the closet. Mo, in particular, goes through a transformation during the trip, doing his utmost to reconnect and reconcile with his mother, who considers him dead.
In a world and culture where religion, spirituality and superstition reign, this trip is going to change the couple forever.
Ahead of his trip to Australia to accompany the screening of The Judgment at Queer Screen Film Fest, we chatted with the outspoken Junes Zahdi about this life-changing film.
Tell us how you became involved in The Judgment?
“It was definitely a stars aligned moment… I had known and worked with Hamza Saman, Casting Director at Arab American Casting for years and the moment he sent me the script, I knew that this was an extremely special project. The more I got into the script, the clearer it was that I had to be part of this. Reading the script, I cried. During the audition taping, I cried. Filming the project, I cried. But tears I would never want to miss. This film did to me what an orthopaedic surgeon does to a badly healed bone. It broke me in order to truly fix me. Such a powerful, cathartic and transformative experience. I’ll forever be grateful to the writer/director, the casting director, the wonderful cast & crew and the beautiful countries of Lebanon & Egypt!”
What is your personal stance on religion?
“Growing up in a Muslim family but in a Christian country [Germany] and even having some Jewish relatives, I realised at an early age that all Abrahamic beliefs are truly more the same than not. I definitely considered myself more Agnostic than anything, as I resent how humanity has misused religion to justify colonial, imperial and racist land theft, genocide and oppression. Interestingly, by making this film that explores extreme societal, religious and occultist views, I found myself more drawn to spiritual faith than before. I definitely love the warm and affectionate culture in the Mena [Middle East and North Africa] world, and the idea that humans should remain humble toward nature, life and the spiritual realm. To me, everyone should have the freedom to define that for themselves as none of us can truly know what was or will be, until we pass on to whatever awaits us next. But I do like to believe that there is a next chapter and that it does matter how we conduct ourselves in this one. I believe in true liberty, love and freedom for all people as no one is better than anyone. In the end of our film, Mo’s (my character) partner’s mom tells him: “Don’t let anyone tell you God closed the door on you. God is as much yours as mine…” This really stayed with me and recently I found myself exploring my personal faith much deeper.”
I was never aware of witchcraft and Islam – is that a thing, and something that you looked into upon taking on the role?
“This question is actually tailor made for a Moroccan person like myself. In the Mena world, Morocco is known for “S’hour”, a “witchcraft” used in some village communities as part of millennia long traditions. From healing spells to love spells. I personally don’t believe that it actually works, but who am I to judge anyone’s traditions or ways in which they connect with their own beliefs. And the older I get, the more I know that I can never stop learning or being surprised. I do love any traditions that are linked with our powerful nature and wish that all cultures cherished its sacredness. “Witchcraft” is also famously practiced in Nigeria, Brazil, Mexico and Louisiana actually. It’s embedded within most ancient traditions and religions, including Abrahamic.”
What’s your relationship with family?
“I love my family. I love my family more than anything. It’s also cultural. There’s a proverb in Islam that says “Heaven lies beneath the feet of the mothers”. It’s actually a line in the film, too! Contrary to false stereotypes, women, particularly mothers, are worshipped in Mena cultures. They give life. They are superior and should be protected from the lustful men, as it’s described in the Quran. I see that notion most prominently in other indigenous cultures, particularly in the Global South [Africa, Latin America, the Caribbean, Asia, Oceania]. Having said that, my family dynamic is quite unconventional. My parents left Morocco and my siblings and I grew up in Germany. As a kid I would beg to go back to Morocco as I loved it there so much. A magical place. I’ve experienced all of my firsts there, and never wanted to leave. I then left Germany as a teen to move to NYC to pursue my dream. After a decade I was able to bring my mom, who had returned to Morocco and one of my sisters from Germany to the U.S. as well. We grew up very close emotionally and personally, but over time the physical distance definitely left its marks within my siblings’ relationships. My mom and I are as close as ever. I call her Superhuman, with everything she’s experienced and surmounted in one lifetime. Being an immigrant, and in our case, double immigrant, definitely bears its challenges. In Germany, we faced grave racist attacks, a story that will one day be made into a film for sure. However, it only fuelled me to dream bigger and work harder – back to faith being an important part of my life. What that looks like transforms during different periods of my life. My family. My dreams. Surviving what we did, made me stronger and in many ways made me feel special. That I had a mission. I didn’t know until much later what that mission was or what my why actually was for becoming an artist. Now it’s crystal clear. And I’m proud to be able to contribute to spreading truth, telling real stories about real characters everyone can relate to. To change the racist narrative of whatever decade Hollywood is in. To share the beauty of the Mena world and its cultural and historic richness. Take Iraq, Palestine or Syria – you have cities that are 10,000+ years old. Civilization began there. Hey, 80% of the stars have Arabic names! I love to represent my family, take care of them and inspire them to never stop believing as they’ve instilled that deep within me. Nothing makes me happier than to put smiles on their faces, and to remain steadfast in my truth in a world full of false narratives.”
What do you think the title refers to; what is its meaning?
“The Judgment is the perfect title for this multi layered storyline. It explores various types of judgments… societal, religious, familial (mother/son), romantic (2 partners), and judgment of self. The latter I discovered while filming actually, as Mo was struggling to understand where he could fit in. If he’s even worthy to be loved if his own mother cannot love him as he was born. And then his own fears of “God’s judgment”. This truly became a challenge I didn’t even know I had to face. And I am the better for it. This journey gave me answers when I didn’t even know I had questions. It gave me clarity I will forever cherish.”
How similar are you to the character that you play here? Like him, you changed your name?
“Mo is definitely a part of who I am, and who I was. Through this character I reawakened the hidden boy that was buried deep behind strong walls. A fortress I had delicately put together apparently. My first acting teacher, may she rest in peace, would be so proud – though nearly two decades later, ha! As Junes, I have become very strong, and Mo reminded me of needed, pure and honest vulnerability. I never again want to close up or over assimilate to whatever societal “norms”, but rather, protect and keep alive this powerful place of truth and empathy. Similar to Mo, I adapted my name. He shortened his from Mohammed to Mo, and I would spell my Arabic name Younes (يُونُس ) with the German spelling Junes. And when I became a SAG member, I took on my mother’s last name Zahdi. My dad’s legal last name is Butakmani, an indigenous Moroccan (Amazigh) name. I grew up predominantly with my mom and her name is more straightforward in its pronunciation, especially for an international audience. I always thought if my name would become known, it’d be beautiful if it was my mother’s last name. But I love both my names equally.”
What was the shoot like in Lebanon? Was it shot in secret? Did you have any problems at all?
“It was the most magical time in my adult life. Hard. Grueling. But magical. Lebanon was going through an enormous economic crisis which was at its peak during our shoot. Hardly any electricity or gas for cars. But as everyone in that impressive society made due, so did we. In fact, I believe that the physical and emotional challenges only aided the film’s and my character’s authenticity. While we were discreet about the storyline, we had absolutely no issues whatsoever. Lebanon is quite diverse and has an LGBTQ community that was more fun than West Hollywood’s, believe it or not. People live their lives, no matter what spectrum of conservatism their politics are in at that time. Egypt is currently more conservative, though it was the place to be, the original art of cinema flourished there! So, when filming in Egypt we were more discreet, but artists all over the world are, or should all be, very open minded and inclusive. Our cast and crew definitely were, and we grew as a family, and I loved the collaboration with each and every one of them. The beauty and talent there is outstanding.”
How are you navigating the whole typecasting issue that a lot of Middle Eastern actors go through?
“Oh racism… Where do I begin?! I don’t partake. I don’t participate in any racist propaganda films or shows. I find them not only offensive, but intellectually mindless. Whenever I was called in to audition for a so called “terrorist” role, I would go but I would present them a fully rounded character with a backstory, reasons and true emotions. Of course, that was not what they wanted. They just wanted a portrayal of an “evil” person that just woke up one day and decided to hurt others, without any explanation or reason. Propaganda is dangerous and cinema has become such a powerful medium that we should use to bring people together through truth, self-reflective storytelling and respect for others. Hollywood’s diversity is growing on all fronts, and I’m proud to be part of that change in any capacity that I can. I believe that it is our responsibility as artists to shed light on what mainstream media may not be willing to, for whatever political agenda they’re stymied by. It definitely was a much harder and longer journey for me, but over the years my path has formed, and I now know exactly who I am, and where I want to go.”
What’s next?
“While sharing The Judgment with the world, I have another feature film that is coming to theatres – hopefully in 2024 still, called Absolute Dominion, by the wonderful Lexie Alexander. It’s a dystopian action-drama that is set in 2084, a post-apocalyptic world where societies have bombed the world into near oblivion… the remaining countries decide to stop this senseless and barbaric warfare, and to deal with any political grievances on the fighting mat, in a 1-on-1 combat by a representative of each society. I play Nizar Haddad, the proud representative of the Mena world. He is very honourable and at this point, the most formidable MMA fighter who wants to win to bring peace to the world and liberty to his people.
“My writing partner and I have dedicated the past four years to writing our own stories. A TV series pilot and a screenplay. The latter is a powerful and very relevant legal drama that collides the ugly reality of warfare and systemic racism, currently titled Color of Justice. We can’t wait to share this with the world and will do our best to get it made as authentically as possible.”
The Judgment is screening at Queer Screen Film Fest in Sydney on 31 August 2024, with Junes Zahdi in attendance. It will also be streaming from 2 – 11 September 2024. More information here.
