Spotlight on the Arab World

1948 and the question of land...

Tick Tock. 1948. Silence. A minute later, chaos. Many Palestinians left, or were forced to leave, their homes in 1948 with the hopes of returning one day but their ownership documents are meaningless because legally now their homes belong to someone else. So what happens when all the surviving members of 1948 are gone? Annemarie Jacir provides one answer to that question in Salt of the Sea by showing an example of a third generation exile who keeps the memories of pre-1948 alive. In the film, Soraya leaves her home in Brooklyn to visit her grandfather’s land and retrieve his money. However, the bank can no longer hand over the money because in their eyes that old Palestinian branch no longer exists. So Soraya decides to rob the bank along with two accomplices. What follows is a road movie but in this case, the road passes through non-existent towns and streets because the old Palestinian towns are either renamed or in ruins. What remains of the original towns? Only their memories. After the original generation of 1948 has perished, only memories will remain about streets, houses and the smell of oranges.

Border and Checkpoints

In both The Syrian Bride & Rana's Wedding, a woman’s marriage plans are strained due to the presence of border and checkpoints respectively.

 In The Syrian Bride, the border in question is between Syria and Israel (Golan Heights) while it is the various checkpoints dividing the Palestinian landscape that cause a problem in Rana’s Wedding. Interestingly, in both movies the bride is played by Clara Khoury. Completing the border/marriage trilogy is Randa Chahal Sabag’s The Kite which shows a girl’s relationship effected by the border between Israel and Lebanon.

Three different films but all tied together by images of a female foiled by man made borders. The following image of a bride in a white dress heading towards the border in The Kite can be found in The Syrian Bride as well.

Internal problems

Sometimes one’s problems are not created by a border but by friction within a nation’s boundaries. The two Algerian films Barakat and Rachida show how the consequences of internal struggle can effect the daily lives of people.









In Barakat it is civil war while in Rachida it is terrorism that causes fear in the population. In both films, women are the main characters who overcome their fear and find new strength to carry on.  Interestingly, both films are also tied in another way -- the lead actress of Barakat is Rachida Brakni and her first name forms the title and character name of the other film.

Youth and life on the streets

The Moroccan film Ali Zaoua packs quite a punch in depicting the life of streets kids in Casablanca. While it is heart breaking to see young kids miss their childhood and head straight into an adult life of gangs and crime, credit must be given to director Nabil Ayouch for balancing the harsh street realities with a fantasy tale. The fantasy tale, which forms the basis of the title character’s quest to find an elusive land with two suns, lends a sprinkling of hope to the film. Such is the strength of Ali Zaoua’s belief that his friends go to great lengths to fulfill his wish and in turn give their lives a purpose as well.

All about the girl and some falafel...

The soothing lyrics of Yasmine Hamdan’s "Lili s’en fout" liven up the opening moments of Michel Kammoun’s charming and enjoyable Falafel. Whenever Hamdan’s voice comes on, we find the main character of Tou in a happy state. Tou has valid reason to be happy, especially when he learns that Yasmin will be at the party that he plans to attend. The night is progressing the way Tou planned but a series of incidents turn things on their head. After an altercation in a parking lot, a man strikes Tou’s face with a gun and leaves his face scarred. But the scar is more than skin deep and the violent incident eats away at Tou and he wants revenge. He manages to get a gun illegally and despite advice from his friends to cool down, he is determined to use his gun. However, he is saved in the most unlikely way thanks to the mystical powers of a rebel falafel. Yes, a falafel. It is true. Anything can happen in a magical night in Beirut.

What a Wonderful World

It is indeed a wonderful world. Every frame of Faouzi Bensaïdi ‘s What a Wonderful World is poetic and beautiful. Even though the wonderful individual parts of the film do not add up to a coherent whole, it is hard to resist the charms of this unique film. What a Wonderful World is a mesmerizing mix of a French comedy (references to Jacques Tati), a Spy spoof, a musical and a love story.

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Films seen as part of this spotlight and in order of preference:

Salt of the Sea (2007, Palestine co-production, Annemarie Jacir)
What a Wonderful World (2007, France/Morocco, Faouzi Bensaïdi)
Ali Zaoua (2000, Morocco co-production, Nabil Ayouch)
Falafel (2004, Lebanon/France, Michel Kammoun)
Rachida (2002, Algeria/France, Yamina Bachir)
Enough! (2006, Algeria, Djamila Sahraoui)
The Kite (2003, Lebanon co-production, Randa Chahal Sabag)

Images...

Waltz with Bashir, directed by Ari Folman

Bright yellow. Blury, hazy memories yet sharp pictures...



Who pays the ultimate cost of war? Innocents, ofcourse!

Part of paying the cost involves the dreaded march. The cycle of death goes on...somewhere Shiva is dancing away and Kali is not too far behind. The cycle of Kalyug continues to spin along.



"Every bullet fired in war finds its mark..to a mother's heart.." -- tagline from Border (1997), a J.P Dutta film.

These words only ring true when a bullet manages to kill a person because no matter who gets killed in a war, somewhere, someone will grieve that person's loss. But the presence of rapid fire guns in modern combat mean that bullets are fired aimlessly and wastefully. Such is the case in Waltz with Bashir where men spray bullets into thin air.

And as the bullets fire away from the automatic (or semi-automatic) weapons, shell casings are ejected out. But what happens to the shell casings that fall on the ground? Who cleans them up? Do they get re-cycled or are they dumped in the landfills? Besides piles of garbage, chemicals and bones, are shell casings tucked away in the ground around this planet?

And finally...


If soldiers can mentally distance themselves from bombings taking place a few hundred meters away, then what of people watching the war via tv sitting comfortably thousands of miles away? Can they ever truly understand?

Four Middle-Eastern Weddings

Marriages are a pretty complicated affair. The decision to spend one's life with another person can be quite a soul searching experience. After one crosses that hurdle, in some cultures the families form the next barrier. Although in some cases, the family issues override the relationship between two people. Still these two challenges form the crux of what a majority of wedding related Indian and American films deal with. But two recent Middle Eastern films, The Syrian Bride & Rana's Wedding, show that familial & relationship issues in marriages are much easier compared to physical check points and borders erected by political situations.

Political Boundaries

In The Syrian Bride, the border crossing causes quite a problem. The bride Mona (Clara Khoury), who is from Golan heights, is stuck along with her family in a no-man's land while her husband waits with his family on the other side. The border complications arise due to the ownership of Golan Heights. Israel occupied the area after the 1967 war and considers it part of their nation, while Syria still believes it is theirs. In the film, a few Israeli politicians come up with a new scheme to legalize their occupation. They decide to start stamping an Israeli exit visa for people crossing Golan Heights into Syria and use Mona as a guinea pig by stamping her passport. If the Syrian side accepts the stamped passport, then the practice will become a standard and deemed as official Syrian recognition of Golan Heights as Israeli territory. In order to help with Mona's passport clearance, a U.N observer moves across the border with Mona's passport. But Mona's passport is rejected on the Syrian side because the Syrian guard says that since Golan Heights is part of Syria, no visa is required to move within one country. So the neutral U.N observer tries to get the Israeli side to remove the visa. But since it is already late on Thursday evening, the ministers and politicians in both Israel and Syria have left for home. Finally, after a lot of debate, the U.N observer manages to get the Israeli side to use white-out to cover up the visa. When she goes to the Syrian side, the guard has left and is replaced by another man on shift. But the new guard is bothered by the big white-out mark in the passport and refuses to let Mona through. During this visa tangle, both families are getting stressed and frustrated, because so much hinges on the wedding as the groom is a high profile actor in Syria. While Mona's family are anxious by the waiting, the extra time they have with Mona are precious as well because once Mona crosses the border into Syria, she will never be able to return to see her family as they stay in the Israeli occupied Golan Heights.

Clara Khoury also plays the lead role in Rana's Wedding, a film where Israeli check points in occupied Palestine territory play a troublesome role in her wedding decisions. Rana gets a call from her father who wants her to get married from a chosen list or leave the country with him by 4 pm the same day. However, her father does not know about Rana's boyfriend. So Rana rushes to find her love who is on the other side of various checkpoints and wants him to marry her. But as she is rushing across checkpoints, she is wondering if she truly loves her boyfriend. She only has a few hours to map out her entire life and her task is not made easy because of the various hurdles in reaching her boyfriend. The camera gives us a glimpse of life in the ancient city of Jerusalem and how even the simplistic tasks become complicated under occupation. Rana's Wedding does justice to the beauty of Jerusalem and shows it in all its splendour.

To marry or not to marry

Just like as in Rana's Wedding, the lead character (Tariq played by Nabil Saber) in A New Day in Old Sana’a is unsure whether he should go ahead with his marriage. His indecision arises when early one morning he believes he sees his bride-to-be dancing in the wedding dress he gifted her. But as it turns out, the woman in the dress was someone else. So Tariq is troubled because he prefers to be with a free spirited woman like the one he saw in the wedding dress but he cannot ignore tradition in rejecting his chosen bride. Beautifully shot in the Yemeni city of Sana’a, the film is a light hearted look at love and myths that haunt the ancient city.

Beauty takes a stroll

There are 5 women debating their love and relationships in the sweet and sexy Lebanese co-production Caramel. Four of the women work in a beauty salon and their day is packed with gossip about their relationships and life in Beirut. The women also support each other and share a nice bond which comes in handy for situations when things get difficult. For example, Nisrine (Yasmine Elmasri) has a secret that may derail her wedding. Her fiancee is not aware that she is not a virgin, so she is afraid what will happen when he finds out but luckily her friends come to her aid. The best moments of the film surround the character of Layale played by the film director Nadine Labaki. Layale is having an affair with a married man and she struggles by constantly debating whether her lover will leave his wife or not. On the other hand a young police officer, who goes around the neighbourhood issuing traffic tickets, is smitten with Layale. It is a real treat to watch Layale wander the city or go about her daily routines because her beauty makes her such a charming character to observe.

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Ratings out of 10:

The Syrian Bride (2004, co-production, Eran Riklis): 9

Rana's Wedding (2002, co-production, Hany Abu-Assad): 9

Caramel (2007, Lebanon co-production, Nadine Labaki): 8.5

A New Day in Old Sana’a (2005, UK/Yemen, Bader Ben Hirsi): 7.5