Palestine 36, Yahya Mahayni Interview

After appearing in Martin Scorsese Presents: The Saints (2024) and The Strangers' Case (2024), which will be in cinemas from 9 January 2026. In the latter, you play a soldier. Can you tell us about your role?

There are five chapters in I Was a Stranger (The film has been renamed from The Strangers’ Case):  The doctor (Yasmine Al Massri), the smuggler (Omar Sy), the poet (Ziad Barki), the captain (Constantine Markoulakis) and the soldier. Each chapter is dedicated to each character and his/her family and circumstances, and the events in each chapter are intertwined with those of the others.  

After losing his mother and sister in the Syrian civil war, the soldier finds purpose in fighting in the Syrian army despite his father’s objection (played by acclaimed Syrian actor Fares Al Helou). But he is deeply conflicted. On the one hand, he believes in a united Syria free from corruption and foreign influence. On the other hand, he sees that those pretending to fight for a united Syria are actually directly participating in its division. He discovers their inhumanity and hypocrisy and starts reflecting about his own moral compass.

The Strangers' Case tells the story of a family tragedy set in Aleppo, where an ongoing humanitarian crisis has taken place. It explores themes related to the drama of migration and the consequences of war. Why do you think there is a need for a film like The Strangers' Case today?

For me, this film transcends its Syrian backdrop. It’s ultimately about how different human beings react or adapt to tragic circumstances and experiences. And it leaves some room for viewers to put themselves in each of the characters’ shoes and ask themselves : what would I do in those circumstances? We oftentimes tell ourselves that "I would do this" or "I would never do that". But we often do with excessive confidence and in total ignorance of what it feels like to live through the given experience or circumstance. For example, what would I actually do if I lost my home and family in an airstrike? Would I still have the will to live? Would I seek immediate vengeance and, if so, against whom exactly? Would I run away and save myself? Would I try to save anyone else? And regardless of which decision I take, how would actually I cope with the grief and the injustice? Would I even maintain my faith in God and humanity? Would I be able to maintain my sanity? 

Aleppo is one of the oldest cities in the world with one of the most ancient histories. Yet it has been shaken by civil conflict and the tragedy of strangers, as Shakespeare defined refugees. The film shows empathy towards them. What should viewers expect from The Strangers' Case?

I would advise viewers to watch the film without any expectations. Come with an open mind. Just bring some tissues.

In Palestine 36, on the other hand, your character is involved in the resistance against British colonialism in the 1930s. What, if any, similarities do you find with The Strangers' Case from a purely humanitarian point of view?

Far too many similarities to begin to mention. When you boil down the similarities to the phenomenological experience of each human being, it gets you to reflect. What would I do if my home was expropriated? If my trees were uprooted? If my livestock were slaughtered? If my family were humiliated? If my own people were being corrupted by arrogance, money or power (or all three)? 

Would I maintain my sanity? Would I defer to justice? If there is no reasonable prospect for justice, would I take matters into my own hands? How would I achieve this? Or would I defer to forgiveness and mercy? These are questions which are very difficult to entertain properly and objectively in the abstract, because no matter how much effort and imagination you put into answering them, you can’t know until you’ve actually lived the experience.

What memories do you have of Martin Scorsese Presents: The Saints (2024)?

It all happened so fast. I auditioned and, within about 10 days, we started filming. There was very little time to prepare and no opportunity to rehearse with the co-actors or directors. But this is the reality on most projects. Preparation and rehearsal are a luxury. Beyond what’s available in the screenplay, you oftentimes discover things on set through the brief conversations and directions you get from the directors and the energy your exchange with your co-actors and, sometimes also, the extras. Despite how short and quick the whole project was, I have some very fond memories which are too personal to share publicly. 

You are also expected to play Mordecai in Zero A.D., which is currently in production. Can you give fans a sneak peek at the cast?

What a cast. Jim Caviezel, Gabriel Garcia Bernal and Deva Cassel to name a few. I met Mr Caviezel on set. I went up to him to present myself. He exudes sincerity. I wish I met Gabriel – he made a lasting impact on me in Amores Perros. As for Deva – we didn’t overlap unfortunately. But the crew consistently praised her acting skills as well as her humility and kindness. Judging from my experience working with her mom on The Man Who Sold His Skin, I was not at all surprised. Monica is the epitome of humility and kindness. Telle mère telle fille.

Kudos to the director - Alejandro Monteverde – for bringing together such a great cast and for letting me be a part of it. He is a fabulous human being. You know – one of those people who is naturally cool for all the right reasons? That’s Alejandro. 

Who is Yahya Mahayni? What are his hobbies outside of acting? Does he watch films and TV series?

For better or worse, I don’t live from acting. It is my hobby – my main hobby. I really appreciate the human connections it facilitates with the writer, the director, the cast, and the crew (ie everyone from catering to make up to costumes). You meet some beautiful people along the way. And when those encounters happen, you know they are not fortuitous. You recognise that you were meant to share something with them. Even if it’s just a smile or a brief conversation or an act of kindness. 

On set, people are invariably tired or stressed (or both). Their fatigue pushes them to be more direct, transparent and honest. There is little time to pretend or beat around the bush. This means that people open up about things that they would not ordinarily open up about. It brings out the best and the worst in people. It can be instructive and inspiring, just as it can be draining and disappointing. Of course, you have to learn to guard your focus and energy as an actor, especially when you can’t afford to waste takes. But the human emotions and connections at play are wonderful to observe and participate in if you are able and willing to do so. There is great opportunity for gratitude, vulnerability, compassion and even education.