Angry Birds with my Baby Birds

Why so angry?

If you are anything like our family then you too might also know a couple of crazy birdies in your nest addicted to the insane slingshooting of colorful bird-balls onto green pigs villages. In our case, papa-bird and his graceful daughter spent hours perfecting their aim and demolishing pig homes. 

But why? Why so angry, little birdies?

Photo: R. Abouzeid

Well my happy-angry crew and I were lucky enough to be invited to the premiere of Angry Birds The Movie yesterday at Reel Cinemas in City Walk 2 and the answer to that question was finally revealed.

Photo: R. Abouzeid

The red carpet treatment is always a blast and we got to pose with the stars of the film which was the highlight of my five year old's day. And let me tell you, she is not easily pleased. If you own one of those at home, you probably know they have very particular opinions on things and events and they are not easily impressed. But we were greeted with essentials which made all the difference: a pair of sunglasses and a micro coloring kit (so cool). She was sold. I mean, who does not like a funky pair of glasses, right?

Photo: R. Abouzeid

And bonus for mommy, the formidable photo booth by Fishfayce which transforms regular snaps into brilliant little flip books!

Photo: R. Abouzeid

Photo: R. Abouzeid

Photo: R. Abouzeid

My talented daughter also seized the opportunity to release the artist within at the coloring tables which she categorically refused to leave before her chef-d'oeuvre was completed, not even to try face painting or Angry Birds Yoga which looked like so much fun. Seriously, those poses were brilliant!

Photo: R. Abouzeid

Armed with snacks and excitement, we entered the theater and took our seats. Pop corn, water and seat booster in places, we were ready.

Photo: TOH Public Relations

"The movie takes us to an island populated entirely by happy, flightless birds – or almost entirely. In this paradise, Red (Jason Sudeikis, We're the Millers, Horrible Bosses), a bird with a temper problem, speedy Chuck (Josh Gad in his first animated role since Frozen), and the volatile Bomb (Danny McBride, This is the End, Eastbound and Down) have always been outsiders. But when the island is visited by mysterious green piggies, it’s up to these unlikely outcasts to figure out what the pigs are up to."

Photo: TOH Public Relations

Turns out, those birds are not just furious because of their unfortunate disproportionate eyebrows. They happen to have good reasons! 

No spoilers here, you will have to head to the cinemas on May 12 and find out what those reasons are for yourself!

Photo: TOH Public Relations

The kids had loads of fun and we all had great laughs. The script is funny and appeals to audiences of all ages with not only jokes for the grown-ups but also a soundtrack that will take you back in time with remixes of oldies and classics.

Photo: R. Abouzeid

Absolute bonus: the film is released in both English and Arabic and quite frankly, this is a refreshing change. Initiatives of the sort are a real need in the region and Arab audiences always welcome localized content. But so far, this has been very limited and mostly produced for television. Hopefully, more investments will follow that direction and bring Arab audiences the blockbusters they love in Arabic, simultaneously with the releases of original versions.

Photo: TOH Public Relations

Raya Abi Rached (Scoop With Raya, Arabs Got Talent), who features as the voice of Souka in the Arabic version (Mathilda in English), said: “It is hugely important to have these films localised. It happens in every big movie market in the world like Germany, France and Italy. They always have a localized performance for the local audience. This transformation will give Arab audiences a chance to engage more with the film alongside their English speaking counterparts.”

Mario Jr. Haddad, Vice President, Empire International Gulf adds: “Empire is honored to bring The Angry Birds Movie to the Middle-East in English and Arabic. We have made a strategic decision to invest in Arabic content and we believe that this is just the beginning of a major shift in the way that the local market consumes Hollywood made blockbusters,” he continued, “with more than 45% of the GCC population (excluding Saudi Arabia) being movie goers, there is a lot of room for growth and development.”

Photo: R. Abouzeid

About Rovio 
Rovio Entertainment Ltd. is a global entertainment media company. Headquartered in Finland and with studios across the world, Rovio is the creator of Angry Birds, the casual mobile game that changed an industry and became an international phenomenon. Today Angry Birds is not only the most downloaded game of all time, it is a renowned entertainment brand that has branched out into animation, books, licensing and more. The Angry Birds Movie is slated for release in the Middle-East on May 12th, 2016. www.rovio.com

About Sony Pictures Entertainment 
Sony Pictures Entertainment (SPE) is a subsidiary of Sony Entertainment Inc., a subsidiary of Tokyo- based Sony Corporation. SPE's global operations encompass motion picture production, acquisition and distribution; television production, acquisition and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. http://www.sonypictures.com.

About Empire International Gulf
Established and headquartered in Beirut since 1919, Empire International is a leading movie distributor in the Middle East. The company is the exclusive distributor for Sony Pictures Releasing International, 20th Century Fox and Dreamworks Animation titles in the region.

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The Real Truth... On Dana and Lara

English

If you have been anywhere near a computer or a smart phone in the past few weeks, you probably already know about "The REAL Truth".

My own personal truth is, as an Arab (and more specifically an Arab woman) I have always felt cheated by Arab leadership. Our people are never heard and those who gain enough exposure use archaic (pathetic) and boring approaches to voice their causes (because it's usually their own causes although wrapped in a nice "for the people" package). 

We have become accustomed to the long - oh so terrifyingly long - speeches packed with overused and abused slogans and washed down with a cup of your finest propaganda (which, and this may come to you as a surprise, dear politicians, does not age well - it's propaganda, not wine).

Well, the disappointment ends here, folks:

All Hail The Women with brain, beauty and immaculate English accents!

Did you just see that? 

Did you just hear that?

These women rock!

Not because of their English proficiency which incidentally is an added value when talking to non-Arabs (no, we're not all bearded terrorists who speak like Bond villains and therefore must be evil). 

Unlike the usual  "no, that is not true, Israel is evil, look, they are killing our children" speech that we keep hearing and although true but never built on clear, intelligent argumentation; this video actually answers specific propaganda with wit and facts. Facts. Facts. Not just slogans and arab nationalism cheers. We are not robots who have been repeating the same thing decade after decade. We are human beings who have been fighting for our right to exist decade after decade. 

And they are women. Beautiful, intelligent, educated and well-read young women. Yes, it may sound like good PR to have a gorgeous face associated with the Palestinian cause, but mostly, to me, it is more than that. It shatters the stereotype that Arab women are submissive victims at the hands of their abusive men, societies and religions. We all know, far too well, that domestic and women abuse remain continuous problems worldwide (unfortunately). So for the West to patronize us about it, over and over again, depicting our Arab women as weak, uneducated and unable to fight for their own rights is simply laughable. Look at yourselves first. And look at our women. In the above video. Not all Arab women are that well-spoken and educated? True. Neither are all Western women. Or men for that matter.

Ok, clearly, I am a fan. 

And I could not resist contacting Dana Dajani and Lara Sawalha to find out more "The REAL Truth" and the brilliant people behind it.

So who are Dana and Lara?

Dana Dajani: My name is Dana Dajani, my father is Palestinian from Jerusalem and my mother’s parents are Syrian/Gazan. Born in Jordan, raised between the US and the Middle East, I studied theatre in the United States and received my bachelor’s of fine arts in Chicago. I moved to Dubai two and a half years ago to help promote the performing arts in the Middle East.

Lara Sawalha: My name is Lara Sawalha and I'm a professional actress by trade, trained at Italian Conti Academy of Performing Arts in London. My mother is British, but she likes to say she's as Arab as they come, even with her blonde hair and blue eyes, and my father is Jordanian. I am fortunate to have them both be in the arts.

Photo courtesy of Dana Dajani

How did you get into films? Was it your very first experience with that medium? 

LS: My mother is a writer and my father is an actor/director/writer, which is where I found my passion for all things dramatic. My first proper stage appearance was with my father performing a politically satirical play, which is his forte, when I was 17 and the road was paved from there. I've been working in theatre and film for a while, but this specific genre (the YouTube clip) is a first for me and hopefully not my last ;)

DD: My passion is theater but I started working on films in Chicago and have probably acted in over 30 short films. This film was my first time working on a white screen interacting with animation!

How did the two of you meet and have you collaborated on common projects in the past? 

DD: Lara and I met on set at Kharabeesh studios in Amman in April 2012. We had never known about each other, but we ended up working together on another project for Bath Bayakha soon after, and have plans to collaborate on more work soon!

Photo courtesy of Dana Dajani

Why did you feel the need to answer Danny Ayalon's ad? Israeli and Zionist Propaganda isn't a new phenomenon, so why now? What was it with Ayalon's ad that made you tick? 

DD: I saw the video when it first came out two years ago and thought, how can there be such straight-up propaganda disseminated in our day and age, as if it was regular creative content for consumption? But honestly, all it takes is a good script and a production team and you can make anything happen. It angered me but I knew that personally I didn’t have the resources to properly respond. Lara and I were lucky to be presented with a good, punchy script, and a willing team to make it happen, so the question became why not? If not now, when, and who?

LS: I hadn’t seen the video until I got approached with the script, and when I saw it she I compelled to answer. We were given a chance to present an alternative view and we stepped up to the challenge.

What was the goal behind this casting? I'm loving the fact that Ayalon is massively arrogant and pompous and instead of having someone of his "caliber" speak to him, you opted for the totally opposite and in turn managed to ridicule him even more. 

DD and LS: Often times the Palestinian resistance is mostly comprised of young men, and overall this whole conflict is plagued by men- “old men dreaming wars for young men to die in”. We added a feminine element, we spoke for the youth. And at the end of the day, it’s all about public appeal: here were two females talking, more or less, like men, a bit cheeky and totally confident. It worked.

Where was the video produced and why? 

DD: The script was written in Ramallah, Visualizing Palestine is an international company, and Kharabeesh is in Amman, Standub.com is based in Dubai. I was living in Dubai, Lara was living in Amman. So we all gathered in Amman to make the video over two days. We shot on a white screen in one of Kharabeesh’s studios, using a simple Mark D7 (I think). We had lapel mics, and we macygvered a sweet-ass teleprompter out of an ipad, a reflective piece of glass and a podium.

That sounds so cool! How long did the production take and what tools did you use? Can you tell me more about the technical crew behind the film and how they worked? 

DD: Lara and I performed pro bono, it was a passion project for everyone. I’m pretty sure the animators worked pro bono too, which is why it took a year and a half to edit. As for Kharabeesh post production tools and team.

Jamil at standub.com, who directed the piece insisted "My aim is to highlight the fact that the writing and research was done by VP and Standub and the execution by kharabeesh. It was a group effort.

The 'nuances' and comedy was thought of and directed by the people from these 3 companies. The cost is that of research, scripting, actors, filming in a studio with green screen, editing, and then seperately days and days of animation and fact checking.

The point is, although this was a collaboration, modern day technology means that all you people need is a camera with some lighting and a laptop to make it happen. The important part is a) making it factually correct and b) getting the 'tone' right with people who understand humour. And we were lucky to have that behind and in front of the camera in this case.

The elements that went into producing this video were thought through and intentional. We would like to encourage others to collaborate and answer fiction with fact".

Photo courtesy of Dana Dajani

Now the content is brilliant! Who was behind the research and the script? It is so well written, not crowded with information and yet informative enough to discredit Ayalon and any previously heard lie about Palestine or Israel. 

I believe the writer would like to remain anonymous. Here’s something he wrote:

"Let them not know who's behind it, which is what I would prefer, hence why I did not take credit. People fear what they don't know. I want the Israeli government to fear that there is a growing movement of young Palestinians ready to respond to their rubbish propaganda. In a recent report issued by an Israeli think tank, The Reut Institute, they concluded that the BDS movement was the greatest threat to the existence of Israel because it was not one body they could target. Rather, it was a loose coalition of individuals and organizations united by ideology with no commander-in-chief.

Ayalan's argument was that because a Palestinian nation did not exist, Israel did nothing illegal. That's like saying nothing illegal was done to native american's because they didn't have an official 20th century style "nation state". What we were essentially saying was that we didn't invent our identity homie - Palestinians, the identity of the people who lived on this land, always existed. Our self-determination - and Israel's denial of our self-determination - is not contingent on any past form of "nation" status. To quote Shakespeare "What is the city but the people?

Except we chose to say this in a different way. No one has ever responded to official Israeli government propaganda like this. We just upped the ante".

I love the fact that for once, Arabs (and women at that, the stereotyped gender of weakness and submission) with immaculate English address the Western world. We can agree that PR-wise, the Arab world hasn't done very well. This video is a fantastic respond to all of that. At one point, you make fun of Ayalon's English accent which to me is so funny because Israelis love to emphasize their "Western" side when talking to the West and of course, directly or indirectly make fun of Arab politicians, leaders and general people for being or sounding too "Arab", as if being Arab is a characteristic rather than an identity. And a ridiculous characteristic at that, a characteristic that they feel are entitled to mock because it inferior and a reflection of terrorism (if we are not all white, English speaking folks, then we must be terrorists). How and why did you decide to do the same by mimicking the Israeli accent and what were your goals? 

DD: Honestly, it wasn’t a planned malicious attack. I was getting carried away in the moment of talking. What we do for a living a living is PLAY, so we tried bringing the element of play to more serious content. I’ve honestly been getting a lot of flack from Israeli’s calling me racist. My response is this: check out my comedy on my youtube channel. I make fun of many accents. Watch any good stand up comedian, see how long they go before putting on a character accent. It was all in good fun. And besides, If you cant laugh at yourself, no one will take you seriously.

Photo courtesy of Dana Dajani

The video went viral in a matter of hours, and with good reason. I am also confident the "debate" online must be heating up. What was the response from the Western world. I guess the Arab and Israeli responses are pretty straight forward but I'm wondering how other parties are responding and viewing this? 

LS: Arabs love it, they send us lots of praise, “we’re proud of you, bterfa3o il ras”, for a while we were getting a lot of support mail. Some Israeli’s have reached out to tell us that we “cannot change the course of history”. They’ve also dedicated blog posts to bitching about this video and the comments are pretty hateful. There was a British Pakistani ex-Muslim pro Zionist who blasted me on twitter, and now she follows me.

DD: One blogger actually investigated us and went so far as to call me a “whore” because I am a model and “Hamas would disapprove of my photographs”. For a few days it was pretty stressful because all of my social media sites were being trolled by Israelis posting really hateful and disgusting things (“you’re an arab, this is what I think of you.” then posting a link of a Syrian girl being decapitated). I’ve also gotten responses from Americans, Spaniards, and people from the Netherlands, thanking us for making this video and opening their eyes.



If someone decides to poke at your video and its content, do you plan to retaliate? 

DD and LS: So there have been blog posts and a debunking video. Also someone has asked to do a response video for another film. I don’t know if the whole team will be involved. But we definitely want to keep up the energy now that this is out.



Your video has done tremendous good in spreading information that people tend to forget or don't even know. Do you plan on making more of these videos to educate the West about our issues? 

DD and LS: We would love to do another one, even in response to the rest of his videos. Because this is fresh, it’s the most commotion that’s happened about Palestine in a while. Usually it’s the daily article on something or other being destroyed. So we’d like to keep generating creative content about the causes dearest to our hearts.

Photo courtesy of Dana Dajani

Any final words to Ayalon? 

DD and LS: We’ll be back.

I'm fed up to the ears with old men dreaming up wars for young men to die in.  ~George McGovern

One determined person can make a significant difference; a small group of determined people can change the course of history. ~ Sonia Johnson



As you're about to click away from this site, don't forget, sharing is caring, so keep the momentum going and help spreading "The REAL Truth" all around you.

And stay tuned for more by Dana Dajani as she prepares to release her upcoming video:
Love Letters From Palestine
A Poem Filmed in Bethlehem   



Bookmarks:

• Dana Dajani Official Website
• Lara Sawalha on Facebook
• Dana Dajani on Facbeook
• Kharabeesh Official Website
• Standub Official Website
• Visualizing Palestine Official Website

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Teta, A Thousand Times... And One

English

A dark theater stage. At the center, a short flight of stairs and a woman at the top. A young man is giving her instructions on her posture, every movement and every gesture and most significantly, the way she should carry her imaginary violin.

Snapshot from Teta, Alf Marra by Mahmoud Kaabour

This is how I remember Mahmoud Kaabour. It was my first semester of Communication Arts at the Lebanese American University in Beirut. And outside of a few high school productions, this was the very first play I worked on. What a thrilling and exciting time! My first time in the theater, working on bringing a concept to life as part of the set construction crew. It was also when I met Milad Karkour, the beautiful and unforgettable soul and possibly the kindest, most dedicated person I have had the privilege of knowing. And of course Moalem Youssef, who has left an indelible mark in the hearts of all the students who passed by Irwin Hall and Gulbenkian Theater under his guidance and support. It was also on that stage that armed with a hammer and some nails, I met Maha Moussa, the accomplice of my university years and incontestably, the partner with whom I shared the LAU I know and made for myself. So it is no understatement when I say, my very first memory of theater at LAU and perhaps university in general is forever connected to Mahmoud Kaabour in some accidental, yet personally beautiful sort of way.

That is why this name brings back an overflow of emotions which I have to admit, prevented me from completing this post in a timely manner. But here I am now, not to take you on some walk down memory lane or talk about the past, but to introduce the genuine letter of love dedicated to the woman behind the man in the spotlight.

Mahmoud Kaabour may not be around to write it himself, but it is probably not a coincidence that fate would have his eldest grand-son, who out of all his descendants happens to also carry his name, speak for him. Like the ultimate extension of life. Passing on a name from one generation to the next, ensuring some sort of continuation, and ultimately some kind of immortality. After all in Lebanon, we do say "Those with offsprings never die".

But in the case of Mahmoud Kaabour Jr., this role seems to have been in the making since birth. Apparently, the young filmmaker shares common physical traits with his grand-father but also the same love for music and the violin. Is it another coincidence that his grand-mother would call him her "little husband" since his childhood years, winking at the resemblances he and his grand-father share, beyond a first name?

Teta, Alf Marra Production Still - Source

Maybe. Maybe not. What is certain is that he is the one who will tell the love story of this woman with the older Mahmoud. A story that transcends time and death. He is the one who will immortalize this woman's voice and words and gestures on film just like his grand-father immortalized his voice, words and gestures in music. Some of which, unknown to the public, were recorded in his own bedroom. It is from this most intimate sanctuary that his grand-son will finally extend these private compositions to the outside, to the world, to our ears and into our souls.

Teta, Alf Marra is a biography narrated informally through the words the Kaabour matriarch, a strong woman who certainly intimidates most with her candor and force. She does not hide or even tune down her emotions and thoughts for anyone. Not for the street vendors she commands from her balcony like the queen she truly is. Nor for her family or even for the sake of Eva, the future grand-daughter-in-law she meets for the first time.

Teta, Alf Marra is also the autobiography told through the tacit tale that transpires from what is spoken out loud, from every gesture and every silence. The Kaabour matriarch is also Teta Fatima, a touching and moving woman who will at one point or another drive even the most restrained to tears.

Teta, Alf Marra Production Still - Source

This film may be a documentary, but it is a romantic ode as well. An homage to Teta, a tribute to Mahmoud and a rebellion against Death.

Yes, people will undeniably end. But it is never The End. Mahmoud may be gone but Mahmoud is still here. Fatima may have the memories of Mahmoud and a past married life to keep her company but Eva has the presence of Mahmoud and the promise of a hopeful future to build and guard. And also to preserve and eternize the legacy they inherited. For the sake of Fatima and Mahmoud.

If you already have an appreciation for documentaries, this film is just for you. Because it is made with authenticity and respect for reality and the truth, which happen to be qualities that Teta Fatima embodies herself.

If you hate the genre, this film is just for you too. Because it is made by Mahmoud Kaabour, a filmmaker with a theater background, a graduate from the performing arts. Teta, Alf Marra brings to the screen the director's staging creativity, dramatic vision and even his very own acting skills.

All supported with the brilliant cinematography of Muriel Aboulrouss who managed to somehow paint the music through Patricia Heneine's flawless editing: a visual concert of images playing in harmony with Kaabour's violin.

Image Credit: R. Abouzeid - Source

Then why not gift yourself some beauty in a box? The DVD and Soundtrack are an absolute delight to the eyes and the ears.

And I was overjoyed at the sight of Being Osama in the bonus features! I was actually looking for the film and could not find it so this was a perfect surprise. Although produced almost a decade ago, it remains relevant to this day, even more than ever. There truly is a Before 9/11 era which seems to be long gone now, and we currently have to live in a Post 9/11 age, with all the political, social and economical consequences it forces on us in this part of the world but also on all Arabs worldwide.

So if you do not know him already, let Mahmoud Kaabour to your screen and into your home. Allow him to challenge your eyes, your ears, your mind and your heart. He will not disappoint.

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Opening the Gate

English

This year, Dubai has seen remarkable Lebanese productions shine at its annual International Film Festival which is wrapping tomorrow, December 14. (Feeling very proud).

And I have had the pleasure of attending the world premiere of Gate #5 by Simon El Habre (I honestly have Ruba and Simon to thank for that). 

Photo: R. Abouzeid

It is always something special to enjoy documentaries at large venues. It gives me some sense of pride, inside. To be able to sit and watch an unusual and counter-mainstream film, moreover a documentary, at one of the busiest theaters in town; well, it feels good.

And I was not disappointed by the story either. Far from it.

Documentaries are a difficult genre. They do not appeal to all audiences. But lately, there has been a rise of outstanding filmmakers worldwide who are turning this under-appreciated art into what making films is all about: sharing. Sharing with all sorts of people. Sharing with those who never thought they could ever even cross paths. Sharing.

And this is exactly what Simon El Habre did with Gate #5. The inspiration behind this whole project being his own father, and featuring both of them in intimate, yet always beautifully set confessions; it cannot get more "Sharing" than that. In a nutshell, the filmmaker is allowing us inside private family moments. 

Photo: Gate #5

The rhythm of the film itself slowly becomes orchestrated by this intimacy. At first it is just the heavy breathing of this aging man that resonates like a loud heartbeat in between scenes, subtly underlining the thread that connects all the stories together. And at other times, it is the sound of his dialysis machine, cruelly following that same beat, that sustains this audio-storyline in a smooth, endless continuation. Just like life. Just like the protagonist's life. 

But this aging man, sick and yet always optimistic, is nothing but the inspiration behind the documentary. El Habre moves on to expand from that small circle of memories through the Gate that controlled his father's life at one point. A gate that controlled many lives back then. And still does today. Once the Gate opens, the people open up as well. And the story begins. A story of men. A story of Lebanon. And life. A beautiful story. 

Yet, it is an unsettling gate that the filmmaker chooses to open in his first scene. The disturbing images of cattle being pushed and shoved out from one narrow box to another, fear and pain overflowing from their eyes as they pass that gate and step onto the truck that will undoubtedly drive them to their end put us all on edge in our comfortable theater seats.

One thing is for sure, El Habre got our attention from the first shot.We knew right then, this would not be a regular film. And although they were selling pop corn and sodas outside, we understood: this was no pop corn movie.

It would not be one of those "tedious" documentaries either. Clearly, the conventional archives, voice over and interview style was as far from us as it could be. 

It would be cinematographic instead. The images would speak when the people or the filmmaker could or would not. 

Indeed, and moving on from those shocking opening moments, and as if thanking us for being there and attentive, El Habre takes us for a drive on the beautiful mountains of Lebanon, through the powerful eye of cinematographer Bassem Fayad. Almost forgetting we were about to watch a documentary. Simple beauty on a big, big screen. It felt like cinema. It felt like Lebanon. And I missed it so much all of a sudden.

Photo: Gate #5

That is probably the key winning touch of this film. It is personal. And it gets personal to the viewers too. Unavoidably. 

It is the story of certain men. Yet, all of us can relate. 

The story takes place at a certain point in time, and with Lebanon, it usually implies the war will be somewhere in that timeframe. Yet, it is not an narrative recount of those years. 

The story happens in old Beirut. Yet, it is not images, and archives, and black and white footage of that era. 

(And thank you so much for sparing us those overused and abused videos and photos which are just about everywhere as if every artwork should serve as public service announcement for the ministry of tourism!)

The story is human. And through these humans, we see the past. As it was. Unedited memories of what real life used to be. No voice over. No script. No interview. Just regular, ordinary chats. 

Photo: Gate #5

These men talk to each other, or the filmmaker, casually. Simply. As if no camera was there. As if they were having one of their daily informal discussions over coffee. Because this is what these men do every day. They remember. They talk. They reminisce about their golden years. That day, they just happened to be recorded while doing so. 

We know these men. Not them particularly, but others just like them. That is how we know these moments in the film are genuine. That is how we know this movie speaks a truth. Maybe not the Truth. Maybe some even take pleasure in storytelling and embellishing a little. Just like those other men we know and we have listened to before. At our family dinners. In a cab. At an old coffee shop.  

And that is why this film speaks to us. At a personal level.

By the end, I could not help but lean towards my husband and whisper: "you know next time we're in Beirut and you have one of your drinks with your dad, just take the camera and record". He is always saying something. They all are. 

And the fact that Gate #5 inspired us to actually pick up a camera and listen is the plain proof that this film works. That it achieved its purpose. That it created something, beyond that theater, even after those end credits rolled on that big screen. That it touched real people. And that it affected real life. 

Q and A with Simon El Habre following the screening
Photo: R. Abouzeid

Useful references and sites:

• Gate #5
• Simon El Habre
• Abbout Productions Official Web and Facebook
• Dubai International Film Festival Official Web, YouTube, Facebook and Twitter

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Updates

English

A couple of updates on the last few posts:

RE : First Phoenician port in Beirut - Premier port phénicien de Beyrouth du Ve s. av. JC

Link

The Lebanese online community has been upset over the discovery of the first Phoenician port in Mina El-Hosn under a construction site owned by Venus Real Estate Development in downtown Beirut. It appears this major historical finding cannot be saved. Like many of the ancient sites uncovered in that area, it will probably disappear under the wonderful face of modernity and "reconstruction".

A Facebooker has posted an updated photo of the port, with the bulldozers waiting right by it:

Source

RE : Nadine Labaki's "Where Do We Go Now?"
Link

Nadine Labaki's "WHERE DO WE GO NOW?" is officially the Biggest Arabic speaking film released in Lebanon  

by FRONT ROW FILMED ENTERTAINMENT on Saturday, November 12, 2011 at 8:17amSource 

BEIRUT. November 12, 2011. 
After 9 weeks occupying the # 1 position at the Lebanese Box Office and pulverizing blockbusters such as Johnny English, The Adventures of Tin Tin, The 3 Musketeers, Tower Heist, The Rum Diary, The Ides Of March among many others, Nadine Labaki's "WHERE DO WE GO NOW?" has now reached over 226,000 admissions finally dethroning the local hit "GHANNOUJET BAYYA" (208,657 admissions) and entering the TOP 4 ALL TIME LEBANESE BOX OFFICE HIT under James Cameron's "TITANIC" and "AVATAR", and Mel Gibson's "THE PASSION OF THE CHRIST". Labaki's Oscar hopeful is still running in Lebanese, Jordanian and Syrian theatres showing minor signs of drop and is now setting its sight on Mel Gibson's phenomenon. "WHERE DO WE GO NOW?" just opened in the UAE and Kuwait and on the 30th of November, the film will open in North African territories (Egypt, Morocco, Algeria, Tunisia) as well as in Qatar, Bahrain and Oman.

Source

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Now we go ... to the movies

English

As you already know we've managed to squeeze an evening at the movies when hubby was here. I'm not going to get into the whole "Parents Vs. Movies" debate. It's a loosing battle. The purpose of this post is not to rant anyway (thank God!) but rather share one interesting and moving evening with all of you.

I couldn't ignore the nominations, awards and praises bestowed upon this piece and the artist behind it, which all speak for themselves, and loud enough might I add and which left me with the highest of expectations. 

To be honest I refrained from reading anything because I intended to experience the film with a fresh eye. And I'll grant you that same courtesy, don't worry. Which means I won't bore you with my critique of the movie. There's a plethora of very pertinent (I'm sure) reviews out there on the net. 

So why even write this post, you may ask?

Well first of all, to tell those two or three people who haven't yet watched "Where Do We Go Now?" to make the time. For a very simple reason: it is a simple, beautiful, sensual and genuine poem on Lebanon. 

If this film were a woman, it would be Nadine Labaki, simply. And just as a quick reminder for those who may not know or have forgotten, here's what the woman looks like. Convinced yet?

If not, let me just add the following...

"Where Do We Go Now?" tackles issues that are still relevant to our people, our nation and probably the entire Arab world today more than ever. 

But it is also and above all an ode to Humanity. Mankind. 

And probably the most flattering compliment to religions and faith. The true value and intent of religions and faith: Love. 

Nadine Labaki makes a commendable effort to shed light on human relationships, how easily ignorance and fear can turn the kindest and the closest of human beings into mortal enemies and most importantly how when we focus on the truth and tolerance, life wins. Because there is no escaping death. So the lesson undeniably remains life, the great measure it takes when faced with the end, and by extension, what we should do with it.

As with "Caramel", the cinematography is wonderful. Beauty is everywhere even in the simplest, poorest or sickest of places. Even in death. And the music, which becomes a character in its own right, is absolutely perfect. The poetry it brings is so intrinsic to the characters, the places and the story that it doesn't feel like an artistic addition. It is simply a part of life. A natural element of reality.

Everyone should take a glance at that reality. At beauty. And at love.

The promise was kept: I laughed. I cried. And days later, I find myself still immersed in that universe which is really only an innocent wish for a better world. The desire. The hope. The humble prayer of a people who have nothing else to lose and everything to win.

Your Bookmarks:

• Nadine Labaki on Wikipedia and IMDB
• Where Do We Go Now on Wikipedia and IMDB
• Caramel on Wikipedia and IMDB
• Nadine Labaki official website
• Nadine Labaki Social: Facebook, Twitter, YouTube

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High Up In The Air...

English

This one goes to @RaniaSassine
I’m dedicating this post so she finally grabs a bite :)

Going on a hunger strike if @abouzeid does not post one of her great articles. You have 24hrs ma cocotte and I mean it!!!!!
7:22 PM Feb 18th

@abouzeid Tic Toc Tic Toc Tic....
about 11 hours ago

On a side note, and because I’m quoting Twitter; here’s an anecdote for you:

ONLY IN … MY FAMILY would we tweet, chat, email each other even if we’re sitting in the same room and could easily just… Talk. Yep, it’s happened before between hubby and I sitting alone in our living room, couch-potating, just surfing the web when suddenly he decides to send me an email to ask for a rather mundane thing like dinner or something. Yes. True story. Today, I tweeted that I had to get off Twitter and run to the supermarket because my fridge was empty as I hadn’t shopped for food since I came back from Lebanon . Well it was brought to my attention that I shared my plans with the whole Twittersphere before informing my family. My brother who was in the same room just bluntly asked: “Thank God for Twitter so we know what you’re up to. You’re going to the supermarket? Get me some hot dogs with you.” Note to self: Do not broadcast trips of any kind on the web; people will ask for favors (:P)

Well I’m not sure it’s a “great” article Rania, but a girl’s gotta eat and I’m starting to feel a little bit woozy myself just thinking of you fasting for so long! So there you go!

I watched Up In The Air. Love Georgie boy :)

The general storyline is really relevant to what’s happening today pretty much all around the globe, and the actual story is also pertinent to human nature. It’s got characters with a history and something to tell. The cast is excellent. The script is good; in many instances poignant, in others funny; but mostly real. The soundtrack is great. And best of all, it’s got a brilliant genuine ending; they didn’t Hollywood us or any shit like that.

Basically the movie makes you think about your priorities. What you want in life vs. what you need. What’s important vs. what’s valuable. Life. How you define it. How you live it. What it means to exist while knowing this existence is only so meaningful because it has an expiry date. What matters.

Success. Professional achievements. Goals.
Family.

And it got me thinking…

I really hate it when people say life is meaningless unless you get married, have children and finally get “this” purpose for being there. Existing is only valuable if you are living for your children.

And don’t get me started on the ridiculous assumption that your legacy is alive through their mere existence (ridiculous because obviously children grow up to become their own person and they don’t really care about being a legacy, they’d rather worry about accomplishing their own).

I’ve even heard flabbergasting statements (solemnly declared as “truth”) from educated people, women and men, affirming their (biological) children are their true achievement and by achievement they mean happiness. Adopting is not the same. And they almost always have the nerve to conclude with a patronizing “you’ll understand when you have your own kids”. This coming from people who obviously have never adopted anyone which of course makes them experts on the subject. Who better to judge adoption than those who have never experienced it?

I am married. I guess I’m on the “right track”.
(nauseating thoughts of conformity to be inserted here)

I am definitely not married because society says I should be in order to fulfill some happiness definition. Anyway, I think most girls get married for the wedding only and “looking so beautiful in their white dress”. I didn’t go through the whole wedding thing. Ditched the wedding, jumped right into the marriage; isn’t it what you’re getting stuck with after the party? Should have opted for the white dress though, would have made lovely photos.

Anyway, I did attend a wedding or two though and I simply can’t understand why people spend so much money on festivities that guests will most definitely criticize (they always find something to gossip about and don’t even have the decency to wait until they’re back home) and disgusting catering (even at the finest hotels/restaurants).

Why not just gather your family and close friends and celebrate your love (yes, that’s the purpose of this whole thing) with those (and only those) who truly care for you? But I digress.

So yes, I’m not big on conventionality.
Still married though (for different reasons).
Still childless too (Oh rage, Oh désespoir, my life is meaningless and my husband and I have no purpose to exist – off I go to look for a bridge and jump).

So what if I weren’t married?
What if I were to never have children?
Would it mean I’d be this miserable failure of a human being who couldn’t find her way?

I’ve got single friends.
They are outstanding individuals.
They have amazing careers.
And they’re brilliant women (and men, but I can't compare myself to single men, although they would make for a fascinating study in our region).

Their mothers still dream of marrying them (because they love them, truly) and they’re afraid their beloved daughters will grow old alone, childless and miserable. The worst.

Their fathers still worry about reputation and honor (because single women are always easy to point at).

And their friends might feel sorry for them (because it always makes you feel good when it seems others are more miserable than you).

I, for one, completely love these failures. And I admire these women for achieving so much when faced with that constant look of superiority or pity or whatever arrogance others think they have the right to display.

(I know that look all too well; I’m childless remember? After five years of marriage, needless to say I fall in the "failures" category)

Don’t get me wrong. I’m not claiming loneliness doesn’t exist or even that being alone isn’t sad sometimes.

Husbands. Children.
That’s all good.

But basically it all boils down to one thing: love.

To love. And to be loved.
That’s all that matters.
Who’s doing the loving is not really an issue.

I think that’s why these women are still successful and happy and unwilling to compromise and marry the first guy who comes to “save” them from their “failed single life”. Sure, society keeps trying to guilt them and sometimes even they doubt themselves.

But at the end of the day they know who they are.
They know who loves them. And they know who they love.
And that’s why their life has meaning.
That’s why they have succeeded.
And that’s why when/if they ever choose to get married and have children, they will do so not because society says they should; but… Well, for the right reasons.

Phew!
Yes, all that because of Up In The Air! Ah, inspiration! :P
And maybe also because of the godforsaken hour at which I’m writing this (it’s 4am Dubai time)

La « sourde et étrange colère » d'un Libanais face au film "Lebanon"

English ✮ Français

I don't like to copy & paste but this article is a must read. Unfortunately I don't have the time to translate it into English right now, but I hope my readers francophones will appreciate and hopefully I'll be able to share an English version of the text soon.

La « sourde et étrange colère » d'un Libanais face au film "Lebanon"

Par Walid Salem | éditeur | 04/02/2010 | 07H50

L'Israélien Samuel Maoz, 47 ans, a triomphé à la 66e Mostra de Venise avec un premier film autobiographique « écrit avec ses tripes », qui montre les horreurs de la guerre à travers le viseur d'un char [« Lebanon » sortimercredi sur les écrans français].

En septembre 2009, la nouvelle de l'AFP ajoute que le cinéaste s'est exclamé en recevant son prix des mains du président du jury, l'Américano-taïwanais Ang Lee :

« Merci pour ce bonheur. Je dédie ce prix aux milliers de personnes à travers le monde qui comme moi sont retournées de la guerre saines et sauves. Apparemment, elles vont bien, elles sont mariées, elles ont des enfants, mais à l'intérieur elles ont dû apprendre à vivre avec leur douleur ».

A quelques jours de sa sortie, Rue89 en fait la réclame depuis lundi et une bannière vue sur son site, posée en haut à droite, annonce le film avec des extraits d'éloges dithyrambiques… [Rue89 est partenaire de la sortie du film en France, ndlr].

La guerre vue par un soldat de vingt ans

Ce film autobiographique fait vivre le début de la première guerre du Liban en 1982, à travers la meurtrière avancée d'un tank israélien. Traumatisé par des combats où, jeune soldat de vingt ans, ce natif de Tel Aviv fut tireur dans un blindé, Maoz a mis 25 ans à en tirer ce film « puissant, » à « rebours de tout héroïsme », qui « montre la guerre avec une radicale nouveauté » nourrie des douloureux souvenirs de son réalisateur,

Ainsi, un nouvel hommage est rendu au cinéma israélien, après Valse avec Bachir, un autre film israélien qui a obtenu de nombreux prix dans le monde, dont le Golden Globe Award du meilleur film étranger et le César du meilleur film étranger en 2009, et était en compétition pour la Palme d'Or 2008 et l'Oscar du meilleur film en langue étrangère en 2009.

Un critique français avait rapporté que la salle, le public et le jury de Cannes, étaient fortement impressionnés par ce film où le jeune soldat et futur réalisateur du film, Ari Folman, fait son service militaire dans l'armée de son pays et vit le reste de sa vie avec une culpabilité freudienne sans se souvenir de rien. Plus aucun souvenir, alors qu'il était là, à quelques centaines de mètres des camps palestiniens, au moment des massacres de Sabra et Chatila.

Des Libanais ébahis

Du succès rencontré par le premier film à celui annoncé pour le deuxième, je me retrouve étrangement envahi de sentiments confus. Je ne pense pas être le seul, et beaucoup d'autres Libanais doivent en être tout aussi ébahis. Ce qui m'anime est difficile à décrire, en prenant soin d'éviter l'étalage des haines ordinaires et sans intérêt, j'ai une sourde et étrange colère face à ce que je ressens comme tribulations dans les valeurs culturelles.

Beaucoup plus tôt, il y a pratiquement 25 ans, un journaliste britannique « de renommée internationale, spécialiste du Proche-Orient » (RSF), Robert Fisk, dénoncait les massacres de Sabra et Chatila. Pour ses positions, il a été l'objet de nombreuses critiques et menaces dans le monde anglo-saxon, pour les critiques qu'il a exprimées à l'égard des politiques israélienne et américaine dans la région. Il disait pourtant que « le Moyen-Orient n'est pas un jeu de photos, c'est une tragédie, c'est du sang. » Il le prouve merveilleusement dans son ouvrage « Liban, nation martyr ».

Bernard Wallet, éditeur emblématique des éditions Verticales, en poste à Beyrouth pour les éditions Gallimard dans les années 1970-1980, évoque « ses amis [qui] préfèrent dédaigner les événements irréfragables dont il a été témoin effaré, plutôt que de renoncer à l'idée qu'ils s'en font » dans son livre « Paysage avec palmiers »… et depuis rien !

La parole au bourreau

Qu'est ce qui vaut alors que les uns soient écoutés et les autres à peine ? Qu'est ce qui donne au bourreau plus reconnaissance dans la reconstitution de l'histoire ? Qu'est ce qui fait que l'on soit admiratif devant un cinéaste qui « écrit avec les tripes » et que l'on ferme les yeux devant les victimes qui font son film quand elles ont les tripes à l'air ? Qui est ce qui donne à ceux qui produisent les carnages le droit à la poésie et l'admiration de la critique ? Est-ce la logique des choses que de perpétuer les massacres et d'en faire des films « impressionnants » ?

L'armée israélienne envahit le Liban plusieurs fois, en 1978, en 1982, provoquant à chaque fois plusieurs massacres. Elle lance deux offensives sanglantes en 1996 et en 2006. Elle occupe une bande frontalière au Sud Liban pendant plus de vingt ans, elle va jusqu'à placer des antennes du Ministère de l'intérieur israélien à Nabatiyé et Saïda, ainsi que de nombreux centres de détentions et d'interrogatoires, comme à Bent-Jbeil, le camp d'Ansar ou à la prison de Khiam.

En plus de la logistique fournie lors de massacre de Sabra et Chatila, elle participe directement à deux massacres autour de Beiteddine, et un dans les faubourgs de Hazmieh.

Le 18 avril 1996, au cours d'un bombardement, l'artillerie israélienne bombarde un camp de réfugiés des Nations Unies à Qana, prétextant une erreur de tir. Le bilan de ce massacre du camp est dramatique : 104 civils désarmés sont tués et plusieurs dizaines de blessés sont comptabilisés. Les casques bleus comptent aussi parmi les victimes.

Un film amateur tourné durant l'attaque par un soldat de l'ONU confirme que l'attaque israélienne semble délibérée et ne constitue en rien une « erreur de tir » comme le déclare alors le gouvernement israélien. Cette vidéo n'a pas été prise en compte dans l'enquête qui s'en suit. Interrogé sur l'effet du largage de la bombe sur Qana, le pilote répond avoir ressenti une petite secousse au niveau de l'appareil. A quand son film qui nous en dira plus !

Une thérapie de déculpabilisation

L'histoire et les souffrances de mon pays se racontent par ses agresseurs, pire encore, elles font office de thérapie de déculpabilisation. Le jour de la remise du Lion d'or, le film primé est dédié à tous ceux qui sont revenus sains et saufs, il ne rend aucunement hommage à ceux massacrés et tués sur place pendant les excursions sanglantes et barbares.

Le film semble « émouvant » pour ceux qui ne manifestaient, en leurs temps, que de l'indifférence aux faits réels qui en font l'histoire. Une consécration pour ceux qui ont semé des bombes à fragmentation, au phosphore et au napalm, et qui récoltent aujourd'hui de très hautes distinctions culturelles… en or.

Je n'ai pas vu ce film. Sans doute, je le verrai un jour. Je suis certain que je ne pourrai pas le voir avec les yeux du cinéphile que je suis, mes yeux ont vu beaucoup trop de choses dont il est justement question, je ne les ai pas oubliées et rien ne pourra venir les couvrir d'aucun voile, aussi culturel soit-il.

Je ne serai pas le bon spectateur car je porterai la mémoire des horreurs vécues et je ne verrai ces images autrement qu'en ramassis de cynisme. Le pardon par le cinéma, s'il en est, ne suffira jamais. Le cinéma retrouverait mieux ses lettres de noblesse en allant proposer ses moyens d'expression, au moins en alternative, aux milieux éternellement déshérités des victimes de ses guerres, mais comment faire ?

Valse avec Bachir avait annoncé la couleur de ce cynisme avec les dernières images réelles tournées par une équipe anglaise où le film s'arrête sur le cri de désespoir d'une femme palestinienne lancé à la caméra : Wayn el arab ? (Où sont les Arabes ? ). A cet instant, le doute même sur l'existence réelle des « Arabes » nous envahit et une partie de notre identité s'est subitement envolée dans une œuvre israélienne.

L'autre partie vient de s'ébranler dans cette deuxième œuvre de la même nationalité, sur le même sujet, comme un arrogant coupable qui revient sur le lieu du crime. Comble de la dépossession, elle s'intitule Lebanon.

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