There’s a profound, virtually primal artistry in taking the messy, overwhelming trauma of the worldwide stage and distilling it into the intimate, resonant stress of a single human relationship. That’s exactly the feat achieved by actor-writer-filmmaker Jess Jacobs within the new impartial movie, If You See One thing.
Govt produced by the grasp storyteller Doug Liman, this movie is in choose theatres throughout the U.S., able to problem perceptions. It’s a shifting portrait of immigrant households forging a brand new life in New York, a narrative captured with an unflinching authenticity.
The narrative facilities on Ali, an immigrant physician looking for asylum, whose relationship with gallerist Katie (Jacobs) is brutally examined when the shadow of his life in Baghdad returns to hang-out his current.
Jess Jacobs, an artist clearly drawn to tasks that demand a cultural reckoning, having additionally not too long ago executive-produced the Sundance documentary, Plan C, is an extra testomony to her perception that coverage should observe tradition and that the act of storytelling is, in itself, an act of activism.
We sat down with Jess Jacobs to dive into the susceptible follow of writing a personality she would later inhabit, the problem of centering the universally human questions of dwelling and security, and the distinctive collaborative course of that resulted on this important new impartial function.
What first drew you to the story of If You See One thing, and the way did it evolve as you started co-writing and later performing?
I joined the movie as an actress first, as a result of that was the work I used to be doing initially in 2016 when the venture first got here throughout my desk. I felt deeply linked to the narrative, to Katie’s many layers, and to the artistic crew: Oday’s earlier movies and his dedication to filmmaking within the face of unfathomable circumstances, and Avram’s distinctive mix of playfulness and no-bullshit sensibility.
I onboarded as a author within the wake of Av’s premature passing (f**okay most cancers), after Oday and I made a decision that we might proceed to make this movie within the face of that immense loss. Having lived with the characters and the story for 3 years of improvement at that time, I felt enmeshed on the planet of the movie and due to this fact well-positioned to work alongside Oday to search out its fullest expression. We pivoted from what was initially a really genre-forward piece to what it’s now, which has parts of a thriller however which actually shines in its intimate, naturalistic moments. That is my first function as a screenwriter, and that course of solely deepened my connection to Katie as a personality and to the venture of telling this story fully.
The movie explores themes of asylum, displacement, and rebuilding. A charged topic in right this moment’s society. How did the problem of approaching this really feel?
I actually recognize you framing the query by way of themes, quite than “social points,” as a result of it actually was a thematic consideration, not an issue-oriented one, to discover these themes within the movie. The most important problem for me was pushing previous the political inundation and actually centering the universally human questions on the movie’s core. From my inventive standpoint, asylum, displacement, and rebuilding are all essentially questions on dwelling: what makes a spot dwelling, and what permits us to really feel secure? These questions had been my north star all through, quite than making an attempt to make a persuasive political level about pressing problems with migration, which is a extremely vital dialog however one which leans extra into PSA territory, whereas we supposed artfully to discover the human expertise, although I do hope we succeeded in illuminating how dehumanizing partisan rhetoric will be.
As each co-writer and actor, how did you steadiness the artistic management of writing with the vulnerability of performing? Have been you ever anxious that the story was going too far or not far sufficient in some locations?
I discover writing to be an extremely susceptible follow—possibly as a result of I strategy it fairly like an actor, through which I excavate the psyches and inside worlds of all of the characters as if I had been myself getting ready for the function—and people investigations are all the time essentially exposing for me. However actually as a author, I’ve far more management over the arc and the narrative. Constructing the stakes right here meant placing my characters in deeply difficult conditions, and there was part of me, in fact, who knew that on the finish of all of it, I must inhabit these conditions myself. As for the balancing act, I used to be conscious, I suppose, that we had been strolling a couple of high quality strains, but it surely was a present to have Oday as a collaborator as a result of we may bounce concepts or ideas off one another and test one another to make sure we weren’t bringing a private agenda to the movie and remained devoted to the story. Oday is a really restrained filmmaker, so generally I wished to push issues additional, and I’m very emotional and delicate, so he would usually pull me again; we made a great crew, I believe. There have been a couple of locations we disagreed about whether or not one thing was going too far—two I can consider particularly. One he gained, and one I gained, so… we take turns.
What was it like collaborating with Oday Rasheed to inform a narrative that’s so private?
The non-public nature of this story was some of the inspiring elements of the venture. Oday taught me that the fears of my life make wonderful fodder for artwork. I took his lead by way of how a lot he wished to reveal his personal story, however he’s extremely grounded, so there wasn’t a lot that was off-limits. It is extremely courageous what he did and is doing. We did pull from the tales of many different folks whom Oday knew, or whom I knew, or whom numerous consultants knew, to assemble a narrative that was particular, and thereby common, to honor what was private in addition to artistic.
How did you and the crew strategy portraying immigrant and refugee experiences with honesty and care?
I’ve to start out by saying that the important thing factor of an genuine, sincere, and caring portrayal of the movie’s characters who immigrated or held refugee standing relied on the truth that Oday lived via lots of Ali’s challenges and crises and is in a deep relationship with many individuals who share tales with Omar, Raad, and Maya. I completely couldn’t have crafted this screenplay with out Oday, and I believe Avram would have agreed. Throughout improvement, we took loads of care to make sure that all of the characters had been dimensional quite than consultant. Ali isn’t consultant of asylum seekers; he’s a good looking and flawed particular person whose arc permits the viewers to contemplate his stakes and his circumstances. We additionally consulted with Make the Street NY, a tremendous neighborhood group, and with Campbell Dunsmore, an immigration and refugee advocate who was doing superb, life-saving work on the State Division till not too long ago, sadly. It was a confluence of efforts and commitments, based mostly predominantly on the truth that movie is extremely highly effective and all folks need to be represented with care.
Doug Liman’s involvement provides an attention-grabbing layer. What sort of help or perspective did he carry to the venture?
Doug was in early desk reads we did of the script, once we had been nonetheless working via kinks and wanted to listen to it out loud. He’s a grasp of his craft, so his notes on story and character had been very supportive. In early 2024, we had an almost completed model of the movie and determined to display it at Doug’s house with a bunch of mates and colleagues to honor the fifth anniversary of Avram’s passing. After the movie, I used to be extremely touched by Doug’s response – once more, he’s a grasp, and he has such deep indie roots, so his curiosity in and curiosity about our intimate film meant quite a bit. We caught round speaking concerning the movie till the wee hours, and some days later, we requested Doug if he would be part of as an EP. His title lends a highlight, which suggests quite a bit in an period of content material overload and a focus deficit.
Have been there moments throughout filming that felt particularly uncooked or emotionally troublesome to step into?
So many. Greater than I’ve time to get into. The dinner desk scene at Katie’s household dwelling was notably demanding. We had been fortunate to have an unbelievable forged of actors and an immersive set, and the naturalistic strategy has a blurring impact on the road between artwork and actuality. It’s the form of circumstance so many people have discovered ourselves in throughout our lives due to racism or potential or faith or queerness, so it struck a nerve whereas capturing the scene, having to stay in that tense, nauseating second for hours whereas we bought all of the protection. There have been tears between takes, I’ll say that a lot, and that resonance is why I make motion pictures, so I’m additionally extremely happy with it.
New York looks like the perfect place to set this sort of story. Was it an intentional inclusion given town’s multicultural and historic background, or did it simply come about subconsciously?
It’s town Oday moved to from Baghdad in 2011 and the one I moved to from Southern California once I was 17. “It looks like dwelling for all of us,” as Ali says within the movie. The choice was grounded in the truth that it was the place Oday and I each felt we belonged most on the planet. It’s a metropolis outlined by its variety, by its willingness to open its arms to folks from all walks of life. It’s robust and gritty, and heat and welcoming. All of that texture grew to become a personality within the piece, a gallery of its personal inside which Katie’s literal gallery sits. The immigration-related themes of the movie are embodied by this metropolis due to, as you stated, its historic and multicultural background. Zohran stated it greatest: New York Metropolis is “a metropolis constructed by immigrants, powered by immigrants”—so it’s the pure backdrop for this story concerning the love between two individuals who have profoundly distinct pasts however a shared current: a person who arrived from Baghdad and felt instantly at dwelling and a girl who has by no means lived anyplace else. That being stated, I hope that the portrayal of New York Metropolis within the movie may also be consultant, in a manner, of the various colourful and multicultural cities throughout this nation that thrive due to the various populations, all Individuals, who name them dwelling.
Ali and Katie’s relationship unfolds within the shadow of worldwide trauma. How did you navigate that stress between intimacy and geopolitics?
I suppose in the identical manner that folks navigate that stress in actual life: by asking myself exhausting questions all through the method, by not taking my assumptions with no consideration, and by privileging humanity and connection over headlines (on the danger of sounding naïve). Although it performs as evergreen, the movie is technically set in 2019 due to the protests in Iraq that fall and the shadow of the primary Trump administration, together with his racist bans and name-calling “shithole international locations” and common embarrassment for the nation. Clearly, issues have gone dangerously downhill even from then, from ICE raids to genocide. With that acknowledged, I might really say that when the geopolitics are as aggressive and painful as they’re, artists should reinforce steadfast dedication to humanization, which suggests centering and exploring shades of intimacy with much more rigor.
Oday and I’ve spent years discussing the influence of politics and public opinion on movie and life. Adam and I had deep discussions off-camera between scenes. Actually, most of us forged and crew did. This sort of venture lends itself to a crew that cares deeply concerning the state of the world, so dialogue about politics, artwork, relationships, love, migration… they had been all swirling all through the years of labor, from script stage to set to post-production. All of that finds its manner on display, overtly in some circumstances and subconsciously in others.
You additionally labored on Plan C, which speaks to a different pressing problem. How do you select tasks that stay on the intersection of artwork and activism?
I liked engaged on PLAN C with Tracy. I had a long-time relationship with the group on the middle of the documentary, Plan C Drugs, due to the remedy abortion I had as a teen, so the film got here onto my radar via that relationship. I observe my intestine and my coronary heart and pursue tasks and tales that curiosity me. These are usually tales that uncover one thing taboo or maintain area for conversations that well mannered society asks us to maintain within the shadows. However I’ve discovered shadows to be shame-inducing, and it’s a lot extra enjoyable to shine a lightweight and get my palms somewhat soiled. I like tasks which have a component of therapeutic to them—not in a new-age manner however in an actual reckoning form of manner. Artwork as balm. I’m additionally a agency believer that coverage follows tradition, and never the opposite manner round, so to vary our lived circumstances means to problem dominant narratives. I’ve encountered loads of tasks that strategy an “problem” because the endpoint (i.e., right here’s how we bought right here, or right here’s what an expertise appears like), quite than as the start line to think about a greater future or a extra righteous consequence. There’s an ongoing accountability to reckon with the dominant narratives we’re being fed, which regularly flatten the realities of human beings who’re in entrance of us at any given second, and to inform new tales. I hope this movie contributes to that effort.
What do you hope audiences carry with them after watching If You See One thing, particularly now?
I by no means like to inform audiences what to assume, as a result of all of the questions we need to ask are on display… however I’ll say this: I hope audiences see themselves in a number of characters and due to this fact expertise the great thing about complexity and variety in direction of an understanding of how far more alike we’re to one another than we’re completely different. Notably throughout an period the place divisive language and coverage are so pervasive, that is what I hope this movie and others like it may possibly supply folks. We’re social creatures; we want one another, and we’re solely secure when all of us are secure.
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