”I Am an Olive Tree tells a deeply human story, set within the fragile environment of a refugee camp,” Swedish producer Erika Malmgren (Cinenic Film) tells BDE of her new documentary feature, directed by Yasaman Sharifmanesh and selected for Nordisk Panorama. ”At its heart, it follows a Kurdish woman who, despite losing everything, quietly and humbly grows – nurturing not only herself but also her family and community, within the limitations of a plastic tent.”
In the film, co-produced with Oslo-based Differ Media, when the Kurdish people of Afrin, northern Syria, lose their homes and ancient olive trees to a Turkish attack, they seek refuge in the Shabha refugee camp. Despite the trauma of displacement and spiritual connection to their lost thousand-year-old olive trees, they find strength and dignity through resistance, with Adol, a resilient woman in her fifties, emerging as a symbol of hope for the community.
”For local audiences, it is a mirror of urgent social realities. For Nordic and international audiences, it challenges stereotypes about life in exile, showing instead a poetic, deeply human portrait of resistance and dignity,” Malmgren adds. ”The film carries a timeless and universal message: no matter where we live, we are all human, we are all connected, and we have the power to affect each other’s lives.”
The producer further articulates her admiration for director Yasaman Sharifmanesh, who won the Best Nordic Documentary Award at Nordisk Panorama in 2021 for her film Abolis resa.
”She is the only filmmaker with long-term access to Shahba camp, making I Am an Olive Tree the exclusive cinematic depiction of the area between 2019 and 2025,” Malmgren underlines. ”During filming, she lives alongside the protagonists for weeks at a time. This rare access and intimacy, combined with the strength of her cinematic vision, has convinced investors of the project’s unique value. It stands as both an artistically ambitious work and a globally resonant story, with clear potential for major festivals and international markets.”
”She brings a rare combination of sensitivity and precision to her directing. Her strength lies in capturing subtle human emotions and translating them into powerful visual storytelling, turning intimate, personal moments into experiences that resonate widely with audiences,” the producer adds. ”The visual language of the film is intentionally restrained, yet poetic. The camera work is intimate and immersive, often handheld, following characters closely to capture their vulnerability, while at other times pulling back into static, contemplative frames that allow the environment to speak for itself.”
Malmgren also underlines the strength of the collaboration between her Cinenic Film and Norwegian Differ Media. ”Both companies have proven track records of socially engaged, award-winning documentaries. Our plan combines strong creative ambition with financial stability, backed by experienced producers who have successfully managed sensitive, multi-country productions before (Children of the Enemy; An Army of Women).”
A satisfying takeaway from Nordisk Panorama would be to connect with best partners to help the film reach its full potential, Malmgren adds. In Malmö she is seeking high-profile broadcasters and streamers interested in pre-buys, to help close the financing gap. She is furthermore looking forward to bagging a sales agent ”with a strong track record of premiering documentaries at A-list festivals and securing international distribution.” Additionally, Malmgren is looking to secure a top festival for the film’s world premiere.
Understandably, impact is a core constituent of the production, with the focus placed squarely on ensuring the film’s reach both to leading international festivals and human rights networks.
”We want the film to serve as a tool for dialogue on displacement, women’s leadership in conflict zones and cultural resilience,” says Malmgren. ”With Differ Media’s expertise in impact producing, we are developing partnerships with NGOs, Kurdish diaspora networks, and feminist organizations to extend the film’s reach beyond cinema into community screenings and advocacy spaces.”
