Step right in and meet the maestro behind the lens - Mamoun S. Hassan.
As an autonomous media virtuoso, wielding skills in producing, directing, and cinematography, he's been painting the canvas of cinema with unique narratives for two magnificent decades.
His arena is vast - stretching from crafting compelling corporate videos, stirring music videos that blend vocal and poetic artistry, poignant documentaries, to creating snack-sized promotional content perfect for the social media stage, and sweeping, long-format television programs. He recently uncorked a milestone in his cinematic journey, presenting his first feature film to the world, an evocative tale titled "Purple Don’t Cry!"
Yet, Mamoun's creative current doesn't simply flow in one direction. He's also an esteemed media educator, enlightening eager minds with courses on video production, lighting, and cinematography across the Greater Toronto Area and in the boundless realms of the online world. His scholarly pursuits are evident in his degree in Communication Studies and an Advanced Diploma in Film Production, making him both a scholar and a craftsman.
His enthusiasm bubbles over as he invites you into his
Mamoun Hassan obituary: filmmaker, British film industry leader and passionate believer in cinema
Although his name rarely appeared on the credits, Mamoun Hassan had an indelible influence on British films made in the s and s, as the holder of key posts in official bodies as well as a passionate believer in cinema both as a vibrant art form and a reflection of our culture at its most diverse.
Born in Jeddah in Saudi Arabia, Hassan moved with his parents to Britain in , where they eventually settled in St John’s Wood. He attended the radical King Alfred School in Hampstead, and then while studying electrical engineering at University College, London, he also worked as an editing assistant to Kevin Brownlow on documentaries.
During this time he discovered his true vocation was in the world of cinema, and he turned down a job in electrical engineering to gain more experience in filmmaking. He directed a minute drama in Great Malvern, The Meeting, which won best short film prize at the Oberhausen Film Festival in
His personal energy and obvious talents led him to become head of the BFI Production Board in , where he expanded the programme to encompass feature films, am
The anger, the passionate intensity and the singular vision of Bill Douglas are remembered here by Mamoun Hassan, who worked with the director on the Trilogy films.
The happiest I have ever known Bill Douglas was on our first day at the Venice Film Festival. Our rooms at the Hôtel des Bains on the Lido, the setting for Death in Venice, had been given away and we were re-booked into a hotel in Venice itself. A beautiful white launch crewed by two matelots in striped shirts sped us across the bay towards that magical skyline of Canaletto and Turner. Bill, his hair streaming in the breeze, laughed and laughed: &#;If only they could see me in Newcraighall now.&#; Four days later My Childhood won the Silver Lion. I should have been able to add that his career took off. But we were living in Britain. Over the next nineteen years, one of the few authentic voices of British cinema made only three more films.
Bill&#;s Trilogy was, in fact, the result of a sleight of hand. When I took over from Bruce Beresford as head of production for the BFI in the summer of , he had left me two piles of scripts on the desk: one, very tall, of rejects and one, very small, of possibles. On top
Mamoun Hassan is a screenwriter, producer, director, editor and critic as well as an international film teacher. He has written, directed and edited a number of award-winning films in the course of his career while holding a number of influential positions in British film production organisations.
Mamoun’s unique gift is his ability to transfer his understanding of cinema as an international medium using practical exploration of the work of the world’s greatest directors. He is guest lecturer of choice at several of the world’s top national and international film schools, giving masterclass to cultural institutions and film schools in all five continents.
Based in the UK, Mamoun has a string of directing, producing, editing and screen-writing credits on films made in Britain and Latin America. He produced the prize-winning feature film, No Surrender, and co-produced Machuca, Chile’s most successful film, which won numerous Latin American and European awards. He also wrote the screenplay of La Buena Vida, winner of a Spanish Goya and the premier prize at Huelva in has also been a regular writer in the British press.
As a fiercely independent freelance professional
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