Give Me the Backstory: Get to Know Amber Fares, the Director of “Coexistence, My Ass!”

What was the biggest inspiration behind Coexistence, My Ass!?

All four of my grandparents immigrated from Lebanon to Canada, where I grew up. After 9/11, we started to get phone calls telling us to go back to where we came from. It was the trigger that sent me on a journey “back” to the Middle East to understand my roots and led me to Palestine, where I ended up living for seven years in Ramallah. 

While I was there, I was obviously exposed to life in Palestine. but I also met a few Israeli activists and human rights workers who were fighting to end the occupation. Some I met at the weekly protests in the West Bank, others I met at parties in West Jerusalem. But Noam Shuster was different. I met Noam at a bar in Ramallah hanging out with her Palestinian friends and speaking way better Arabic than I do. 

Noam has unique qualities that I have seen in very few people. She has the ability to move seamlessly between groups that appear to be mutually exclusive. She is able to hold multiple perspectives on reality and doesn’t lose sight of the truth. She speaks truth to power in three different languages. She is a living example of what Israel-Palestine could and should be, if things were very different — and she is really funny. 

At times like this, we want as many Noam Shusters in the world as we can get.

Describe who you want this film to reach.

We want this film to reach a broad audience, including those who are new to the issue of Israel and Palestine, as well as those who have deep knowledge of the subject and the region. We believe Noam and her family embody a path forward at a time when vision is sorely lacking, and that viewers from all backgrounds will take something valuable away from the film.

What was your favorite part of making Coexistence, My Ass!? Memories from the process?

The team behind this film feels like one big family. When I think back on making it, my earliest memories are of sitting around kitchen tables, sharing meals and stories.

We started editing this film in October 2023, and I am so grateful for the team that accompanied me throughout. They’ve been able to have difficult conversations and support each other through one of the most challenging times all of us have ever been through. I believe those conversations — and the empathy and support we brought to them — are reflected in the film. 

What was a big challenge you faced while making Coexistence, My Ass!?

When I first started the film, Noam was living in Boston and I thought it would focus on her doing comedy on college campuses. But when the pandemic hit, Noam returned to Israel. Thankfully, I met Rachel Leah Jones and Philippe Bellaïche, who are based in Tel Aviv, and they were able to continue filming with Noam for me. We developed a strong bond, and there’s no way I could have made this film without their support.

Why does this story need to be told now?

Coexistence, My Ass! needs to be told now because the world is at a tipping point, where the need for true understanding, justice, and reconciliation is more urgent than ever. As the Israel-Palestine conflict continues to be framed in oversimplified narratives, it is crucial to challenge the dominant discourse and highlight deeper complexities of identity, power, and systemic inequality. With the rise of polarization and the spread of misinformation, there’s a pressing need for stories that go beyond the headlines and allow us to connect with the humanity of people on both sides of the conflict. 

My film tackles these difficult issues with humor and emotional depth, offering a space for honest conversation and a chance to reframe how we view one another. It’s a time to question the myth of coexistence as the solution to the conflict and to look at the real work that needs to be done to achieve genuine justice and understanding. 

Tell us why and how you got into filmmaking.

I sort of stumbled into filmmaking. In 2006, I joined the board of an organization that brought Palestinian, Israeli, and Canadian youth together for dialogue and filmmaking. That experience was life-changing. It showed me the power of film to empower, influence, inspire, and transform both audiences and filmmakers. Afterward, I ended up in Palestine, thinking I’d stay for six months, but it turned into seven years. 

During that time, I met one of the original female race car drivers in Palestine, which inspired me to direct my first feature, Speed Sisters, which received Sundance development and production funding. It was a story I was eager to tell, especially with its unexpected lens on life in Palestine and Arab women. I taught myself how to make films on that project, and from there, I built my career.

Why is filmmaking important to you? Why is it important to the world?

Filmmaking has helped me make sense of the world around me. It has given me the opportunity to engage deeply with people and issues in ways that often challenge my own perspective. I feel honored that people have trusted me with their stories. 

For the world, films have the ability to transcend borders, break down stereotypes, and hopefully, inspire action. 

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

Follow the emotion.

Who are your creative heroes?

Palestinian, Syrian, Lebanese artists who continue to create during the most unthinkable times. Cherien Dabis, Annemarie Jacir, Dania Bdeir, Waad Al-Kateab, Mai Masri, to name a few.

What was the last thing you saw that you wish you made?

Bottoms. It was the film I would have wanted to watch when I was in high school. 

Which of your personal characteristics contributes most to your success as a storyteller?

I think my ability to connect with people from all walks of life helps me. I approach my work with a profound respect for my subjects and can quickly establish trust that allows me to capture intimate/unexpected moments. 

Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?

I received a development grant from Sundance for my first film, Speed Sisters, in 2012. I remember learning the news and thinking — I’m actually a filmmaker now. Since then I have participated in the Edit and Story Labs, attended Catalyst, was a Momentum and a Humanities fellow. Sundance has been incredibly supportive of my career. 

Who was the first person you told when you learned you got into the Sundance Film Festival?

I got a phone call from Basil [Tsiokos] at about 8 p.m. in the evening and it was in the middle of the night in the Middle East, so Noam and Rachel weren’t up and Rabab was at a screening. So I ran down the hall and told my next-door neighbor and dear friend, Suha Araj, who is a Palestinian American narrative filmmaker. 

What’s your favorite film that has come from the Sundance Institute or Festival?

Warsha by Dania Bdeir, Minding the Gap by Bing Liu, The Last Black Man in San Francisco [by Joe Talbot], The Persian Version by Maryam Keshavarz.